Lemonade was a popular drink and it still is

As Guru[1] said on Gangstarr’s classic with Nice ‘n’ Smooth,’DWYCK’, “Lemonade was a popular drink and it still is”. You can’t fault the man, he is spot on. In fact, lemonade is so popular in the hip hop community with ‘Golden Age’ MCs that it turned product placement into full blown endorsement, because as we all know, you ain’t a real MC unless you love that carbonated lemon zest.

It took Sprite (the Coca-Cola trademark) just a few months to look at Run-DMC with their Adidas shtick and realise they needed to throw some money at a lemon and lime loving MC, and Kurtis Blow was his name. Blow duly delivered; he doesn’t just appear in the commercial, he delivers a Sprite tailored rap, including a diss of 7Up (“without lime in its not happening, so sorry 7Up” – Oh shit) and manages to work in that catchiest of catch phrases ‘Now, more than ever, it’s Sprite’. The emphasis here is clearly on knowing what’s hot, because as Blow says he’s “chillin’ out with the taste that’s in” and you need to tell a friend. I’m no marketing expert, and an advert with Blow rapping at a desk in front of a video of Blow rapping in ‘street’ wear may not look that good now, but it must have worked because Sprite have been signing up MCs and pissing on 7Up ever since.

Sprite learned from some of their mistakes though, and came back early nineties style with a new hip hop friendly hook – ‘obey your thirst’ – everyone can get that into their rhymes now surely. In this case it’s the legendary Pete Rock & CL Smooth as they freestyle in a vaguely Sprite related manner, or as it is now christened “spri-dite”. They have a way with words, but obviously not irony; check the commercial rap put down delivered whilst appearing in a commercial (“knowing that commercial rap needs to be recycled”). Pot . . . kettle, and all that. Finally, it is important to note the way Pete & CL maintain credibility as Pete Rock tosses off two lines and then just can’t be arsed to carry on; they’ll take your money, they’ll appear in your commercials, but you can’t pay for them to give a fuck – they like Sprite, just not that much.

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DJ Jazzy Jeff & the Fresh Prince

In the grandest of hip-hop traditions, ‘Summertime’ kicks off with the audacious lifting of Kool and the Gang’s ‘Summer Madness’, albeit as a “groove slightly transformed”. So let’s go back to the summer of ‘91, Big Will’s colossal future as Steven Hiller in Independence Day hadn’t been realised; in the UK he was on every teenager’s TV Monday to Friday at 6pm on BBC 2 as The Fresh Prince of Bel Air. His appeal was evident – he represented the American dream in a way that was accessible to the youth of Britain. He was cool without being intimidating. Your mum would have happily had him round for tea.

The use of a melody that evokes the humidity of a July day is a nod to his (and Jazzy Jeff’s) understanding of broad appeal. His acknowledgement to Kool and the Gang’s hook in the first verse as, “if it ain’t broke then don’t try to fix it” is an honest one, and when considering the luminaries of modern hip-hop’s willingness to commit wholesale robbery of catchy compositions (Kanye West as culprit in chief – ‘Diamonds’, ‘Stronger’ and ‘Touch the Sky’ spring to mind) Will seems all the more courteous, furthering a mother’s appreciation of the man.

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Run-DMC - My Adidas

Product placement is defined by the brain-substitute Wikipedia, as a “form of advertisement where branded goods or services are placed in a context usually devoid of ads, such as movies, the story line of television shows, or news programs”. Where does this fit into music? Two words – Hip hop.

There are bountiful examples in recent years, from the sublime to the ridiculous, including more than the odd chorus where name brands are dropped left, right and centre (don’t worry we’ll get onto these later), but lets start at the beginning. Hip hop, even in its early Bronx roots, has long had a traditional of pop culture references being dropped in the lyrics, everything and anything is included, because hip hop language is supposed to be the language of the every day with added word play.

In the old school those brands synonymous with a particular product service found their way in, not least because they did in normal conversation. From the Sugarhill Gang’s word association “Ho-tel, Mo-tel, Holiday Inn” on the commercial breakthrough ‘Rapper’s Delight’, to the Cold Crush Brothers ending their 1984 12” ‘Fresh, Wild, Fly & Bold’ with the words “Man, lets get outta here, its Miller time!” In the early days the dropping of products makes these lines stand out as memorable, highlighting that just as Hoover became a synonym for vacuum, ‘Miller time’ had become exchangeable for relaxing with a beer, and ‘Holiday Inn’ for hotel.

Of course this isn’t product placement, no money was exchanged, they’re just prevalent brands that found their way into the MCs consciousness. The real roots of hip hop product placement are in 1986 with the harder edged new school, and Run-DMC’s homage to their favorite trainers ‘My Adidas’, which hit the US RnB top 10. The potential was realised.

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