Realness

by Kimbriuna Dyer

After listening to the lectures and reading the articles, I would agree that there does seem to be a lack of “realness” in Hip Hop. Rappers are rapping about things that people want to hear about not things that are actually going on in their life while other rappers are out in the business trying to rap about what they feel is real but are being discriminated against due to the color of their skin. I believe that a lot of people believe that it isn’t real Hip Hop if it is not gritty and from the streets and if it isn’t like that or rapped by someone who looks like they came from that then it’s not real, but I don’t believe that has to be the case all the time. An example I can think of to support this is Kanye West. Now I am a big Kanye West fan but I will try to make my example as unbiased as possible. The reason I use Kanye West is because listening to his music starting from the beginning, he always tried to keep his music relatable to the fans so as not to lose them but he never rapped about gang life or selling drugs because that’s not what he was from. He didn’t want to be a rapper who rapped on things that he was never really in, but he still wanted to know he was real. So Kanye chose to stay honest throughout his career and endorse this lifestyle of stealing and killing that makes Hip Hop look so negative to begin with but instead chose to write songs about how much he loves his mom, the car accident that almost took his life, or about the tragic ways Sierra Leone diamonds are being obtained. Even though over the years, he has become extremely full of himself and slightly out of hand at times. I feel his music has always kept this “realness” about it because his bigger goal is to never lose the fan. But I’m not saying that rapping about the streets isn’t being real. I’m sure many rappers did sell drugs or live the gang life before they were able to discover rapping. What I’m saying is that if you’re on a Jay-Z type of status you should not still be rapping about selling in the streets because if you’re at that point in your career we all know that you’re not in any street selling anything to anybody and that is the point where the rapper loses his authenticity. Another example of this would be when pictures came out of Rick Ross as a corrections officer when he was writing songs about selling drugs. It didn’t really hurt him commercially because people still love him and I hear at least one song with him every day on the radio and I love “Aston Martin Music”, but it does make him look less authentic when raps about selling drugs now to me. However, it didn’t really put a dent in his wallet so maybe authenticity isn’t as important to all as it is to some. Some people pride themselves so much on being “real”, which is similar to that skit that Dave Chappelle used to show on his show “When Keeping Real Goes Wrong”, where the person is so committed to being real and staying real that it usually end up not working out for them. There is a lot of truth in that trying to be to real doesn’t always work in the favor of those that push it so hard. There is a big difference in being the Kanye West real and being the “When Keeping Real Goes Wrong” real and people who push being real so much need to learn that.

There is also the issue of race in Hip Hop. Race doesn’t make a difference to me as long as what you’re saying catches my attention. I feel that the biggest target of hate when it came to this was Vanilla Ice. I remember people hating him because he was a corny white boy trying to rap but they loved “Ice Ice Baby”. People never wanted to fully get behind him because they felt he was just trying to ride on the Hip Hop’s coattails and was only a wannabe. People again claimed that he wasn’t being “real” because this rapping persona was not him. This eventually led to him hating and renouncing that former person he used to be. There were white rappers before and after him that didn’t deal with much backlash i.e. The Beastie Boys and Eminem. So what didn’t they get as much backlash? Many people say believe that it was due to them already having support from pioneers in the Hip Hop world, but I believe that it all comes back to just being authentic. Vanilla Ice never seemed authentic about who he was and what he was trying to do. His whole persona seemed like a façade that an agent created but you look at Eminem and the Beastie Boys and you can tell that is who they are for real and they never had to just state that they were real. So in the end, I feel that these three things are so interconnected that we use these into determining if we’ll feel as consumers if we wanted to forgive and forget the inauthenticity like with Rick Ross or if we don’t want to forgive like what was done to Vanilla Ice.

What Is “Real”?

by Jerrica Rucker

            The aspect of authenticity in hip hop has been a hard concept for me to logically think through. Is authentic hip hop simply art that grasps the original ideals on which the culture was founded? Is it the art that comes from artists who have a direct relationship to the founding artists of hip hop? Does modern art qualify as hip hop? This all leads to my quest to discover whether or not it is safe to say that hip hop is either dead or dying.

            Many modern artists declare that they are keeping hip hop alive. My question then is how? What are they doing that efficiently represents the legacy of the hip hop culture? The issues that inspired the hip hop movement were weaved into all of the art that the culture produced. If realness or authenticity in hip hop is simply the accurate portrayal of what is happening in black communities, then is modern hip hop authentic? There are comparable types of modern rap songs and classic hip hop hits. For example, rap songs that promote or produce new dances are comparable to the playful songs that were produced during hip hop’s inceptions. Songs such as  Kanye West’s Runaway—which addresses the burdens of being an artist—discusses a real social issue just as many of the songs produced during the early days of hip hop. Does the connection between these songs make them “authentic”, or is the fact that the modern industry is overflowing with music that doesn’t quite have this connection so significant that the little bits and pieces of “real” hip hop we do see now gets overlooked or is underrated?

            Hip hop pioneer Jay-Z is said to be “fake” because of his current status as one of the wealthiest men in the country. It’s been said that he no longer raps about the “hood” and only raps about having money now which makes him fake.   According to the lecture, Todd Fraley stated that “hip hop authenticity requires that artists stay true to one’s self in matter of thinking and being. Authenticity then demands connections to specific locations/spaces, and/or original sources of rap.” Jay-Z meets the geographical requirements of “authenticity” by simply being a New York native. In his earlier days, he used to rap about the things he experienced living in a black community. Now that he’s worth millions and no longer lives in the “hood”, he raps about what he sees and knows: having money and being on top of the game. Does this make him less authentic than those rappers who used to live in black communities but continue to rap about the struggles of living in these neighborhoods? Is Lil’ Wayne, who no longer lives in the “hood” in New Orleans more real because he still raps about the thug/gangster life he used to live?

Hip hop was founded on keeping it real. In my opinion, Jay-Z is authentic because he keeps it real ultimately upholding the most important value of hip hop. Defining what makes hip hop authentic is subjective in that nobody can define what “real” hip hop is. Everyone just has opinions as to what qualifies as real and what is fake or unacceptable. This is what makes it hard for me to determine what “real” really is and what modern artists are authentic representations of hip hop. 

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Documentary - Hip Hop Legends

Hip Hop Pioneers: Roxanne Shante

by Melody Andrews

During the conversation with hip hop pioneers at Cornell University, “Dr.” Roxanne Shante said something that basically struck me as odd.  When she began to discuss her ideas on getting young girls more interested in education than settling for being video girls, she said that video makers (directors, rappers, etc.) should require that those individuals who would like to appear in a video have at least two years of college to do so.  The audience applauded in agreement to Shante’s opinion.  But I just couldn’t move myself to jump on that band wagon for a few reasons.

            Yes, I do agree with Shante on the basis that higher education is important.  I also agree that rap music and videos romanticizes the video girl lifestyle.  She’s right, there are no mansions or expensive vacations and shopping sprees for most video models.  And yes far too many little girls are looking at the TV seeing 106& Park and thinking “Ahh, that’s the life” or “I wanna be like her when I grow up.”  So yes it is a problem that should be addressed and reversed, however I don’t quite agree with her suggested method.

            Sure requiring those applicants for a position in a video to have college credits could increase those young ladies who are interested to enroll in college courses, but at what cost?   Being a video girl, most times does not require using what you’ve learned in World Lit or Organic Chemistry or any other college coursework to get the job done.   Having an education also does not eliminate the misogynistic attitude toward women in today’s hip hop.  The girls could have all the education in the world and still be referred to as a hoe, trick or bitch.  So you go to school to be objectified and demeaned by a guy or group of guys in front of a camera while you’re wearing something that leaves little to nothing to the imagination (I think Shante said something to the effect of “Don’t be the GED hoe when you can be the PhD hoe”)  Yea that makes lots of sense…

            Maybe Shante was suggesting it in hopes that more young women will get an education and want more than what that lifestyle has to offer.  I’m not quite sure, but in reality that plan probably wouldn’t work.  There are far too many production companies, mainstream and independent, to streamline policies and procedures for video girl casting.  What about the small time artist that does an open casting call or shoots in a club with any girls who show up?  Should the same standards be expected?  What is more important in my opinion, is empowerment and self-esteem.  If we inform young girls that they don’t have to look a certain way or dress scantily to get love, attention or recognition maybe the video vixen phenomenon will fade away and girls will seek education and better opportunities outside of that arena. 

Can't Stop Won't Stop

by Donal Davis

This weeks reading from Chang’s Can’t Stop Won’t Stop took a very interesting approach in examining the emergence of the three primary aspects of hip hop culture.  The discussion of Dj’s and Mc’s followed by that of the evolution of the Break dance and the explosion of Graffiti in the Bronx and surrounding areas was intriguing.  The discussion in the book inspired me to watch the movie Beat Street with my children.  It was amazing to me how the film captured their attention.  Usually when I attempt to share some media that I grew up with they are less than impressed, but this movie kept their attention, and made them engage in the dialogue.  They wanted Spit to pay for defiling the work of another artist.  They bought into the concept of the rogue artist.  They bought into the concept of the emerging dancer and Dj. 

Simply stated, they identified with the characters in a way that few other movies and shows from that era have been able to make them do.  This fact lead me to the following thought.

It seems true, as Chang states that revolutions in youth culture are cyclic and occur approximately every five years, but there seems to be something about hip hop that captures the essence of youth.  The rebellion.  The emergence.  The  bold defiance of authority and identity struggles amongst ones peers.  There are things about hip hop culture that transcend baggy jeans, torn jackets, or even jeggins.  There is a captivating quality involved in hip hop that seems to have distilled what it means to be youthful.  It is something similar to what Rock n Roll once had, but hip hop seems to have an even stronger concentration.

My children listen to various types of music, including hip hop, they look at me as though I’m some old weird dude, when I listen to my 80’s and 90’s era east coast rap.  They sometimes will ask, Oh Dad who’s that using so and so’s beat, at which point I must inform them that no that beat was first used by Rakim, who actually got it from Eric B who sampled X,Y, and Z to make it.  They usually seem to dismiss my history lesson and move on, but I feel that they may have a different perspective after having experienced Beat Street.

I also had a strong response and impression regarding the discussion of nommo as an afrocentric collection of rhetorical devices.  From the lecture, I actually came away with the impression that nommo had collected and based many of the devices of tradition on African American preachers.  This upset me because I found it patently ridiculous that one could call something Afrocentric based upon decidedly European traditions and practices, even if they had been adapted by African Americans.  I strongly disagree with the idea that something is Afrocentric because black people in America do it.  I have a strong opinion that African Americans are a culturally orphaned people.  There is a great amount of discussion regarding what is the best way for African Americans to identify themselves culturally.  I was pleased that upon reading the actual essay that the principles of nommo are based on some examples of African oral traditions.  The essay’s of the post African Griot was perhaps the most interesting example.  I think in order to examine a subject from and Afrocentric perspective the basis of the examination must originate from pre-slavery Africa, and not African Americans, or post slavery Africa. 

Origins of Hip Hop: The Element of Surprise

by Brittany Hill

When speaking on the origins of hip hop, I will admit I encountered quite a few surprises. It wasn't the movement of Blacks through the city of the Bronx or the fact that violence and gangs were greatly involved in the creation of hip hop that had me at awe. It was actually the fact that the origination of hip hop was greatly influenced by Jamaica that had me so astonished. Not being a huge hip hop indulger and far from a hip hop mogul, I had no idea that a lot of what was happening across the waters was indeed affecting our people over here. I was actually under the impression that the actual outcome would have been that in reversed. I saw it as us producing hip hop and other countries picking it up or copying it, when in actuality that was not the case. It amazes me how something from another country can have such a great impact and influence on the culture and development of another country.
In Jeff Chang’s book Can’t Stop Won’t Stop: A History of the Hip Hop Generation, one learns that the cross country influence continues to be evident through and in the pioneers and originators of hip hop. In chapter four the book mentions how Clive Campbell a.k.a. DJ Kool Herc had “seen the sound systems first hand” from “growing up in Kingston, Jamaica” (Chang, 2005, p. 68). Chapter five then tells that although Afrika Bambaataa was “born in Manhattan”, his parents were “of Jamaican and Barbadian descent” (Chang, 2005, p. 91). This continues to support my new found knowledge of Jamaica having such a huge impact on hip hop in America.
Another thing that I found to be surprising when exploring module three in my rhetoric of hip hop class was how, just like graffiti, rap music can indeed hold and incorporate so many different characteristics, styles, and elements of writing and literature. Knowing that time is actually spent in producing and composing rap lyrics makes you obtain a higher level of respect for the art of hip hop. Through reading Melbourne S. Cummings and Roy Abhik’s article Manifestations of Afrocentricity in Rap Music, I found that through the production and composition of rap music one can incorporate characteristics such as “repetition”, which is used for “intensification”, “stylin’”, which “refers to the conscious or unconscious use of language and/or mannerisms on the part of the communicator to create favorable influence on the audience”, as well as “mythication” which “shows the communicator using language that suggests that his or her message is sanctioned by some suprarational force to demonstrate the righteousness of the cause” (Cummings, 2002, pgs. 66 & 70).
Although I may have been faced with several surprises through my so far short lived journey through the world of hip hop, I do know there are many more to come. Yet, I will approach them just as I have approached the ones before them, with an open mind.


Works Cited
Chang, Jeff. (2005) Can’t Stop, Won’t Stop: A History of the Hip Hop Generation. New York: St. Martin’s Press.

Cummings, Melbourne S. and Roy, Abhik. (2002). Manifestations of Afrocentricity in Rap Music. The Howard Journal of Communications, 13, 59-79.

The Underground Scene

by Trevor Thompson

This week I have felt embarrassed that I did not know about the other conscious hip hop artists that are largely unknown to mainstream. I now know there is this other underground world where pure hip hop is still being created and purchased. However, I would have probably never known about them if it was not for this class. I have fell victim to listening to the main stream rappers and assumed that the conscious lyrics of KSR 1, Public Enemy, Eric B & Rakim, and other had just fell off the map. I am not sure if they are just producing or maybe running a nonprofit in their local community, however, their voices are being silenced by the mainstream. I had never heard of Talib Kweli nor Immortal Technique. I have been victim to listening to what corporations have wanted me to listen too. After so much junk has been put out over the years, I reverted to listening to old classics hip hop, Jazz, books on tape, and talk radio for my car listening pleasure.

Now I feel it is my duty and responsibility to share the wealth of knowledge with others, especially, my son, daughter and nephew. I took the opportunity to listen to Immortal Technique and Talib Kweli and I found myself being reborn as if I had listed too hip hop for the first time. Immortal Technique was raw, pure and good. I fell in love with the song Dance with the Devil, which could serve as a theme for our class. Upon my research, I found other conscious hip hop artist that I never had heard of before in my life. Musically, I live in a silo; nevertheless, I am able to grasp what music/artist is the flavor of the month because of mainstream media. I contacted my nephew, who is 25, and my daughter, who is 21, and neither of them had heard of Immortal Technique. Of course it is a pleasure for me to tell them about my class and to educate them about pure hip hop. I feel that the generation millennium is being led to the slaughter by being fed this misogyny and materialistic music and the present day rappers are the pied piper.

Commercialized Hip Hop

by Jerrica Rucker

The more aware one becomes of the origins of hip hop, the more modern day hip hop’s credibility can be questioned.   Compared to the often shunned era of contemporary rap, the innate sophistication of the early eras of hip hop seemed more meaningful and more respected.    Early hip hop not only gave less fortunate communities a voice, but it also gave them an outlet. Hip hop became an oasis that they could call their own. Hip hop allowed them to make political statements as well as end gang feuds. Hip hop is no longer a movement. It’s become an industry.

Could the commercialization of hip hop be blamed for hip hop’s current state? It was stated in the article we were assigned to read that rap music was “an anthem for a new generation of African American youth (Collison 1990)”.  Upon reading about Afrikaa Bambaataa, and the uses of nommo in hip hop, I began to wonder if mainstream hip hop has become more concerned with the market than the message it portrays. I can’t think of a hip hop song that has come out in the past five years that had the potential to inspire young people the way hip hop did in the past which feeds into my search for the answer of the most asked question amongst the modern hip hop community: Is hip hop dead?

  Artist Lupe Fiasco is known for his controversial lyrics. His metaphorical songs often allude to political or common social issues. However, marketing teams and record labels give him a hard time because they feel that his songs aren’t marketable. His last project took years after its completion to be released because Lupe and his record label couldn’t reach an agreement that would benefit the label without Lupe sacrificing himself in the process.  Lupe uses the characteristic of nommo –indirection—in his album’s song entitled Words I Never Said. Although there isn’t a definite explanation of the song’s meaning, Lupe attacks communication on both a personal level and within the American society in general. Some concluded that he was speaking out about how Americans no longer question or discuss the things that should be addressed. They just accept what they hear. Whatever the interpretation may be, Lupe indirectly voices his disgust with America’s consumption of frivolous things and ignorance of the things that matter most. This is one of the examples of how the primitive concept of hip hop culture, nommo, is used in modern music. Lupe being the only example I could think of led me to question the current quality of modern hip hop itself.

I’ve added this to my list of potential paper topics. I’m leaning more towards exploring the concept of hip hop being dead as my area of focus. Learning about how complex the models on which hip hop were founded were makes me realize that hip hop is more than just a music genre or a type of dance. I see how misconstrued the ideas associated with hip hop really is and all of this leads me to wonder if hip hop has really fallen off. Many artists swear it hasn’t, but I’m not so convinced. Hip hop has definitely changed, but has it changed for better or for worse?

Reflections on Bambaataa

by Rachel Wacker

How many times do we go through life without having our say, or making our mark? The chapter we read this week in Can’t Stop Won’t Stop introduced many, like me, to Afrika Bambaataa a man who would change the lives of multitudes. As so many lost their way, he created the footprints in the path of the Zulu Nation. I really appreciated the explanation of the Zulus, “right knowledge, right wisdom, right’ overstanding’ and right sound reasoning” and with these principles people were less likely to fall prey to ingenious approaches.
Afrika Bambaataa like many came from humble beginnings, but unlike so many he was sensitive to how he could make a difference. Succumbing to the world of gangs at a young age, he demonstrated a unique approach to communication, one that transcended the boundaries and demanded respect. The transitions of the Zulu Nation have made it a well-known organization in the emergence of hip hop. Just like the true origins of hip hop, the beginnings of the Zulu Nation have been lost in the pathways of history. Those doing an in depth study of areas such as hip hop unearth the true beginnings of profound people and ideas.
The article “Manifestations of Afrocentricity in Rap Music” was an in depth, well-articulated compilation of pertinent information regarding rap music. Some of the terminology was new to me, and in all of the characteristics relating to nommo allows for individuals, such as me, to grasp a better understanding of vital aspects of the genre. I walk away from this article reaffirming my belief that rap music is a means of definition, understanding, and advancement of the African American rhetoric.
Each week I am astounded at the tremendous depths we discover as we examine the transcendence of a once criticized, overwhelmingly popular genre of music. In the words of Afrika Bambaataa and his organization we are to do our best to survive in life, be tolerant of others, to know and teach truth all the while respecting others and striving for peace and contentment in yourself and with others. These are principles that each of us no matter our faith or race should strive to achieve on a daily basis.

Bambaataa and the Hip Hop Symposium

by Trish Fannon

My reflection starts with the clarification of how this class personally pertains to me. In reading the chapter on Afrika Bambaataa I found a correlation between his insights of understanding that alienation was not the key to presenting an agenda that propelled respect and dignity among not only his followers but the community and is essential in furthering his cause to promote respect for oneself but others. I relate this to my practice as a nurse in which in the past I failed to see that others did not see my passion and compassion because of my failure to respect others who also provided care, but the perception was that of a difficult person that was inflexible to work with, and the reality that this did not provide any advantage to my patients.  As a nurse the foundation of my job is to be an advocate for my patients which cannot be achieved without understanding the principles in which Hip Hop and the Zulu nation were founded. The principles which I refer to are that the message must not only reflect this issue but must also be delivered in a way in which it promotes cooperation to facilitate the needed change. The two terms responsibility and respect are also terms which emulate the hip hop culture and its beginnings. These terms are also core responsibilities in which I am entrusted to emulate as a nurse to meet not only my code of ethics but elevate the status of my chosen profession.  I also think the message that was perceived by Afrika Bambaataa when he watched the movie Zulu was that “…they just don’t quit.” is applicable to any job, belief, or endeavor (Chang, 2005, p. 94).  I feel the fact that his [Afrika Bambaataa] mother was a nurse influenced his fifth element which is organized very similar to the five rights nurses follow in the administration of medications (Chang, 2005, p. 90).

The Hip Hop symposium presented at Princeton was without a doubt the most thought provoking element of this module. The insight in which Talib Kweli provided which was that there is a difference between an entertainer and an activist. The statement that hip hop was a way to express oneself by using words that others could relate to provide a simple honesty to the lyrics and could promote the inward reflection which Afrika Bambaataa referred too in knowing oneself first.  This most import point that I believe Rosa Climenta made was that of comparing Hurricane Katrina to the “largest reconstruction of African Americans since the civil war.” (Hip Hop Symposium, 2005). I find it mystifying that she [ Rosa Climenta] is a personal friend of Bakari Kitwana and does not understand the point which he made: “ Hip Hop is about the oppressed” to me this includes more than people of color, and women ( (West, Waters, Kweli, Kitwana, Clemente, & McMath, 2006).  She refers to Anderson Cooper’s coverage of Hurricane Katrina not being reflective of the people of New Orleans. In all honesty I cannot remember one word he said but the images are forever ingrained in my memory. I saw not only people of color but senior citizens who were not of color, and children effected by this natural disaster. The true poor, who had no means to leave this area of destruction due to lack of resources, were the ones left to survive. I also vividly remember a young black woman demanding that we assist her. This demanding in my option should be replaced with the word require. In demanding a person’s needs are not always met, but when required there is no implication than less than required will be accepted. I say this from an outsider looking into a situation that I can only judge by the media reports which I have viewed. Representative Waters became my hero from the beginning when she referred to George W. Bush as a “dumb ass”, which has crossed my lips on more than one occasion, and she [Rep. Walters) stated “I’m not Kenya West, I mean what I say.” (West, Waters, Kweli, Kitwana, Clemente, & McMath, 2006).  I believe she has a powerful message in that becoming politically active helps change conditions for the oppressed and is an avenue which should also be taken in addition to other reform measures. Dr. Corneal West was by far the most prolific speaker who approached the subject of influence with a common sense approach.  He understands the principle that talk promotes action and that change involves more than the political system. 

The one area which I would have liked to seen addressed is the policies which are in place now that do not benefit the oppressed.  The number one policy is that of welfare, it does not promote motivation to improve. This thought sems from a recent visit to a Lauderdale County High School in which I was visiting a class that was geared at promoting its students into seeking an education in the health care industry. The children (teenagers) were asked what their plans were after graduation. The overwhelming majority did not see a need to work because their families for several generations had received public assistance, and “that was good enough for me.”  I personally feel that although it was promoted as a program to help the poor, it was also seen as a way to establish a bar to the poor from rising above where they were placed in relationship to education and upward mobility. This to me is no different than the American Indians being given blankets that were embedded with smallpox. I do not advocate anyone going without the essentials of food and shelter, but do feel that the poor should understand that a disservice is being provided to them when they fail to move beyond the economic classification of being poor.

References:

Chang, J. (2005). Can't stop won't stop. New York: St. Martin's Press.

West, C., Waters, M., Kweli, T., Kitwana, B., Clemente, R., & McMath, M. (2006, October 6). Princeton Hip Hop Symposium. Retrieved September 21, 2011, from http://video.google.com/videoplay?docid=5805005154679876418

Reflection on Bambaataa

by Kimbriuna Dyer

After reading chapter 5 in “Can’t Stop, Won’t Stop”, I have decided that my reflection paper would be on the impact of Afrika Bambaataa on Hip Hop and his goal of pulling kids away from the gang violence that he was familiar with by using Hip Hop. I feel that Bambaataa’s belief in using Hip Hop as a way to save lives is an extremely valiant way to use Hip Hop. My question is why isn’t that done as much anymore? In my opinion, rappers could learn from Afrika Bambaataa and attempt to use their music as a way of pulling these young people out of a life of violence and drug dealing. In hip hop’s defense, you do have rappers that will speak on behalf of saving lives but for every rapper you hear badmouthing the gang life, you have another set of rappers that are supporting the lifestyle.  When I write these essays, it always seems to me that I’m bashing Hip Hop when I really do love a lot of it. I started listening to Hip Hop a little later than most people my age because my mother felt just as I feel about most Hip Hop music today. That it is supporting a lifestyle that I’d rather not hear about but even though I am primarily an R&B lover, I do love Hip Hop because it is music that tells a story but sometimes I just don’t like the stories that are told through their music.

I feel that it would be in the benefit of rappers today to adopted Bambaataa’s views in regards to helping to save lives instead of bragging about destroying them. It should take an instance of being made to go to jail then using your community service to save lives like T.I. for a stand to be made against violence. These rappers have a great opportunity to be a voice of reason and Afrika Bambaataa realized that. He used his voice to make young kids realize that following the gang life was only going to land them in jail or killed and he taught them that they could devote their time to other things that could help them be successful in life. I know a lot of rappers have charities and non-profits that are targeted to helping kids in situations related to gang violence but if the music is still using those images of violence to sell records then having the charities and non-profits almost seem redundant. More Hip Hop should have more messages of hope rather than messages of getting money by selling drugs. It should have more songs about coming from the hood but being able to break away from all the negativity that comes from being in that environment rather than songs that support violence. Maybe if we had more songs of the positive then maybe we wouldn’t always have to fight for this music that we love from people who don’t want to understand it because they feel it all condones violence. Maybe if we made that change it would be easier to change some people’s minds about true Hip Hop.

What about Cool Herc?

by Melody Andrews

DJ Kool Herc is noted for being the Father of Hip Hop.  That means all the hip hop moguls like Diddy, Jay-Z and Lil Wayne [full list click here] have DJ Kool Herc to thank, right??  So in business terms he should be racking in royalties from every grossing hip hop artist, right?He should be ballin', rolling in dough, making it rain, whatever you want to call it.  Shouldn't he?
In my past research (including a black history month project I did on hip hop in the 7th grade) I always focused on the rapping end of hip hop and not so much on the rest of it. So I was already familiar with Afrika Bambaataa, Grandmaster Flash and the Furious Five and the Sugarhill Gang in terms of music and lyrics.  Needless, to say Herc's contribution was fairly new to me (I loved how his chapter in Can't Stop Won't Stop tied back to the  chapter on the Jamaican origins of hip hop).  Upon learning that he is still living, I decided to find out what he's up to now.
Suprised, isn't the right word.  Saddened is more accurate. The Father of Hip Hop doesn't lounge by a pool on a daily basis or own a private jet.  He isn't surrounded by people to satisfy his every whim. He doesn't own a mansion or an NBA team.  No fashion line or record label. No parties in the Hamptons.  No trips to exotic world destinations. No reality show.  Luxurious probably isn't a word that describes his life. He's  certainly not rich by society's standards.  He doesn't even have health insurance.
The subject of urban folklore and legend is just like millions of Americans in this economic climate living without health insurance.  In the midst of an illness Herc was living a financial nightmare.  Clearly, the legendary Herc is human after all but it saddened me to see this happening to someone that  so many owed their thanks for thier careers.  Luckily, money was raised to get Herc the surgery he needed to stop internal bleeding caused by a series of kidney stones.
 The moral of this story is that despite my stun over Herc's health crisis the reality is that hip hop will always go hand and hand with politics.  Even when what is popular in hip hop opposes the politics of the genre (the way much of mainstream hip hop has today) it is a magnetic attraction that will forever connect the two.  Considering that their is an upcoming presidential election and much of President Obama's term has been focused on how to fix the healthcare dilemma, it's ironic how hip hop has once again connected to politics in an extremely relevant (though sad) way.
The love of hip hop brought people together to help one of the community's own and even more so the founding father.  So the story ends happily after all.  Or does it?  Makes me wonder while moguls are making their millions and blowing it in clubs and malls, did they show their gratitude and contribute to Herc's meager (in their minds) medical fund?  It all goes back to social awareness and selflessness, both traits that are scarce in the hearts and minds of many Americans, but especially in the heart of hip hop.

Discussions about Hip Hop

Here are some reflections from students in the Rhetoric of Hip Hop Class at the University of Memphis


What surprised me the most about the origins of hip hop was that I did not know anything about Bambaataa.  I had never heard of the name before reading about him.  I don't know why his existence seemed to have been overshadowed when he was as popular if not more popular than Grandmaster Flash and DJ Kool Herc.  I actually had not heard of DJ Kool Herc until I started studying hip hop but I heard of Grandmaster Flash and they are all interconnected in regards to hip hop.  I am glad I am learning more information about the artists of hip hop that seem to have gotten lost in the mix somewhere.-Delois Freeman


I can honestly say that the origins of hip hop has come as surprise to me. The use of hip hop as an escape from life circumstances, and a motivational factor for change, do not necessarily equate to the focus of hip hop today. The beginnings of hip hop offered hope and an escape from the harsh realities of life in Jamaica. In America, hip hop was an alternative to the gangs and violence of the streets. The meaning behind the music, the messages meant to be shared within the community, and the tremendous impact on the youth at the beginnings has really opened my eyes to the power behind hip hop.-Rachel Wacker


What suprised me most was that Afrika Bambaataa is often left out of the creation stories of hip hop. I've seen numerous documentaries on the origins of hip hop and hip hop pioneers but can't remember any of them mentioning Afrika Bambaataa. THe fact that as a young man, he was able to promote peace during a time of gang war and violence is commendable. The fact that the youth during that time period were able to inspire a movement as immense as hip hop is astonishing. They took the initiative to make hip hop possible by any means necessary which makes me question whether or not modern generations of youth have the power/potential to permanently and positively impact american culture the way those youth did.-Jerrica Rucker


I found it very interesting that I have not heard of Afrika Bambaataa before this class. The text refers to him as one of the three kings of hip hop music, with DJ Kool Herc and Grandmaster Flash being listed as the other two. I have heard the most about Grandmaster Flash and his contributions to the craft. I remember watching a lot of biographical documentaries of a lot of hip hop artists in the late 90s, and I can remember people mentioning how Grandmaster Flash has influenced them and the craft of hip hop. I heard DJ Kooll Herc's name mentioned a few times also. I think that it is very surprising how Afrika Bambaataa's contributions to hip hop have not been apparent to me before taking this class. He has a very colorful background, and I think that it was very smart of him to keep his actual name and birthdate a mystery. He knew that his age would deter people from being receptive to his message, which was more important. I also did not know that graffiti was linked to hip hop as much as it is. I have always thought that it was a revolutionary subject all in its own.-Michelle Greene

Illuminati: Hoax or Hip Hop? - Mesa Legend - Mesa College

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Democracy and Hip-Hop: Hip-Hop Has Saved My Soul (and Spirituality) by BYC

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Hip Hop Reflections

This may sound crazy, but when I told one of my co workers that I would be taking a Hip Hop class, he went bananas and we had conversations throughout the day, about the depth and knowledge that I may learn through taking this course.  I forgot to mention, he is a white guy, and knows more about Hip Hop History than any African American that I know.  He still has the VHS versions of all the movies in this module as well as mix tapes (the real tapes) from the early 90s and late 80s.  To some extent, I feel ashamed that I do not know as much or at least some of the things he knows about Hip Hop History that my co worker knows.

I am amazed once again, this time, by graffiti.  In some aspects it is dead and not as appreciated as it once was, but after reading the articles and viewing the videos, I have a deeper appreciation for the culture and everything that goes along with it.  It is as much as art, as is a painting in a museum, just not as sought after and looked down upon because its involvement/ties to Hip Hop culture.  Things are not as they used to be, as it was viewed in the movies we were supposed to watch, but the culture and heart beat still exist which still a great thing.  I feel that taking this class and having a co worker with a vast knowledge of Hip Hop History, especially the aspects that we are currently discussing, will propel me on a journey that will ultimately change me view and scope on how all aspects of the Hip Hop culture shape and affect things through daily exposure/life.-Marcus Hines

  In chapter 3, “Blood and Fire, with Occasional Music: The Gangs of the Bronx” Chang explores the impact of gangs that formed in the late 60s to the early 70s in hopes of starting a revolution.  During his discussion of the meeting of the Bronx gangs to make a truce for peace, Chang stated, “Social workers, school teachers, and other gang members filled the bleachers.  The girl gangs were locked outside in the December freeze.” (Chang 58).

 The thoughts that the last sentence evoked in my mind made kind of made me angry. I could see it and feel it.  I lived in Michigan for some time and I am pretty sure that the Bronx in December is similar in temperature. It’s not exactly the type of weather you want to be stuck outside in!  I find it especially unfair since they  had stood by the guys and even felt the brunt of their wars be left out of the discussion that involved them as much as their male counterparts.

 Throughout the module, as I read and examined all the other works posted, I kept thinking, “What was the female perspective?” I guess you could say I had a sort of feminist chip on my shoulder, but I couldn’t help but wonder how they felt and what their opinions were since they were not really stated in detail.  However, I did observe women mentioned as substantial roles other than romantic interests (examples: Chang’s mentioning of one famed graffiti artist’s quest for one girl’s affection (Chang 74 ) and the character Tracy in Beat Street).  In the beginning of the film Beat Street there is a female groups that performs at Double K’s party, one of the members was Sha Rock who was the first female MC.  Hands down that was my favorite cameo in the whole film.  I also found it really interesting that in the fourth chapter of Chang’s work he examines the rise of DJ Kool Herc, he starts with sharing Herc’s sister, Cindy’s contribution to her brother’s rise in fame by allowing him the opportunity to spin at parties. I found it very relatable that she was doing it simply to have the funds to buy new clothes. Which leads me to my next topic…

            As a girly girl, I love clothes and shopping.  It was just my luck that Mercedes Benz Fashion Week was this week and I happened to notice that a lot of “new” (nothing in fashion is really new, is it?) trends for this Spring and noticed how some of them were reminiscent of the threads sported by the characters in movies like Beat Street, Scratch and Beat Street.  I found that to be pretty cool since I’ve stumbled into a new hobby of thrifting and deconstructing the items I find to make them my own.  All in all, it was fun to watch the movies and see photos from this Fashion Week and have a visual of what’s old becoming new again, but I’d really enjoy being able to hear about the sights and sounds of the birth of  hip hop from a female perspective.  Again, although they were there I’d love to see and hear more. This module has peaked my interest in doing so just for curiosity’s sake.-Melody Andrews          

Rap music as an extension of the Black rhetorical tradition: "keepin' it real" | Western Journal of Black Studies, The | Find Articles at BNET

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Hip Hop Beginnings

by Kaitlyn Dowdy

It seems as if hip-hop is a product of the African American experience directly. From the videos and readings, the art form has been adopted from social conditions, economic instabilities, and various styles of African and Hispanic Americans. This new knowledge that I’ve picked up within the module has raised many questions in my own mind such as “if this movement has embodied so much of American culture, why must society reduce it to simply rap music?” I also asked myself, “what will it take, to bring hip hop back to its original form, its original intention?” Or, “is this what occurs with evolution, when a group of people evolves, is the music altered as well?” As individuals, people of color and those who are not, as Americans, as people all over the world I do see evolution, however, people of color living in not only the United States but other countries as well, still face conditions similar to those when hip hop began as a movement. Why is this? I believe hip hop saved many lives, and with this it’s powerful to destroy lives as well. Furthermore, the solution, if there is one, is to go back to hip hop, go back to knowledge, to learning and taking the ills of society, manipulating them into art forms and spreading that art around. Is this possible?

            It was said in one of the videos, hip hop is not only rap music, it is the Dj, the MC, the way one talks, dresses, it’s the movement of all of the elements as one. The notion of various, common, men putting together a movement as powerful as such, as long lived and cosmic as such is very beautiful, my next question is as follows: was the movement successful? Africa is hip hop, people of color created a powerful movement that still lives. It’s as if poetry found a dance, and that’s hip hop. 

Tagging with my Brother

by Chelsey Lyles

Once, when I was little, my brother took me with him to go tagging (painting graffiti). He called it “a field trip to reality”. I was about six and we lived very close to this over-pass that the city had just repainted. It was about 1:30 in the morning and raining but he promised me it would be fun.  He sat me down on an upturned crate and began to work and I was amazed. Let me tell you, my brother was not a gangster, he didn’t sell crack, and he wasn’t a trouble maker. He was a bag boy in the local grocery store and he helped old ladies across the street, he had no gang affiliations. My brother was/is an artist. When I saw him spray paint something across that concrete it was almost like seeing a child born, like a miracle. It wasn’t what he painted, it was his expression. It was wonder with anger bordering on pain and I loved it.

            The thing that struck me most about the things we read and watched was that it all happened at the same time, all this art (break dancing, hip-hop, and graffiti) grew out of the same culture. When people tell me that hip-hop has no place in society,  I point that all of these art forms spawned from the same environment.

            Another thing I loved about this week’s assignments is that the movies we watched were set in the time that it was talking about. They were movies made in the early eighties about the early eighties. It made everything we read seem more real less like a regular text book. I was an illustration of what we read and a very good one at that.  I would love to see more contemporary movies discussing the later hip-hop generation, especially in the words of the artists themselves. I think it would serve as context.

               

           

The Origins of Hip-Hop: Knowledge is Power

by Brittany Hill

Less than a month in this hip hop class and I have found myself already with an everlasting life lesson. Never be judgmental of that which you honestly know nothing about. Knowing the background of something has an extreme impact on your outlook and perspective. In the world of hip hop, it is almost pertinent that you know the background to really appreciate it all. At first glance you may find it all to be overwhelming and somewhat distasteful. You are able to appreciate the message you are being giving, because you have already made up your originated from some sense.

In module three of my rhetoric of hip hop class, I found myself marveled at the lecture presented to us. The lecture was on graffiti. Now how can a person be marveled at something you can find on the side of a dumpster? Because the message and information graffiti relays is just simply marvelous. To know that elements and styles of writing such as alliteration and puns can be implemented in something viewed as vandalism is more the ironic. I can honestly say I can now view it as art. There is more to it than just a person attempting to “destroy” the side of a building or a train cart. This person has a message to deliver. To know what time and effort it took to deliver and portray a message to the world should definitely be appreciated. Some people feel that as your “average Joe” walking down the street, their voice may never be heard. I think graffiti is a creative way to be heard.

When speaking on the discourse of hip hop which came to be one of the topics in this modules discussion, I honestly do feel it would be different if people knew its origins. Lack of knowledge on a particular subject matter often tends to lead to a lack of interest when the subject presents itself. If you feel you can't relate to something or do not even really know how much it really does relate to you, you tend to turn the other cheek. This always seems to be the easiest solution when dealing with the unknown. Knowing the origins of hip hop, or any other content of that matter such as graffiti, allows one to be more appreciative and understanding. They will approach it with a sense of familiarity rather than a sense of fear. Approaching something in a familiar sense allows them to have a better view of the positive within it rather than just the negatives. I can honestly say that through taking this course, the positives of it all are really starting to pour through. So I shall continue to let them in.

Would Hip Hop Discourse be Different if People Knew its History?

I think that knowing the origins of Hip Hop would change the views of many people in a positive way. Realizing that history is often times written by the preception of only one side and fails to mention events which lead to the actions of others, many facts have been omitted from traditional sources used in establishing history thus making history biases and one sided. Many positive aspects have come out of Hip Hop to include not only a way to express ones self but social changes which were made possible by advocating through the music and graffiti. The Ghetto Brothers are a perfect example of recognizing needs and addressing them through forcing slumlords into allowing them to clean the tenements, setting up free breakfast programs, and free clothing drives to better their community (Chang, 2005, p.52).  The music (block parties) provided entertainment and a way for youth to express themselves and celebrate "...being young and free." (Chang, 2005, p. 65).  It is hard for others to understand Hip Hop unless the circumstances which helped lead to its existence such as "benign neglect" ,which left a community to fend for itself, are understood. The actions of the powerful who happened to have more resources lead to a community which was searching for identity, pride, and respect. The result of the indignities suffered was the Hip Hop culture, which if understood, would provide a positive interrupation of the situation that lead to this culture and the ways in which it expresses itself.-by Patricia Fanon
References:
Chang, J. (2005). Can't stop won't stop. New York: St. Martin's Press.

Reflections

            What a great module offering tremendous amounts of information from a host of different perspectives. By learning about the different elements that inspire hip hop there is a certain level of perspective that is to many unseen. Each week, something new is introduced to allow me a certain level of understanding to a world I have previously never known. Hip hop is much more than what you hear at first, but a multi layered process and vision.

I really enjoyed watching the movie Scratch it illuminated areas of hip hop that I have never been aware existed. The tremendous amount of hours the artists put into searching for vinyl albums was staggering to me, not to mention the amount that still  exist. In an age of iPods, and digital music those that are not familiar with the hip hop genre don’t even consider the arduous work that goes into the creation of new beats.

            I have never correlated the work of a graffiti artist with that of a literary artist. D’Angelo’s piece on the rhetoric contained in graffiti was eye opening to me. I will admit that I have not seen much graffiti in my life other than the occasional piece on the side of a train. The use of such literary elements such as irony, allusion, antithesis, and alliteration just to name a few enhance the meaning behind these literary elements to an entirely new perspective for me English major. As D’Angelo states in the last paragraph that, “we lead our students through intensive and exhaustive rhetoric analyses and that we subsequently get them to use the principles derived from these analyses in their own writing. Conscious and meaningful choices are better than slavish imitations.” Wow! What a powerful statement which is saturated in truth and applicable to a myriad of different areas of study. I printed this selection out to hang on to for my future students.

            As with previous chapters of Can’t Stop Won’t Stop, we delve deeper into the history and understanding of the environment and conflicts which perpetuated the foundation for hip hop. The sacrifices of few led to the self-evaluations of some benefitting many in a community plagued with issues. Music can delight the soul, calm the anger, and inspire ability to those willing to open their hearts and minds to listen. The very powerful words at the end of chapter four, “In  the loop, there is the alpha, the omega, and the turning points in between.” (Chang 85)-by Rachel Wacker

Arab Spring Hip Hop | Arab Rap Music | Karl Bostic Report | Mediaite

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Editorial : Say Goodnight to the Bad Guy: How Fox Mocks Hip Hop

Editorial : Say Goodnight to the Bad Guy: How Fox Mocks Hip Hop:

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Sujatha Fernandes: 9/11 and the Cuban Hip Hop Revolución

Sujatha Fernandes: 9/11 and the Cuban Hip Hop Revolución:

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Atlanta University Center Opens Tupac Amaru Shakur Collection | Get The Latest Hip Hop News, Rap News & Hip Hop Album Sales | HipHop DX

Atlanta University Center Opens Tupac Amaru Shakur Collection | Get The Latest Hip Hop News, Rap News & Hip Hop Album Sales | HipHop DX:

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Teachers Union Pulls Support Of Candidate Over UGK Affiliation

Over the past few years, artists like Bun B, Jim Jones and J. Rawls have helped bridge Hip Hop and education with their respective teaching gigs. Now, it looks like the advances Hip Hop has made in the educational realm have taken a blow, as a candidate for a position on the Atlanta school board came under fire for his affiliation with Houston duo UGK.
AllHipHop recently reported that Byron Amos lost his support from an influential teachers union as a candidate for the school board due to his connection to the Underground Kingz. After learning that Amos served as Vice President for Pimp C's UGK Records and appeared in a number of the group's music videos, the Atlanta Federation of Teachers pulled their support for him in his bid for a position on the Atlanta school board.
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9/11-Inspired Songs: Jay-Z, J. Cole Pay Tribute With Lyrics

Sept. 11, 2011, marks one decade since the four coordinated terrorist attacks in New York City and Washington D.C., which claimed innocent lives and generated an amount of patriotism not often witnessed in contemporary history. Following the traumatizing events, many hip-hop artists have continued to reference "9/11" in their music, whether in tribute to those lost, or in criticism of the government. In memoriam, The BoomBox pays tribute to 9/11 with 10 hip-hop songs shining on a light on that unforgettable day.
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Hip Hop and Global Unrest

Five years ago, the American rapper Nas proclaimed that "Hip Hop is Dead." But while hip hop culture may have succumbed to the music industry in the U.S., four decades after its birth in the Bronx, rap music has become the soundtrack to the social unrest sweeping the globe from Tunisia to Libya and London.
Back in 1982, the lyrics to the hit American rap song "The Message" went: "Don't push me 'cause I'm close to the edge, I'm trying not to lose my head." And around the world, the movement of hip hop has catalyzed the passion, anger, and frustrations of young people who feel like they are living life on the edge of a precipice.
Many were shocked by the recent riots in London, sparked after the killing of a black man. But if we look to the recent history of major riots sparked by police violence, from the beating of Rodney King in the 1992 LA rebellion to the police-caused deaths of North African teenagers in the 2005 Paris riots, the events are not surprising at all. In all of these cases, it was something as routine as another act of police harassment, another young black person killed on the streets, that pushed people over the edge.
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Survivin' the Era of Terror: How 9/11 Missed Hip-Hop

September 11, 2001 is a day that will never be forgotten. On that day, an event happened that will effect the lives of generations for decades to come; socially, politically and economically. No, I'm not talking about the attack on the World Trade Center, 9/11/01 was also the day that Jay Z released The Blueprint...

 

This week, when many people reflect on what they were doing the moment the Twin Towers fell that faithful Tuesday in '01, most won't admit that they were standing in line trying to be the first person on their block to get the new Jay Z CD but that pretty much sums up the collective attitude of Hip Hop during a 10 year period known as the "Era of Terror." It can be argued that The Blueprint had more of an impact on Hip Hop than the attack on the World Trade.

 

While the 9/11 attack sparked a "War on Terror" that would have a major impact on nations around the planet for decades to come, the effect on the Hip Hop Nation has been minimal, at best.

 

But was this a matter of apathy or fear? 

 

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Is stereotypically 'gay' style growing on hip-hop?

Jeggings, otherwise known as the lovechild of jeans and leggings, are a hybrid of denim and spandex loved by teenage girls, stick-thin fashionistas, and somewhat surprisingly, Lil' Wayne.

The rapper has been catching major flack for the pair he sported to his show-closing performance at the MTV Music Awards -- a dashing leopard pair, offset by a bright blue pair of Polo Ralph Lauren draws and red and yellow kicks. It was an eye-catching outfit to say the least. Surely Lil' Wayne knew what he was doing when he stepped on stage looking like George Clinton's back up singer. Another ploy for publicity perhaps?

Naturally his outfit became a hot topic on Twitter, with most criticizing his look and questioning his sexuality. One enterprising person even created a fake Twitter account for the pants,@Waynes_Jeggings.

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“All Rap & No Action?” Part 1: Hip-Hop and Urban Violence

The city of Newark, New Jersey, hosts an annual celebration called the “Black August Commemoration,” which attracts neighborhood people of all ages to a late summer weekend of entertainment and fellowship. This Friday evening in particular has residents thinking about the impending threat of Hurricane Irene, along with the likelihood of more shootings, prompting Black August organizers to host a “24 Hours of Peace” rally.

In a recent 24-hour period – July 11, 2011 – in Newark, 13 people were shot. One of the victims, a teen, died soon after. That single day helped to underscore 2011 as one of the most violent years in “Brick City’s” recorded history; and in the news, there are countless stories about grieving families and a fearful community. Most of the city’s victims – and perpetrators – are young, minority males, representing Hip-Hop’s core audience.

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What Does Hip-Hop Tell Us About Faith And Society?

Last week, Rev. Michael Waters wrote a post entitled "An Odd Future for Faith In Hip-Hip." In the piece Rev. Waters asserts that "I am increasingly troubled by certain contemporary moves in hip-hop culture that embrace the occult and make a mockery of faith." I would agree with Rev. Waters that the lyrics in some hip-hop songs are vulgar, misogynistic and violent. But like Michael, I love hip-hop. Particularly, I love gangster rap. Not because I believe in the message of violence, but because as someone who grew up on the streets I can relate to the pain, anger, frustration and disappointment expressed in the lyrics.

Just like Rev. Waters, I am concerned about the approach some rappers take toward God and faith. But I'm also concerned that too often in the faith community we hold only the rapper accountable for the lyrics and not ourselves for the things we do to make the larger community feel like God or the church does not care. Like most people, rappers wrestle with understanding God, Christianity and their own personal faith.

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