What New York Hip Hop Venues Can Learn From SOBs Shooting

There was a shooting at a rap show in New York City.

If your immediate reaction is something like, “What else is new?” well, not funny, and also, not accurate.

In fact, in my pretty extensive experience, I would say that there are very few violent incidents at New York City rap shows. A pretty remarkable feat actually, when you consider there are usually several rap shows occurring on any given night in New York City.

But, when a shooting occurs, it sure changes the dynamic.

And it should. Our thoughts and prayers go out to all injured and involved. On top of that, SOBs is a fine venue, and this unfortunate incident should not cast them in a bad light.

But aside from the obvious, one of the problems with an incident like this is that, because hip hop music and culture is still terribly misunderstood and there are few capable of speaking intelligently on their behalf, venues, promoters, insurance companies are likely to only focus on the fact that there was violence at a rap show. They may not place it in the necessary context. They may not make the connection between the “type” of rap, and the “type” of audience that was present. They may not seek to simply adjust their booking choices.

Many may just stop booking ALL rap acts.

The hip-hop-and-violence link is still very prevalent. After all, during the drama with Chris Brown and Drake, non-hip hop media outlets were calling Brown a “hip hop artist.”

Because “hip hop is violent.”

Of course, that’s not true. It’s just that they don’t know the difference.

Again, for the obvious reasons, the shooting at SOBs was a terrible incident. Any time anyone is injured at any event, it is tragic.

But as an advocate for hip hop, particularly in New York, such an incident adds an additional layer of frustration. We are like the Pit Bull of music. An amazing species, but often misunderstood and unfairly targeted. And when we bite, it’s always “bad Pit Bull,” never “bad person.”

So normally, this would be a devastating blow to the New York hip hop scene.

It is. But also, maybe not.

Those who follow what I do, know that I am continuously preaching against the idea that “hip hop is dead.” On the Birthplace Magazine site and on my radio show, I have documented countless examples of hip hop music and culture, that demonstrate an evolution in hip hop music that is not reflected in the hip hop mainstream, (and completely foreign to the general entertainment mainstream), yet is wildly appreciated by the few who have discovered it.

I have worked tirelessly to connect this under-served audience with these under-appreciated content creators. Because both are growing.

Now, they are growing very slowly because they generally don’t know each other. And the few media outlets (mine especially) that exist to support them both, are still not recognized as important enough to support (i.e., advertise with).

But it’s changing. Slowly. But, I believe, surely.

As far as industry trendspotting goes, I’ve been right before. I successfully predicted a resurgence in New York hip hop (when doing so went against the opinion of nearly every single industry person, media entity and general fan). In my award-winning professional journalism career outside of hip hop, I have predicted industry trends years ahead of schedule, and placed the companies I have worked for in a far better position because of those predictions.

So while I clearly see a slow, steady renaissance brewing, radio, TV and prominent internet are still oblivious, blinded by the still-lucrative status quo.

But then those associated with the still-lucrative status quo slips a date-rape drug into a girl’s drink.

Or those associated with the still-lucrative status quo shoots up SOBs.

SOBs might be savvy enough to recognize that the likelihood of drama at any particular rap show is not equal to that of another. Hopefully they look at recent successful rap shows like YC The Cynic’s album release party, prior events with folks like Immortal Technique, Homeboy Sandman, etc., to remember that violence and hip hop do not go hand in hand.

Perhaps they will reconsider their attachment to Hot 97, a station that more often than not, promotes, advocates and enables the status quo.*

But if the worst happens, and we witness a return to the days when booking rap acts throughout the city became next to impossible, it might actually help usher in the change that has already been brewing, as the backlash against musical ignorance has been increasing.

In fact, I’m actually hoping that happens.

Even if venues put a blanket hold on hip hop shows, they would eventually have to open their stages back up to rap events. There is too much money on the table to ignore it forever.

Venues would then be wise to become more familiar with the incredibly complex hip hop ecosystem, in order to make better informed choices about who to book. This would lead to booking more independent artists with an established track record of smaller shows, a burgeoning following and frankly, less rambunctious subject matter. Or more well-liked veterans, with decades-long, supportive followings.

It’s not like these shows don’t happen all the time in New York. They do. They never have problems. It is these kinds of events we need more of, not an across-the-board lockdown of rap music in the city where it was born.

Once that other audience catches on, once these venues start advertising with the media outlet that caters to this crowd, once the dots are connected and these music fans realize they have somewhere that their rap-loving, hip hop-respecting, non-shooting selves can go enjoy the music they grew up on with plenty of like-minded individuals, the renaissance will have taken a giant step forward.

I have been to countless rap shows in the New York area over the past 3 years.

Countless.

I have not encountered a single display of violence in any of these events.

Not a single one.

There is no doubt in my mind that a venue can host multiple hip hop shows a week, for profit, in New York City, and never see a smidgen of negativity.

It can be done. And it can be done here.

Let’s use this unfortunate incident to enhance, not erase, the live hip hop music scene in New York City.

(Photo credit: YC The Cynic’s recent, packed, non-violent album release concert at SOBs // Manny Faces)

(* Writers’s note: To clarify. I am not suggesting that Hot 97 contributes directly to any violence – they, too produce many shows free of any incident and had no involvement in this particular event. However, the station, and by extension, others like it, do contribute to the overall entertainment landscape within the communities they cater to, and while I am no “life imitates art” kinda guy, the ramifications of their participation in the corporate stranglehold and one-sided display of “hip hop” culture is relevant to this discussion.)