In a previous post, I wrote about how the choices we make as scholars can (inadvertently, perhaps) lead to the formation of a “canon” of rap music. Here are a few miscellaneous thoughts on that.
Rap historically has been very time- and place-conscious. I’m thinking of Shusterman’s “The Fine Art of Rap,” Greg Dimitriadis’s “Hip Hop: From live performance to mediated narrative,” and there’s a quotation in (I think) Russell Potter’s book to the effect of “making a rap record was like saying you’re going to make a record of a basketball game or a subway ride.” Any formation of a rap “canon” must also consider remixes, other versions, etc. as well as the influence of other songwriters (to what extent does the concept of canon depend on a kind of single-author/genius model of authorship?).
Regarding canon-formation in terms of what’s commercially popular vs. what’s artistically significant (whatever that may mean), it’s important to remember that Billboard charts for years were subject to bribery and manipulation, and that Spotify and other streaming services are also subject to being gamed.
Streaming media has challenged the notion of canon formation as well. Popular music is increasingly viewed as a disposable commodity. Streaming technology has also made it possible for artists to change songs after they’ve been released, which really calls into question the notion of a song or album as a “fixed” work of art that we can study. Recent examples of Beyoncé and Lizzo changing lyrics in response to feedback from fans, and Kanye’s fixing “Wolves” on The Life of Pablo offer a hint of what could be on the horizon.
Lil Yachty said in an interview that he doesn’t know any songs from Tupac or Biggie. Does that matter?