Ya Heard: Big labels undermine hip-hop to line pockets

As hip-hop becomes more and more of a business venture and less of an art form, very talented artists continue to be pushed aside by major record labels. The channels of creativity have drastically narrowed within the corporate hallways of many media conglomerates.

Nothing is more evident of this fact than the recent split between Atlantic Records and the Brooklyn emcee Saigon. Saigon, who signed with Atlantic in 2004, achieved considerable success as an indie artist prior to his major deal. After a number of mixtape releases, including the incredible "Warning Shots" LP, Sai was never able to capitalize on his momentum. Or better yet, maybe it was Atlantic that couldn't capitalize on a raw emcee with tremendous poten-tial.

Nas' proclamation that "hip-hop is dead" is true for this fact here: While the business of hip-hop continues to flourish, the art and culture continues to become weaker. The genre is a steady cash cow, yet the artists that get the major push are designed to turn an imme-diate profit. Forget the days when an artist had the privilege of time and could grow into his or her own right. Nowadays new artists are forced to fit into a precut character and get out there to "make Daddy's money." In other words, stick to the formula and forget about creativity. When it comes to major labels, the chips are stacked against an emcee that can possi-bly move the genre forward because it translates into uncertainty for the black suits.

Now, there is an exception when we talk about the Kanye Wests and Lupe Fiascos of the game, who have proved lucrative for both the black suits and the culture. However, especially in the case of Kanye, these are homegrown emcees— meaning they weren't manufactured by label execs, rather, cultivated through the fire of hip-hop fans, critics and competition.

Every artist that has maintained a consistent level of success was planted, nourished and allowed to grow over time. Jay, 50, Wayne, Kanye, Nas, Scarface, Devin, etc., etc.—they all moved the genre forward through hard work, were approved and accepted by the fans, not label execs.

Jay Z had to start his own label after being told over and over again by major labels that he would not be a success. Even 50 Cent was stuck on a major label that had no idea what do with him before he got down with Dr. Dre and Eminem.

And now with Saigon's situation, we have another example of a major label not having the foresight or know-how to break a genuine hip-hop act. With all their A&Rs, VPs and Bs at their disposal, it's obvious they don't have a clue about hip-hop, but know a world about turning a profit.

To readers who are not avid hip-hop fans, please don't believe that hip-hop is naked women, excess jewelry, cash and curse words. That's not us. Don't think we control the music either. That's not us. A large portion of the images you witness on television or radio is only the end result of a clever and calculated marketing strategy.

Do you really think that there is love to be found on Flavor Flav's show? Well think of what is being presented as hip-hop these days in the same way. Chuuch!

HIP-HOP TRIVIA

On which album can you find the tracks titled "You Came Up," "Dream Shat-terer" and "Beware"?

Be the eighth person to send me an e-mail with the correct answer and receive two free AMC movie tickets courtesy of the Potomac News and Manassas Journal Messenger…until next week, peace.

Dennis Winn can be reached at 703-400-8301 or .