Week 6: Understanding the Politics in Hip Hop

     First, I must give credit to Michael Eric Dyson for writing in words easy to comprehend but also make you think. I enjoy his references to philosophy and how it applies to the hip hop culture. I found the first chapter on authenticity very interesting, including his very in depth break down of "Hustle and Flow." His analysis of a movie that I pushed off to be a film destined for the five dollar rack at Wal-Mart makes me want to reevaluate my prior beliefs and watch the movie through Dyson's eyes.

     However, the chapter that caught my attention the most was Track 3: "It's Trendy to be the Conscious MC," which explains the "Culture, Rhetoric, Crack, and Politics of Rap." Here Dyson's responds to a interviewer about the impact of the Black Arts Movement [BAM] beginning in the 1960's with it's effects evident in present hip hop culture. BAM was fostered out of the conscious minds of its members who focused on the self determination and need for political liberty of their people (specifically black culture).

     As a fan of art, I found this section particularly interesting because it reaffirmed my belief that art drives many of the social constructs around us. Art is expression and everything that we do as an organized group must be expressed to all.  I found this metaphor helpful to understanding when ranking the importance of art, "It [art] was always found at the intersection of reflection and reaction or of critical consciousness and social intervention" (Dyson, 63).  Dyson makes a wonderful point on how our generation lacks in "vibrant political movements" (Dyson, 66). I am curious why this is so, there are so many injustices going on in the world, yet we tend to focus not on the big picture, the smaller one that almost always involves what is currently affecting us.  Rappers glamorize prison life and romanticize eras to the point that the true meaning of the story is lost.  Just like in class last week where we watched two videos on how "My President is Black" and yet "my Lambo is blue" political messages yes, but not a substitute for actual politcal movements. Perhaps we are lucky that here we don't have a large political movement taking place....yet.

     On a different note, I found the "Dance with the Devil" rap by Immortal Technique very interesting. My classmates and I weren't sure if he actually did take part in the rape he raps about, so I googled it (of course):

What is your thought process when making a conceptual song like "Dance with the Devil," "You Never Know," or "Peruvian Cocaine?"

They are each different, with 'Dance with the Devil' it was a true story that I made myself more of a part of when I wrote the song, it became an urban legend and what's sick is that people thought it was about rape and it was really about how we are killing ourselves and destroying the most valuable resource that the Latino/Black community has, our women. With "You Never Know" it was a story that was based on my life and what I went though but things had to be changed, moved out of chronological order, and something's had to be added. I have always been able to write stories, screen plays and such so it reflects in the songs I construct. With Peruvian Cocaine I wanted a posse cut but not the typical shit and I wanted to speak about the imagery that the corporate controlled media ties into it. I mean I have nothing against doing some random joints with other muthafuckaz that reflect whatever the fuck is going on in our minds at the time, but I wanted something different this once...So the result came with me getting a whole lot of people to commit to the idea of writing a story with me, my idea worked out because everyone's 8 bars seemed to flow together perfectly, the only person who wasn't there was CrayzWalz who came at the end and bodied the song with his final perspective on the mentality of muthafuckaz who really think they are going to get somewhere hustling, this ain't "Scarface" this ain't "Belly", this isn't Hollywood you little hood rat…you're going to live in a fuckin' cage for the rest of your life and you're arrest will be used to criminalize those people that come after you, we talkin' about real shit. 


For the entire article: http://www.brownpride.com/articles/article.asp?a=194


     I really enjoyed the double meaning behind his rap that I took so literally. I suppose this is why critical thinking is paramount in analyzing any work of art. 

Week 5: "Now I see the Importance of History"

"Now I see the importance of history

Why people be in the mess that they be

Many journeys to freedom made in vain

By brothers on the corner playin ghetto games

I ask you lord why you enlightened me

Without the enlightment of all my folks

He said cuz I set myself on a quest for truth

And he was there to quench my thirst

But I am still thirsty..."

- Arrested Development; Tennessee

http://www.youtube.com/watch?v=g40c6iAEHpc

Our reading this week took us from the view from 30,000 feet straight down to the runway. Just as in the previous weeks, to me, rap is essentially focused on the African American's response to the political, social, and economic disparities in American society. The responses from the experts themselves vary from discontent of present society to the appreciation of the African American culture. Here, I wanted to further analyze two aspects of how politics molds the hip hop nation. First, how hip hop musicians influence present day African American culture. Second, the political impact rap has on the global community.

From the 1970's to the present, the hip hop culture has evolved out of the Bronx to the global community. In Todd Boyd's essay Check Yo Self Before You Wreck Yo Self: The Death of Politics in Rap Music and Popular Culture, the focus is on the immeasurable amount of influence rap has on American American culture. Commercialized rap, such as "gangsta rap" is an example of where politics (social construction) is openly rejected. However, beyond the "bitches and hos" terminology we can find some good in "gangsta rap". According to a study conducted by Emory University Rollins School of Public Heath, rappers such as Lil' Kim and the Goodie Mob have educated the African American youth about AIDS and safe sex through their lyrics (Kitwana, 348). Just another example of how the abstinence programs have shown to be an abysmal failure, but I'm off topic. I was decently surprised that Lil' Kim had any impact on anyone in all honestly, but I can see how exposure is the best form of education (in some manners).

Other hip hop artists such as Arrested Development are a response to the "gangsta rap" that dominates hip hop. They state that their music works towards "a more positive Afro-centric viewpoint that respects women, promotes family, spirituality, and male responsibility (http://www.arresteddevelopmentmusic.com/). Ice Cube in his music, which is more "gangsta" themed, focuses more on pointing out the contradictions in rap music.

Politically, the African American youth is central in American culture. Hip hop culture possesses a huge ability to influence social change. The images produced by the music videos, the styles worn by the rappers, the "tough" attitudes, the Ebonics language, and the high media prominence capture the transition from the golden years of hip hop to the state of decline where the hip hop underground was born. The overall tone of rap music is what forges the identity of the African American youth. While many citizens and politicians argue that the hip hop music image fuels sexism, violence, the relationship between rap and crime, and drug use. Advocators for rap music defend their right to free speech. To them, it is their ability to express their social discontent. It is a form of protest and a response to the economy, such as the War on Drugs.

Rappers such as Public Enemies and Kanye West are the modern day Black Panthers, Du Bois, and Malcolm X.

"Why am I fighting to live, if I'm just living to fight

Why am I trying to see, when there aint nothing in sight
Why I am I trying to give, when no one gives me a try
Why am I dying to live, if I'm just living to die?"

- Tupa Shakur; Runnin'

Summit 2001

http://www.hsan.org/content/main.aspx?pageid=7

Week Two (Make-up Work): I got SOUL.

This week, we read about the Early Years (1973-1985) of hip hop and the move towards the Golden Years (1986-1994ish).

I really see the impact that the economy has on our nation. The civil rights movement has ended along with the feelings of optimism. As jobs moved out of the cities, the Bronx goes with it. The city burns with abandonment and the blatant neglect of the government.

It is so clear to me now, why hip hop has evolved the way it has. It evolved from no work. From rent-a-thugs. From a lack of interest of the well beings of those who live in poverty. Who is to blame? The ones who stayed? The ones who left? Or the ones who did nothing? Perhaps I am blowing this out of proportion, but a government, to my understanding is here to protect its citizens regardless of their race, socioeconomic level, and so on. It's a a small scale Holocaust, we literally left our people to fend for themselves. We failed the social contract - so why can't the graffiti artists revolt? Still people wonder why hip hop became so centered on violence, drugs, and sexism.

This weeks reading actually made me sad. I related Can't Stop, Won't Stop; Bad Numbers to the novel Things Fall Apart by Chinua Achebe. Where colonists took over the entire culture of the natives and destroyed the lives of those who were there before them. The novel takes you from an outsiders point of view to the insiders view point. These readings really explained to me what a culture is about. All of the elements, the family, the music, the trials, and tribulations that started it all. I feel as if I never will know what hip hop is all about - but I can learn as much as I can. My reasoning for this is because I don't know who the critics and supporters of hip hop are. Who defines what we learn? How has the media portrayed hip hop? Wouldn't it be great if we could just go up to DJ Kool Herc and ask him about his life in the early years of hip hop? How did you create the blueprint for hip hop music that has sparked an international following? I have so many questions running through my mind it is hard for me to type it all out!

America loves those "from the bottom to the top" stories. Well specifically, whites love those stories (and I do too). From DJ Kool Herc to 50 Cent to even Oprah, whites changed the perception of hip hop forever. With their purchasing power, they chose what is now mainstream. Yes, the drugs, sex, violence...and Oprah's book reading list. Yet, they are the biggest critics of the hip hop culture. Why?

I've never felt that I was left out of the hip hop nation. Perhaps because I am not white I've never been discriminated against if I listen to hip hop. It's OK for me to listen to it...right? Asians aren't really portrayed in hip hop, but hey, it seems neither were the Puerto Ricans was explained in That's the Joint! Here is where we see a move from the Early years to the Golden years. Hip hop breaks the language barriers - Kid Frost becomes an international star. He and Mellow Man Ace are examples of the West coast explosion into the hip hop culture. They utilize rap as a vessel to affirm Puerto Rican history, culture, language, and the discrimination they have felt being in a "black world." (Here I wonder, where is Cowboy Troy come into the mix?!). Just like the Bronx, I feel that the Puerto Rican rappers were neglected in the big picture of hip hop. I will have to investigate this more.

Speaking of language, Robin D.G. Kelley in his essay Looking for the "Real Nigga" has me wondering:

1. Why have we not let the natives speak?

2. Do I have 'soul'? I would like to think I do, but to some only "authentic Negroes have soul." Racism seems to go both ways.

3. Am I 'cool'? I think I am lacking in the area of "black masculinity" I'd ask for a definition, but the further I read, the less I feel that I know. As stated by some "if you need to define something you don' know what it means."

So as for "The Dozens" I think I'd lose if we were to ever try it in class. I have no insider experience, I seem to be lacking in "soul", and I am not "cool." Cool.

Week One (Make-up Work): When hip hop grew too large - we created a class for it.

I'm a new blogger, so it's taken me a little more time to catch up than most. Here are my thoughts on week one's reading...

I like that Michel Eric Dyson writer of Know What I Mean? considers himself a cultural critic, but on the side of hip hop, not against it. He writes intelligently and regardless of stereotypes. Hip hop, like most beginnings, started out as a hobby localized in the streets of New York City. Dyson makes a good point when he argues that hip hop only started becoming controversial when it grew larger than the NYC block parties that started them. Anytime something outgrows itself, it seems that someone will find something flawed about it. In That's the Joint, it implies that hip hop is about passion. Hip hop is an art form. B-boying, graffiti, the style, the speech, it is all about being authentic.

I sense a lot of unity within the beginnings of hip hop community. Jay-Z uses "brothers" and "sisters" when addressing "we" the readers. It brings me into his world more by establishing a familial bond, while addressing his distaste for stereotypes. Murray Forman asserts that hip hop is "the social cohesion" from the neighborhoods in the projects.

Jay-Z is my favorite example of rap. I like Jay-Z's song, "Ignorant Shit"

http://www.youtube.com/watch?v=Ddf_NsBsUuU

Talking about "I got that ignorant shit you need....I'm only trying to give you what you want." He's mocking what rap is now. He goes on to state in his introduction that hip hop, came from America, yes, the good and the bad. It is essentially American. Hip hip is America. The rappers are American. Those who gave hip hop its start, are American. He argues that distaste for hip hop stems from fear. Those who don't understand hip hop, will fear it. It challenges the social norms of our society and the social contract that we follow. Hip hop supporters argue that their lyrics are works of art, much like MacBeth. Socially unacceptable ideas can freely form with our right to freely express.

I was really surprised when reading about the "graffiti wars." Grafitti artists "just do it" while NYC officials pour in $22.4 million towards cleaning up the tags (Castleman, 27). I've never been a huge fan of graffiti. I think it is a waste of human resources, but I can't help but smile a little reading about the "little guys who upset the social contract."