Ahead of the BET Awards, a look back at how the work helped hip-hop grow and thrive

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As the BET Awards approach, let’s reflect on how this network has played a significant role in nurturing and expanding the world of hip-hop.

BET has been instrumental in creating influential programs like “Rap City,” “106 & Park,” and even the controversial “Uncut.” From groundbreaking to thought-provoking, this Black Entertainment Television network has been pivotal in bringing hip-hop to millions of households worldwide. While MTV’s “Yo! MTV Raps” was its rival, BET took up the mantle, despite initial hesitation, and showcased a misunderstood rap culture long before it became the dominant music genre it is today.

For many within the hip-hop community, BET became a safe haven to express their artistry, albeit not without criticism. Throughout its journey, the network has consistently supported both established and emerging rap artists.

The BET Awards, which take place on Sunday, will serve as a culmination of these efforts. The show’s organizers have planned a telecast titled “non-stop Hip-Hop Party” to commemorate the genre’s 50th anniversary. This celebration coincides with a significant moment for the network, as it is currently up for sale. Several Black entrepreneurs and celebrities, including Tyler Perry, media executive Byron Allen, and rapper-entrepreneur Diddy, have expressed interest in acquiring the network.

The potential new owner will inherit a cultural institution that owes much of its success to its elevation of hip-hop.

According to E-40, “BET was a significant platform for hip-hop and urban music as a whole.” In 1981, when MTV refused to play videos by most African Americans, BET’s “Video Soul” showcased E-40’s song “Tired of Being Stepped On” with The Click, providing them with crucial exposure for their “unorthodox” West Coast rap style. E-40 also made appearances on another BET show called “Rap City,” which featured music videos, interviews, and freestyle sessions with influential names like Jay-Z, Lil Wayne, and MC Lyte. This show became the longest-running hip-hop TV show in history, highlighting both popular and up-and-coming rappers.

E-40 credits BET founder Robert Johnson for giving hip-hop a chance. Johnson initially built the network as a leading TV platform for Black Americans, focusing on jazz, comedy, and gospel. However, he and the other founders were initially unsure about featuring a rap show, believing that the genre wouldn’t last. MTV’s “Yo! MTV Raps” ultimately demonstrated the longevity of hip-hop, prompting BET to embrace it fully.

“After kind of a brief initial hesitancy, the founders of BET really understood how hip-hop was transforming culture overall and specifically Black entertainment,” said Scott M. Mills, BET’s president and CEO. “They rapidly embraced hip-hop as part of the mission of BET,” he added. BET evolved from having no hip-hop representation to creating dedicated shows that celebrated hip-hop music, artists, and culture.

BET’s decision to embrace hip-hop proved to be a lucrative one. In 2000, Johnson and his then-wife, Sheila, sold the network to Viacom for $3 billion, becoming the first Black billionaires in the United States. Johnson remained CEO until 2006.

Following the sale, BET expanded its content to include reality shows and launched its flagship program, “106 & Park.” This weekday show, which ran for over a decade, featured a video countdown, interviews, and performances. A year later, the network introduced the BET Awards, followed by the BET Hip-Hop Awards.

Lil Jon, among many others, experienced the benefits of appearing on “106 & Park.” As a struggling artist, he once joined the show’s audience and was unexpectedly recognized by co-host A.J. Calloway, who shouted out his name. This exposure helped Lil Jon gain visibility, particularly among BET executives who initially struggled to understand his crunk music, which eventually gained mainstream appeal.

“We strived to be on ‘Rap City.’ We strived to be on ‘106 & Park,'” Lil Jon remarked. He emphasized how BET provided support from the community, showcasing him throughout the show and creating a lasting impression. BET became a place where artists received the backing of their community.

Like Lil Jon, numerous hip-hop artists capitalized on the exposure offered by BET, which often portrayed positive images of Black people through shows like “Teen Summit” and “106 & Park.” However, in the early 2000s, the network faced criticism from figures like filmmaker Spike Lee and Public Enemy’s Chuck D, who condemned BET’s content for perpetuating negative stereotypes of African Americans.

One show that attracted considerable backlash was the now-defunct “BET: Uncut,” a late-night program featuring highly sexual content, including Ludacris’ “Booty Poppin” music video. The situation reached a tipping point when Nelly’s “Tip Drill” video depicted explicit simulated sexual acts. “Uncut” typically aired just before the network’s faith-based programming on Sunday mornings.

During this time, Big Boi of Outkast found the explicit content to be “distasteful” and akin to “soft porn.” Other political figures and activists also expressed their displeasure. BET co-founder Sheila Johnson even stated in a 2010 interview that she felt ashamed of BET and discouraged people, including her own children, from watching the channel.

In response to the criticism, BET shifted its approach. The company conducted research to understand the preferences of its viewers and introduced a lineup of more family-oriented shows like “Reed Between the Lines” and “Let’s Stay Together.”

According to rapper Roxanne Shante, “If you look at it, hip-hop is like a huge family. You’re going to have family members that do things that may not be my thing.” She emphasized that she was not in a position to criticize others’ expressions, as hip-hop is a form of artistic self-expression. BET, she believes, has demonstrated its ability to adapt to changing expressions and audiences by diversifying its programming.

Despite the controversies, Mills maintained that BET has maintained a symbolic relationship with the hip-hop community. He noted that the BET Hip-Hop Awards provide a platform for emerging artists, while the BET Awards showcase established artists. Mills highlighted veteran rapper and Oscar-nominated actor Queen Latifah, who recently hosted the NAACP Image Awards, as an example of BET’s support for talented individuals.

“Artists today are profoundly talented,” Mills remarked. “The evolution of people deciding how they want to show up to the world is something that ultimately, I think we have to embrace. One thing about hip-hop, it’s always changing. We’re in the moment today, and that moment will evolve to whatever comes next.”

Mills revealed that BET is exploring the possibility of bringing back “106 & Park” as a live residency show.

As BET prepares for its potential new owner, the network’s future direction and its emphasis on hip-hop will be closely observed.

Rapper Too Short believes that BET should continue serving the needs of the Black community. He praised shows like “Teen Summit” for fostering intellectual conversations among young Black individuals every Saturday morning. Too Short emphasized the importance of programming that caters to the community’s interests and experiences.

“I don’t know why anybody doesn’t think that kind of programming is needed right now. I think BET just needs to be the community. Don’t show me an aspect. The whole thing. Be Black entertainment,” he asserted.

Frequently Asked Questions (FAQs) about hip-hop culture

More about hip-hop culture

• BET Awards Official Website
• BET Network Official Website
• MTV’s Yo! MTV Raps
• BET Hip-Hop Awards Official Website
• Robert Johnson – BET Founder
• Lil Jon – BET Interview
• BET’s Evolution and Controversy