D.M.C. Says Hip-Hop on the Radio is Waging Genocide on Young People (Audio)

From the Files of http://ambrosiaforheads.com
Published By Bandini 

Run-D.M.C. made Rap’s first platinum album. Thanks to “My Adidas,” the Queens, New York trio became some of the culture’s first brand ambassadors. Teaming with Aerosmith for “Walk This Way,” the Profile Records act helped mash Hip-Hop with Rock & Roll on a mainstream level. However, when Darryl “D.M.C.” McDaniels released his 2006 debut, Checks Thugs and Rock N Roll, it missed the charts entirely—despite involvement from Kid Rock, Rev Run, and Sarah McLaughlin.
Speaking with Murder Master Music Show, D.M.C. opened up about how pioneering Hip-Hop artists feel slighted when they release new material. In a 25-plus-minute-interview, Darryl McDaniels discussed the great MCs coming before Run-D.M.C., the ability to defy regional expectations (as he credits Scarface with), and how Chuck D and Public Enemy affected rewriting his Raising Hell verses.
However, speaking about his place in Hip-Hop, with the accolades, McDaniels said, “[My peers’ role] is all but gone. We get respect but we are not allowed to participate and that is the disrespect—or the disconnect. When you remove the building blocks and the foundation everything stops growing it become stagnant and monotonous.”
This statement comes in the midst of a lot of discussion surrounding Rap pioneers, in the wake of Kool Moe Dee, Grandmaster Caz, and Grandmaster Melle Mel’s “Downtown” appearance and MTV Video Music Awards performance alongside Macklemore & Ryan Lewis. Big Daddy Kane, a contemporary of Run-D.M.C. is one artist who has vehemently called for greater respect and opportunities for pioneers, in addition to saluting Mack’ and Ryan.
At the 20-minute mark, D.M.C. makes some powerful statements about the current state of radio, saying that the success in Hip-Hop is judged by the mentality that negativity is acceptable because it’s making money. He says radio stations are in business to make money, but there are a million ways to make money other than by the defamation of a people.He also suggests that alternatives to the negativity are often intentionally kept off the radio. The Hollis native believes the motives for holding back more capable artists, like Kane—whom he names—is out of fear for the 2010s status quo. “I don’t think we’re allowed to be around in the current state of Hip-Hop. Because then that [new] audience discovers there’s something better.” After discussing one stellar B.D.K. show, he continued, “These young people ain’t exposed to a good Rap song, a good Rap performance, a good MC, a good DJ. A DJ isn’t supposed to just stand there, pushin’ buttons. Most of these [DJs] are just pushin’ buttons; everything is pre-recorded. They got dancers and lights and all that. Run-D.M.C.—Jam Master Jay never used a DAT machine. If it was windy or if it was 100 degrees outside, we [adjusted] ’cause the records [are] gonna melt]. If you listen to Run-D.M.C. [‘Here We Go (Live At The Funhouse)’]—’Here we go’—the record jumps, but Jay’s so dope [that] he catches it!”

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