Flashy, smooth and aggressive, the American hip-hop dream is a pursuit not unlike other American dreams, like the ones our parents chased, and the ones their parents ran after before them.
The best desired results of the American hip-hop dream still produce a rewarding life: security, a nice house, a happy family and, in general, a better financial picture than what our parents experienced.
But like everything else influenced in its wake, hip-hop created an American ream when it went corporate.
Gangster rap gave security a new name, popular rap remade houses into million-dollar cribs. Underground rap tried to save the world from consuming too much of the diamond bling, but never made it into the mainstream.
Over the radio, on the soundtracks of movies and featured in almost every commercial on television, hip-hop's fashion and popular appeal continues to influence America: visions of money, success and security set to a beat.
Now, the American dream looks like images from best-selling emcees' notepads - big, quick and simple, with lots of regional style.
The new dream benefits from its ease and flare, but like most American dreams, it fails to throw caution with its claim.
"People used to shoot for the moon by pulling themselves up by the bootstrap, through intense labor," said former ASU journalism student and Tempe musical artist Cory Rice.
"Now, they try to get out of lower-class neighborhoods through hip-hop."
Rice studied journalism and co-hosted a hip-hop specialty show at the Blaze radio station. He said he doesn't agree with most of popular hip-hop's messages because they create a culture of disbelief.
"Everybody is a wealthy rapper," Rice said. "They have women, jewelry and cars, but offer blank thoughts with no meaning."
Rice said that it's important for people to follow their dreams if they want to have a career in music, but warns that it takes hard work and should not be taken for granted.
James Harrison, a sociology junior and host of a hip-hop show at the Blaze, agreed with Rice that some aspiring artists have false hopes of becoming stars.
"There are so many young people on campus and in America who believe they will be the next Dr. Dre or Timbaland," said Harrison, who also goes by 10-Eight, as a musical performer and promoter.
"They save every dollar they get their hands on to buy the next MPC beat machine in hopes of finding that perfect record, but the odds say that they have a better chance of being promoted to the manager of a Sonic fast-food restaurant."
Harrison said that artists truly interested in the hip-hop industry learn to network and promote because the industry is so competitive.
Harrison said that an upcoming producer's conference, at the Hyatt Regency Downtown Hotel in Phoenix this weekend, offers the chance for one producer's dream to become a reality.
Sponsored by Money Management Group and G Unit Records, the winner of a beat battle contest at the conference will be awarded artist's representation from Money Management, whose artists include 50 Cent, Lloyd Banks and Young Buck.
While one producer's dream may come true, the rest of the hopefuls on the trail of the American hip-hop dream will have to struggle to keep the dream alive, just like the rest of us.
Reach the reporter at: tyler.w.thompson@asu.edu.