The Complex Identity of Contemporary Artists: A Closer Look at Genre and Race in Music
In recent years, a troubling narrative has emerged in contemporary music, encapsulated in the declaration, “I’m not a hip-hop artist.” This phrase has echoed in various interviews and social media posts, drawing attention to the complexities of identity in the music industry. When BigXThaPlug stated during a New York Times Popcast interview, “I want to be the best artist in the world,” it underscored a common perception: to be confined to hip-hop is to be seen as limited.
The Hierarchy of Artistic Identity
BigXThaPlug’s views signal a deeper hierarchy in music. He separates the identities of a “rapper” and an “artist,” suggesting that true artistic legitimacy lies in transcending the genre of hip-hop. This is not merely a matter of personal branding; it reflects a pervasive belief that to achieve greatness, one must first escape the bounds of rap. Despite his own hip-hop roots serving as a launchpad, BigX asserted a higher status upon the broader artistic community—a move that, knowingly or not, diminishes the richness of hip-hop as an art form.
The Stigma Attached to Being a Rapper
The language used by artists like BigX reveals an internalized stigma surrounding the term “rapper.” In an interview from February 2024, he voiced a sense of uncertainty: “Why are you still rapping? You know you’re not a rapper.” This admission highlights the discomfort some artists feel not just about their skills but about the label itself. The implication is that being a rapper carries a certain stigma that being labeled simply an “artist” does not, revealing a societal hierarchy where hip-hop is viewed as less prestigious.
Cultural Appropriation and Dismissal
Post Malone’s perspective offers a contrasting case. In a 2017 interview, he stated, “If you’re looking for lyrics… don’t listen to hip-hop.” This claim, coming from someone whose success arose from hip-hop aesthetic and culture, was met with immediate backlash. Critics called out his comments as a classic example of cultural appropriation—making profit from a culture while simultaneously dismissing its value and depth. This duality raises questions about authenticity and respect within creative spaces.
The Pattern of Distancing
Both BigXThaPlug and Post Malone exhibit a recurring trend where artists utilize hip-hop to gain fame but later distance themselves from it. In 2024, Post Malone made a seamless transition into country music, receiving a warm welcome from Nashville. This represented a pattern: when white artists cross genres, they are often embraced; when Black artists attempt similar transitions, they frequently encounter barriers.
Tommy Richman’s experience further illustrates this dynamic. After achieving success with his hip-hop-influenced track “Million Dollar Baby,” Richman declared on social media that he was “not a hip-hop artist.” His hastily retracted statement and subsequent submission of his song for Grammy consideration in rap categories drew ire, revealing a hypocritical stance where he sought the benefits of hip-hop while denying its influence.
Racial Coding in Genre Labels
The insistence on identifying as an “artist” rather than a “rapper” carries significant racial implications. The term “rapper” has increasingly become synonymous with Blackness, associated with cultural constraints and expectations. Conversely, transitioning to “artist” signals a race-neutral universality, predominantly aligned with white artistic norms. This linguistic distinction suggests that Black artists are pigeonholed into a singular identity while white artists freely navigate various genres.
A 2022 study highlighted this systemic disparity, revealing that Black musicians are less likely to be viewed as versatile compared to their white counterparts. Such biases perpetuate a cultural narrative that ignores the multifaceted contributions of Black artists, frequently diminishing their achievements in favor of a more homogenized vision of artistic identity.
Double Standards in Genre Fluidity
The differences in treatment for white and Black artists extend to genre fluidity. Machine Gun Kelly’s transition to pop-punk earned him acclaim, while Black artists attempting to enter “white” genres often face neglect. The music industry’s structures create barriers that stymie Black artists’ mobility and reinforce racial hierarchies. The stark contrast in how Black and white artists are received was underscored in controversies such as Macklemore’s Grammy win over Kendrick Lamar, highlighting the pervasive inequities within the industry.
Historical Context and Industry Segregation
Historically, the music industry has employed euphemisms like “urban” to categorize Black music, often relegating it to separate and less prestigious lanes. While recent years have seen a shift in terminology, the underlying segregation remains. Adjustments to award categories and terminologies often mask the persistent inequalities that lead to disparate promotional budgets and recognition.
Following the shifts prompted by movements such as the George Floyd protests, major labels announced the elimination of “urban” terminology. Still, many labels maintain distinct systems for Black artists, denying them equal opportunities for promotion and success.
Examining Asymmetry in Genre Navigation
The industry operates on a self-fulfilling prophecy where Black artists who venture into predominantly white genres receive minimal support and recognition, reinforcing the idea that such music lacks commercial viability. In contrast, white artists like Post Malone, who transition into country music, experience swift acceptance and success, highlighting a lack of equity that resonates through the entire music landscape.
The Need for Structural Change
When artists proclaim, “I’m not a hip-hop artist,” we must interrogate the reasons behind such distancing language. It becomes imperative to understand the systemic inequalities at play, particularly how race intersects with genre and cultural legitimacy. Creating a fair music landscape requires significant structural changes: equal visibility across all genres, diverse leadership at the executive level, and a refusal to allow racial dynamics to dictate artistic trajectories.
The narrative that positions hip-hop as an inferior art form is not just detrimental to Black artists; it diminishes the cultural significance of hip-hop itself. True artistry should encompass fluidity, creativity, and respect for the cultural foundations that have shaped it. As such, it is vital for all artists to acknowledge the rich heritage of hip-hop and its profound impact on the larger musical landscape, ensuring that they do not merely exploit its allure while distancing themselves from its legacy.
