It’s a man’s world

But it would be nothing without endorsement

What?: The men of hip-hop are embracing marketing like never before, with product placement and endorsement the driver of choice. These so called hip-hopreneurs know the money is in the message and not in the music

* The third annual Marketing To Men conference saw Violator Management and Brand Asset Group CEO, Chris Lighty, present his ‘Reaching Men Through Pop Culture’ speech. He introduced new initiatives which will see 50 Cent endorsing Pontiac and Absolut Black vodka. He also spoke of LL Cool J moving his clothing range into Wal-Mart.

* Houston rapper Lil Flip is to be the new spokesman for Lucky Nites liqueur in the brand’s national rollout across North America and the United Kingdom. The deal will see him promote the company’s beverages via product placement in his music videos plus live promotions.

* Hip-hop pioneer Russell Simmons is launching a new line in Argyle Culture menswear aimed at males in the 25 plus bracket. “There are a huge group of consumers who are not young men any longer and don’t shop in the young men’s space,” said Simmons, “but, still want to remain part of the urban lifestyle”.

So what?: The hip hop sphere has not been slow to realise that CD sales in a declining physical market is no longer the money making aspect of the industry. As a result branding partnerships not only come easy, they become the norm.

The sector’s top 20 earners raked in a massive $350M in 2006 with 2007 set to eclipse that. Budweiser, Hewlett-Packard and General Motors have helped Jay-Z (top of the rich list) to grow a $34M fortune. 50 Cent is to become $100M richer with Coca Cola’s $4.2B takeover of VitaminWater. Plus Chamillionaire is set to boost his $11M bank account in an endorsement deal with Energizer batteries (A far cry from the days of the Duracell Bunny).

“Despite its roots being from the underground and connected with criminality, hip hop has become corporate,” said Forbes editor Lea Goldman. However these artist are far from being perceived as sell-outs, they are viewed as canny aspirational businessmen by their fans.

Can other musical genres capitalise on this kind of lucrative barefaced endorsement? With live music offsetting the drop in CD retail, will a new breed of artist emerge with branding its primary concern?

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