Former Stars Boycott Plans for Hip-Hop Museum

Hello there! If you are new here, you might want to subscribe to the RSS feed for updates on this topic.

I remember the early days of Hip-Hop growing up in Brooklyn–the music, the clothes. It was the beginning of something unique. Today it is part of mainstream culture globally, whether it is Japan or Cuba Hip-Hop lives everywhere.

A new museum interpreting the history of Hip-Hop is set to emerge where it all began in New York City. A number of Hip-Hop stars are objecting to the creation of the museum in Harlem. Their objection is not rooted in the potential presentation of this history, or in the quality of any personal portrayal, it is money. These are past stars from the very beginnings of Hip-Hop that have fallen on hard times and feel that the new museum should pay them for their stories.

krs one 300x233 Former Stars Boycott Plans for Hip Hop Museum

KRS-One (pictured) siding with the boycotters: Makes you wonder if some of these Hip-Hop pioneers really are thinkers.

There are several things wrong with this scenario. Museums are not record companies; museums are not for profit organizations. Museums hold their collections in public trust; they take care of it so one hundred years from now people will understand the cultural and historical impact of the past. Museum funds come largely from donations and are supplemented by grants, most museums that are fortunate enough to have an endowment fund (the fund is an investment account that earns interest annually, the museum uses this interest as part of their operating budget) are barely able to cover the cost of paying basic bills, employing staff, running programs and maintaining the facility. Museums are expensive to build and run. Many artefacts have to be kept in a stable environment to ensure their preservation; temperature and humidity must be maintained at certain levels, air quality tested. Proper care and storage of collections is expensive to create and maintain, so are exhibits and programs. These limited funds have to be used to keep the place afloat and serve the interests of the present and future public.

While many of these artists are partially responsible for the explosion of Hip-Hop culture worldwide, a new museum dedicated to Hip-Hop cannot be expected to pay the bill. Museums do not purchase stories from the public. Most people who share their history do so to preserve it, because they feel it is important and should be remembered far beyond their lifetime. This is not a case of a corporate entity seeking to bilk an artist out of their earnings; it is a museum honouring those who began a movement. Our collective stories shape how future generations will see us. We want our own personal truth to be known. Firsthand accounts from the people who were there at the beginning of a movement or an event are the very foundations of history. We are a part of history whether we like it or not. We cannot opt out, only allow ourselves to be glossed over or misrepresented. So how do you want your story to be told? In your own words or someone else’s?

These issues are very personal to me. As a member of this profession, I am constantly confronted with the issue of diversity and a lack of representation in museum programming. It is something I have discussed with my colleagues at length and have worked for years to address. When I first learned about the Hip-Hop museum, it struck me as an amazing way to tell this ongoing living, breathing history. Hip-Hop is another amazing art form developed by African Americans and it is worthy of being discussed, understood and chronicled.

So now, in its birthplace the legacy of Hip-Hop is being held hostage over money. What about the potential economic impact of an institution like this? What about the tourists it will draw…the small businesses that will benefit? What about inspiring the younger generation of Hip-Hop drowning in materialism? Without a doubt, some of these artists signed deals that were unfair and did not pay them their worth, which is part of this story. The unscrupulous practices of some in the record industry cannot be used against a fledgling museum, which may play a role in bringing these matters to light. There is no justice in sabotaging a new institution attempting to tell a largely ignored history. There is however an opportunity here greater than the profit margin of a few. This is a chance to solidify the legacy of Hip-Hop. This museum will be a record of the impact and evolution of Hip-Hop as a culture. That is larger than one check to one individual, this belongs to the world. It is ours. A part of how we define and know ourselves. In the words of Common, – “I start thinking, how many souls Hip-Hop has affected. How many dead folks this art resurrected.”

Related Blogs

Cordell Reaves

Cordell Reaves is a museum professional currently residing in Upstate New York.

JC

Some of these people may be able to sing or play music but they're not very bright many of them. Personal greed rules! Surely shortsighted.
http://urbanliterati.blogspot.com LiteratiNYC

This reaction is as selfish as it is shortsighted. While I do sympathize with the desire to be compensated for pioneering the hip hop movement, I can’t help be troubled by the thought that Black America continues to thwart attempts to uplift, inspire or educate the community.
VS

It is down right embarrassing that some of these artists have no concept about what a museum represents. If they had a clue, no form of compensation would be on the table.

V