Wednesday, October 26, 2011
Hip Hop and Women
Hip Hop these days does give one a negative impression of women. An example of this would be the common video vixen who is half naked in front of the camera dancing like a stripper. There are female rappers, such as Nicki Minaj, who have the ability to build their own reputation to their fans. Nicki Minaj does, in a way, build up females by influencing them using the term 'Barbie.' One could link the term in a positive and negative manner. Once could interpret the term to represent fakeness or beauty. It does not, however, interpret into 'bitch' or 'ho.' She does influence her female audience to embrace their sexuality and their uniqueness. She is not the typical female rapper who has to degrade herself with sexually explicit lyrics like the rapper Lil Kim. Although I do enjoy her music, I think that some of her lyrics are a bit vulgar.
There are MANY male rappers who disrespect women by referring to them as 'bitches' and 'hoes.' They also refer explicit sexual acts to women, and women actually enjoy their music. REALLY? I don't understand why women enjoy listening to someone who descriptively describe what can be done with their mouths or bodies. I also find it interesting that men in hip hop have embraced the notion of a woman being independent because they prefer them over the gold diggers. Rappers, like Queen Latifah, have almost become obsolete. She was one who I remember promoted women having their own identities and demanding respect from men. Where has this idea gone to?-Michelle Green
I feel that hip hop owes a great deal to women, and is also highly influenced by them. As we have discussed, and read Hip Hop was first brought to the masses by a woman, namely Sylvia Robinson. Also, there were many female crews in early hip hop, and prominent females during hip hops adolescence; Queen Latifah is one rapper of note that continues to reap the rewards of the opportunities that hip hop provided her.
With that said hip hop has matured to be quite the chauvinist. Females in rap today, often feel compelled to sell sex before skill, and their struggles to gain recognition and success can be easily related back to the discussion of white rappers and their struggle for authenticity.
It can be seen that female rappers often associate with a crew of male rappers, and often can be seen adopting the "baby girl", or "bad bitch" motif.
More recently, female rappers seem to be stretching out a bit, and behaving a lot like their RnB counterparts, perhaps it is a result of the blending of the two genres, but I think that it's interesting to see it happen, because females run the show on the RnB side while most often female rappers tend to go the way of their "male sponsors". Unfortunately, depending on your view, it seems that Nikki Minaj is the most likely female rapper to be able to escape the shadow of her crew, and lil mama is a distant second.
I personally find that Nikki Lynette is one of the most interesting female rappers, because of her break from traditional rules and perceptions.-Donal Davis
Sunday, October 23, 2011
Wednesday, October 19, 2011
Hip Hop Reflection
by Trish Fanon
It seems apparent to me that the change in hip hop was not only fueled by a generation aging but the influence of outside interest attempting to exploit hip hop as a way to make money. Hip hop started to emerge as not a vehicle of change but an opportunity to “main stream” the music to attract others outside of the Bronx, where revenues of sales could increase. Although it was stated that “they were getting older and their taste changed.”, there was an underlying motive from record companies to direct the change which was taking place and capitalize on the sale of hip hop to a diversity of ethnic groups (Chang, 2005, p. 128). Rappers Delight, was the catalyst that helped to institute the globalization of hip hop which crossed over to other areas such as graffiti where suddenly the comparison was being made to legitimate recognized are movements such as: Futurism, Dadaists, Impressionist, and Abstract Expressionist (Chang, 2005, p. 148). The “globalization” process facilitated, in my opinion, the deterioration of the core foundation of hip hop by neglecting a social message in favor of marketing hip hop as “entertainment” qualities only. The influence of hip hop still reflects the element of “being real” which was a central focus of “…people involved in any kind of struggle are interesting.” stated by Charlie Ahearn. (Chang, 2005, p. 146). The focus was not on what the struggle was about, but how it could be exploited by others. Suddenly the world recognized that the oppressed had a commodity that could be taken from them, and commercialized for profit.
The Bronx suffered the “benign neglect” but the hip hop community has allowed outside influence to direct and dictate what will be presented to the listeners and viewers by controlling the money. Sex, drugs, and money are presented as the way to make someone happy and add character to a person. The message is about self and not a community. I am amazed that others can not acknowledge that although it began as positive (hip hop), it also can have a negative influence when the message deviates from promoting social awareness and change, to the concentration of “being out for one’s self”.
The author Paul Butler provided a view to another side which I had not given any thought to in the past. The presented view of the oppressed and senselessness of incarceration of nonviolent offenders can only lead to the destabilization of families, communities, and an entire class of people. The act of incarceration leads to a collection of people who are without representation, employment, and little if any sense of a better future. This act is essential for the few to control the power of all people by rendering the deemed criminals impotent to ever make social changes by rising to positions of power. The constitution is founded on the principle that “all men are created equal”, however through the use of the legal system to selectively target certain groups; this basic right is denied. It is horrifying to me that only certain groups of people have the luxury of making mistakes in their youth, while others are punished a life time for the same mistakes. It is disheartening to realize that a person will not be judged by their character, hard work, intelligence, or contribution to society but by their race and preconceived stereotypes. I once thought that “racial profiling” was fueled by statistics, and facts only to discover that there is not a correlation between the two which was evident by Ney York City’s profile of a “graffiti writers” profile, which does not match the information that has been presented thus far in our text.
The New Jim Crow
By Melody Andrews
Usually, I am extremely critical of conspiracy theories. That includes but is not limited to Big Foot, the Abominable Snowman and recent Illuminati theories. Let me be clear, that there is always a thin line between a conspiracy and a coincidence. With that being said, there are a lot of incidents in society that make me think there a little deeper than sheer coincidences. One being the number of African Americans incarcerated. But that’s as far as I ever took it. I never really did any research on it or looked up facts to support my position. I guess you can say I just sort of accepted it as fact. Luckily, I was never in an instance where I had to debate the truth in that belief.
So I guess that is why the most interesting part of this week’s module was listening to Michelle Alexander the author of The New Jim Crow discussing her book. Even though, I have recently read Let’s Get Free by Paul Butler, I read it with a bit of cynicism due to the fact that Butler, a former prosecutor, was arrested for a crime he didn’t commit before he realized the injustices of mass incarceration. Although, a very potent and fascinating literary work, I sort of thought Butler had a chip on his shoulder. For me Alexander was a more balanced and credible source (I think it’s my inner-journalist that looks for an unbiased storyteller).
Within the five minutes of her discussion I was hooked. I can recall hearing people say that prison is a new form of slavery and I have often stated so myself, however when Alexander stated that there are currently more African Americans under correctional control than the number of slaves in 1850, I was sort of shocked. My mother is a genealogist and has discovered in tracing our family’s lineage that a lot of times slave owners did not account for their entire human chattel. But I would still really like to see what that number looks like. If that many men and women are controlled by the state in terms of their whereabouts and their inability to have a voice in the voting process, then in essence the state is controlling a certain percentage of the populous. Coincidence?
In 2008, Barack Obama won the presidency of the United States. Early criticism of the election results stated that it was the black voters to essentially blame for his success. But considering that blacks, according to the 2010 Census data, are only 12.6% of the population and not all of those individuals vote, that could not have been possible. And that is exactly what I would fire back when my Caucasian classmates and coworkers would discuss their disdain at the results. Now looking at the information shared by Alexander, the actual number of African –American people who voted for Obama was far less than what is commonly thought since so many in the African American population do not have the right to the vote. It may not fit the science fiction definition, but it most definitely is mind control. Coincidence?
Anyone who watches any sort of news program cannot deny that most of America’s (and the rest of the world for that matter) woes are usually blamed on one man: President Obama. And most of the time it doesn’t really matter if it is really his fault or not. I say this to say that in politics there must always be a scapegoat. One thing that T.I. stated in Hip Hop vs. America is that hip hop is used as a scapegoat for the world’s problems, especially crime and the moral decline of America. What do hip hop and Obama have in common? They both overwhelmingly appear as black. Coincidence?
I think not, but I do think that it has a lot to say about race relations in the United States. Clearly, having a black president does not make all the scars of racial strife disappear. In a sense, I think that the blame game exists on both sides. It is not uncommon in the African-American population to hear someone say that everything is “the man’s” fault, “the man” always being white. Conversely, to some Caucasians everything is the fault of African Americans and other minorities. Is it right? No, but it’s what keeps us divided and distracted from discovering the root of it all. After that, maybe we can get more free and reverse the new Jim Crow.
Monday, October 17, 2011
Violence and Hip Hop-II
In the discussion this week, it was asked if we believed that violence in Hip Hop influences that same type of behavior in real life. In the discussion, I did state that I believe that while violent Hip Hop is not the main source it could be seen as motivation for a person to engage in violent behavior due to the fact that at times violence in the Hip Hop world can be glamorized in a way that makes it inviting. But I never really got into the details as far as why I felt that way so I have decided to discuss it in this essay. First, the reason I feel so strongly about the influence is because violence has had such a close interaction with Hip Hop over the years. You rarely if ever hear of someone from the Pop genre being shot in a drive by in a public location with no one wanting to come forward but there have been three unsolved murders of famous rappers that were all in public locations but for some strange reason there are no witnesses to report who may have been responsible that come to mind when I think of Hip Hop. Violence does tend to overshadow the true awesome nature of what Hip Hop is and the fact that Tupac, Notorious BIG, and Jam Master Jay are all dead is just proof of the effect that violent Hip Hop music can have at times. I do feel that everyone makes the choice to engage in violence or not. I’m sure the same way that most people pick out a shirt is probably how some people choose to take a life so I don’t completely blame rappers because of their violent lyrics. It is also the fault of those in authority that may also cause someone to be violent. A lack of supervision from family and authority figures and a significant lack of love and support can cause a person to lash out violently. This person possibly feels that without that love and support there is no other way for them to be other than violent in order to get the attention they never received when they were younger.
Violence in Hip Hop in some cases I can understand. For instance, if a rapper is telling a story in which violence may play a part in order to help the story progress such as in “Stan” by Eminem. This song uses its violent nature to tell a truly sad story not in a way to make others want to emulate but rather be cautious. The song is basically just talking about an overzealous fan who takes his love for Eminem too far. The song eventually ends in the fan killing his self, his girlfriend, and their unborn child and blaming Eminem because he never responded to any of his letters. Now the song does use violence but not in way to glorify but rather warn as I stated earlier because the song focuses on the themes of the fan being withdrawn from real life because he truly felt that he and Eminem were one and the same. So when the fan felt that Eminem was rejecting him that is when he acted out with violence in order to make sure that he got Eminem’s attention. This song basically follows what I mentioned in my previous paragraph about a person without that love and support lashing out violently for attention. This song in my opinion is one of the few songs that take a non-glorification when it relates to Hip Hop violence.
I also notice that most of the rappers that use violence in the music also have a deep love for the movie “Scarface”. Now this movie is filled with violence almost from start to finish which may be the reason as to why most rappers to write those certain violent lyrics. The lyrics are probably emulating what took place in this movie and relating it to their own life. If you’ve never seen the movie, it is about man who become this huge drug lord and is eventually killed so many rapper may be able to relate to the drug dealing, killing to survive lifestyle that is shown in “Scarface” but does that mean that it has to be so frequent in their music.
Earlier I mentioned the death of Tupac, Biggie, and Jam Master Jay to signify how closely bonded violence tends to be with Hip Hop but I also wanted to bring up the significance of the death of Biggie and Tupac because these both seem to be direct link to the influence of violence in Hip Hop. Jam Master Jay is disregarded due to the fact that Run DMC for who he was the DJ for always seemed to avoid getting involved in the music about violence. Now you have Tupac and Biggie, who at first were good friends in the Hip Hop world but once Tupac believed that Biggie set him up and caused him to get shot he was never able to let their grudge go. Tupac began to disrespect Biggie even going so far as to say that he had been with Biggie’s wife at the time, Faith Evans which began to cause Biggie to become upset and also left to a divide between coasts. You had those on the West Coast side who were Tupac all day and hated Biggie with a passion then you have the East Coast which had all the love for Biggie and just thought Tupac was a hater. This divide began to cause issue as award events and even made its way onto magazine covers and it was all this publicity about the divide which caused it to reach a fever pitch. Both Tupac and Biggie were gunned down on separate nights in different cities on public streets. No one still knows why for sure this happened because no one has still come forward to confess or even tell if they saw anything but I believe it had to do with the East Coast/West Coast feud. There was so much hatred in this feud that it lead to someone or somebodies taking action into their own hands to end it and try to either leave their rapper as the number one rapper or either get revenge for their fallen idol but in the end we all lost. Tupac and Biggie were probably two of the best rappers to ever pick up the microphone, but we will never have the chance of seeing them perform live or listening to see where their music could have went. The reason being I believe because somebodies out there decided to use the violence that was perpetuated in Hip Hop music and what they were reading in magazines about East Coast/West Coast and did what they felt they had to do.
It is sad to think of causalities that have occurred relating to violent Hip Hop but it does not have to be violent. Why does Hip Hop have to talk about the negative in order to generate positive feedback from consumers? Why can’t every rapper be like Common and create raps that can be view as different and unique? Why do songs that don’t mention violence, sex, and drugs have to be considered different and unique? I guess we really won’t know the answer to these questions until we lose some more talented rappers who could have eventually helped to change the Hip Hop game. Maybe then the big wigs will realize that while violent Hip Hop does not force the person to be violent, it doesn’t prevent violent behavior either.-by Kimbriuna Dye
Hip Hop Begets Violence?
Violence amongst the youth is one of the most prominent social issues that America faces today. There are hundreds of accounts reporting deaths or shootings in prominently black neighborhoods on the news daily. Some people claim that the only way to fix this problem is to find its source. However, something such as violence amongst youth nationwide cannot be traced back to a single source. It is just part of the American way to have someone or something to blame for it, so why not blame one of the most controversial, but most popular, industry in the country: Hip hop.
I believe that Hip Hop carrying the burden for influencing violence is unfair. Music, in general, affects our mood. Anything from our personalities, lifestyles, moods, or life situations can play a huge role in the way we react to hearing a certain type of music. When you’re sad, listening to a slow song could make you cry. A person listening to an upbeat song could become energetic or happy. One of the things people love about art in general is the way it makes people feel. Attacking rap music because of the way it could make someone feel is unfair.
A sad person listening to a slow song could make a person cry, but can the slow song be blamed in the sad person was to commit suicide? One of the responsibilities of being a mature human is to control your actions. No, a person cannot help the way they feel, but they do have power to determine how they react to the feeling. Therefore, claiming that violence is young people’s reaction to “violent” lyrics in hip hop songs is invalid. There are more things to consider than just the lyrics alone.
The question that I kept asking while reading through the material for this module is why aren’t violent video games or movies blamed for violence just as much as rap is? It is easier to control what video games your child plays or what movies they watch than it is to control what music they listen to. Also, no one knows why it is that hip hop’s positive aspects that hip hop portrays aren’t glorified as much as its violence is bashed. I believe that hip hop is attacked for its violence because it is the most bashed industry in the country and it is in Americans’ nature to always have a ‘bad guy’ to blame for the problems that it cannot fix.-by Jerrica Rucker
Hip Hop and Violence
The argument of if Hip Hop may be deemed responsible for violence occurring in the black community has been quite potent for quite some time now. Interestingly is my own new understanding that there are many people, academics, who do believe that hip hop can be directly drawn to violence within certain communities. Furthermore, after the readings, I am left with the question: which came first, the violence or the hip hop? This meaning, I don’t believe hip hop began as such an outlet, expressing such things, so, with this being said, what has happened in the history of all our days in which hip hop embarked on such a voice? If the beginning of the hip hop movement was started to transform tragedy into something young men and women could use and in reverse, turn into art, where after the movement began did violence rise to such a tremendous force. Chang, in Can’t Stop Won’t Stop, pin points this to a certain extent, however, when considering this, and other materials or facts, how strong was hip hop as a movement if after delivering rap as a voice and going commercial, it somehow began a new entity?
After reading this weeks material, I questioned rap, what it is, versus what I always thought it to be, and I questioned hip hop, how something so strong could ever be seen as weak and “dead” to a certain extent. My “conclusion” if it may be called that is that due to the social conditions faced by the black and Latin community, as time progressed, the ills of the community became real, and in return, the voice changed, the view of life changed, and what was important was somehow able to be compromised, hence forth, rap music is our story, as of now.-by Kaitlyn Dowd
Why White Kids Love Hip Hop-Book Review
by Rachel WackerHip hop is notoriously associated with the African American population. There has been an infiltration of the White population into this genre leading to the questioning of many as to why the White population would be attracted to a music genre rooted in African American beliefs and perspectives. Bakari Kitwana’s book, Why White Kids Love Hip- Hop: Wankstas, Wiggers, Wannabes, and the New Reality of Race in America
In the Preface of the text, Kitwana address the significant role of race in all things pertaining to society. One very important acknowledgement is that generation X and the millennium generation are the first generations that have not lived in the times of racial segregation. This fact allows these individuals to create a new assessment of how race is addressed in America
Kitwana seeks the perspectives of the white youth as well as the black kids in analyzing what causes the attraction of white youth to hip hop. It is important to note, “Most hip-hop kids--- while, Black, Latino, Asian and Native American—are taking from popular culture what they find useful, fashioning it to local needs, claiming as their own and in the process placing their own stamp on it” (Kitwana 3) emphasizing the personal liberty that is allowed in hip hop. Kitwana seeks out individuals to get honest perspectives as to why they are attracted to this musical genre and willing to cross the cultural lines of society. The honesty revealed in the answers from a varied pool supplies useful and candid answers. One very striking revelation was that of a thirty-three year old homemaker, “The perfect $500,000 houses. The perfect overscheduled kids. The perfect husbands. We love life, but we hate our lives. As so I think we identify more with hip-hop’s passion, anger and frustration that we do this dream world.” (5) If the audience reflects upon the beginnings of hip hop it is evident that regardless of race, there is discontentment in everyone’s lives leading to an individual’s quest to find an outlet for their frustrations and feelings. Regardless of color, Kitwana stands firmly on the belief, “…. That hip-hop has been the response to the reckless abandonment of young people in this country” and this leads to this genre’s adaptability to the emotional needs of society. (19)
The factors leading to the rise of hip hop in the black culture as well as the white culture are quite similar. The American Dream, a once thought unattainable ideal for the black family, becomes increasingly more difficult for the white family to attain as well. The economy has played a significant role in the dissolution of achieving the level of success. “Some are drawn to hip-hop’s escapist messages. Some are caught up in the contemporary climate of pop culture that makes hip-hop the flavor of the month. Still others feel the same sense of disenfranchisement as other dispossessed Americans, Black and otherwise” (36)
The civil rights movement’s ideology and profound impact on society have also factored in to the acceptance of hip hop by the white community. “The repositioning of African American culture as a cornerstone of American identity, specifically connecting the civil rights movement to America’s ideal of freedom and justice for all, raised national awareness of Black American culture at least superficially”(37) which allows for the rise of the African American entertainment icons such as Bill Cosby, Oprah Winfrey, and Michael Jordan. Their public acceptance had a resounding effect on the platform of social acceptance leading to the acceptance of hip hop.
The emergence of hip hop on the mainstream culture results in a business conglomerate allowing for the integration of the Black artistic sided supported by the advantageous business dealing of white individuals. When put in summation, “What comes out of the corporate hip-hop industry is packaged and sold as hip-hop, but it is a distortion of hip-hop culture.” (47) The resulting impact of the white influence solely based on the business aspects of contribution is suggested to make a correlative appeal for the white consumer to hip hop.
There is no better way to answer the question of why white kids love hip hop other than to say, “The answers are endless. But the further you dig into individual lives, the more layers of complexity you’re likely to find. Race in America America
The use of hip hop in the film industry expanded the parameters of exposure of the genre as well as provided the initial attempts at exploring that white kids’ reasoning behind the captivation of hip hop. Films such as Black and White and Bulworth attempt to harness some sort of hint into the thought processing and appeal of the black hip hop culture to the white youth. These films used multiple ways of addressing the issues associated with this sensational attraction to a divergent culture. These approaches ranged from parody, appropriation, generational gap, and interracial dating. (114) The presentations of these films allowed for the audience to walk away with their own perspective and the ability to apply any new found knowledge to everyday situations. Films that use the approach of parody and appropriation allow for the white audience to gain erroneous perceptions of black culture. “In absorbing aspects of Black youth culture, largely via popular culture, your whites have created their own subculture”, which allows for the recreation of perspective of the hip hop culture through the eyes of the white society. The generation gap is emphasized by the role of the economy in the lives of families and households. The gaps in the home are filled with the popular culture streaming into the home. The role of interracial dating addresses the once feared now somewhat more accepted social phenomenon. No matter the differing styles or approaches, it is safe to assume, “….in this world of America
A very fascinating portion of the book addresses the role of Eminem, also known as Marshall Mathers, role in cultivating an appeal for the white youth towards hip hop. Criticisms of Eminem, particularly by the magazine The Source, swirled the controversy surrounding the integration of the white artist in the hip hop culture. “The old racial politics rooted deep in the annals of America America
The progression of society to be able to entertain the possibility of integration in a predominantly black genre of music such as hip hop correlates to the advancement of ideas and concepts on the political platforms as well. “Hip-hop politics” is a use of terminology indicative of the progression of cross cultures. The issues that are of the greatest concern to the white hip- hop activist equate to a significant number of issues that are of great concern to all races.
There are significant challenges to establishing a fluid relationship across racial lines. These issues confront social issues that directly relate to the acceptance of white involvement in areas such as hip hop. Kitwana lists six hindrances that must be overcome in order to advance the hip hop activist agenda as well as hip hop culture. “Hip-hop politics, just like hip-hop music and culture, has an intrinsic appeal to all Americans. If we fail to create a new language for discussing issues once deemed “Black” we will remain prisoners of the old racial politics.” (192)
This book delves deeper than the surface reasoning of why the white youth of America America
America is not like a blanket—one piece of unbroken cloth, the same color, the same texture, the same size, America is more like a quilt: many patches, many pieces, many colors, many sizes, all woven and held together by a common thread. The white, the Hispanic, the black, the Arab, the Jew, the woman, the Native American, the small farmer, the businessperson, the environmentalist, the peace activist , the young, the old, the lesbian, the gay and the disabled make up the American quilt.
Even in our fractured state, all of us count and fit somewhere. We have proven that we can survive without each other. But we have not proven that we can win and make progress without each other. We must come together. (187)
Should judgment be cast upon the white youth of today for their interest and appreciation of the hip hop genre? Is it indicative of the continuing racial divide that has plagued our nation for generations? The dialogue must commence, the mutual respect and understanding must abound, and the appreciation for all cultures must have precedence. Bakari Kitwana’s book does an outstanding job of examining the totality of Why White Kids Love Hip Hop.
Saturday, October 15, 2011
Friday, October 14, 2011
Thursday, October 13, 2011
Hip Hop Violence and the Music
by Cory Atkins
Violence and music in general have always been synonymous, but it tends to be more significant in Hip Hop due to the very nature of its listeners. With most artists being of African decent, and its listen of the same culture, their lyrics tend to mesh with the lifestyle of Blacks. With this idea in mind, one would easily say that music has a profound effect on the psychosis of Blacks, who have been deemed by history to have the nature of violence. As it has been noted time and again, it is up to the listener whether or not music influences his or her decision-making and actions. While I agree fully with this statement, I believe that there is a factor that is often over looked in this instance that gives rise to the violent nature of Hip Hop listeners, not just Blacks in general. This factor is weak-mindedness. Too often, weak-minded individuals are quick to be reactive to music. For instance, if you have a child who listens to nothing but ‘gangsta rap’, where the only thing referenced is shooting, beating, robbing, raping and other negative images, then once some drastic occurrence happens in the child’s life and these ideas have been festering in his or her mind, they act on what they know and that’s negative behavior. It does not take much for something like this happen because we se almost on a daily basis, especially in Memphis. So in order for us to move past the violence of music, we need not look only to the artists but a way to improve upon the mentality that the newer generations have. I was having a conversation with a good friend of mine the other day and we were talking about how many kids nowadays think that they are tough. But in reality they are not. He made a statement along the lines of ‘the new generation of individuals have no image to call their own. What they truly want and need is guidance and foundation. There once was a time when if you fought someone, you did not have to look over your shoulder and be cautious of your life because you knew it was over. But now, it’s like once you end the fight and God forbid you win and humiliate them, now you have a target on your back.’ This made me think of how with the evolution of music and generations, it’s less about letting go and moving on but more about revenge and retribution. Where this disconnect occurred in music and society, I do not know, but I do know that we need to bring more positivity in music and communities and stop promoting what music labels want to sell. Buying the music does not mean that you’re necessarily supporting the artist but it does mean that you are supporting the image and idea that they are trying to portray.
Violence and music in general have always been synonymous, but it tends to be more significant in Hip Hop due to the very nature of its listeners. With most artists being of African decent, and its listen of the same culture, their lyrics tend to mesh with the lifestyle of Blacks. With this idea in mind, one would easily say that music has a profound effect on the psychosis of Blacks, who have been deemed by history to have the nature of violence. As it has been noted time and again, it is up to the listener whether or not music influences his or her decision-making and actions. While I agree fully with this statement, I believe that there is a factor that is often over looked in this instance that gives rise to the violent nature of Hip Hop listeners, not just Blacks in general. This factor is weak-mindedness. Too often, weak-minded individuals are quick to be reactive to music. For instance, if you have a child who listens to nothing but ‘gangsta rap’, where the only thing referenced is shooting, beating, robbing, raping and other negative images, then once some drastic occurrence happens in the child’s life and these ideas have been festering in his or her mind, they act on what they know and that’s negative behavior. It does not take much for something like this happen because we se almost on a daily basis, especially in Memphis. So in order for us to move past the violence of music, we need not look only to the artists but a way to improve upon the mentality that the newer generations have. I was having a conversation with a good friend of mine the other day and we were talking about how many kids nowadays think that they are tough. But in reality they are not. He made a statement along the lines of ‘the new generation of individuals have no image to call their own. What they truly want and need is guidance and foundation. There once was a time when if you fought someone, you did not have to look over your shoulder and be cautious of your life because you knew it was over. But now, it’s like once you end the fight and God forbid you win and humiliate them, now you have a target on your back.’ This made me think of how with the evolution of music and generations, it’s less about letting go and moving on but more about revenge and retribution. Where this disconnect occurred in music and society, I do not know, but I do know that we need to bring more positivity in music and communities and stop promoting what music labels want to sell. Buying the music does not mean that you’re necessarily supporting the artist but it does mean that you are supporting the image and idea that they are trying to portray.
Violence and Hip-Hop
by Chandra Wiseman
Much of society associates the violence that has occurred within the boundaries of Hop-Hop is the main reason for negative feelings toward the genre of music. Giving much of what I have heard in mainstream media and not knowing anything about the music; I would be inclined to believe there is too much violence involved to have any enjoyment in listening it. Hip-Hop would not be the only music that I would offer this opinion to. I would also have reserve about heavy metal music and rock and roll. Heavy metal would definitely be at the top of a list labeled, do not let your children listen to.
NWA is the first of hip-hop rappers that I can remember that were disrespectful in their lyrics. I remember wanting to listen to their entire cd and my parents forbidding it. The only thing heard by my mother was f&@!* the police. I could not listen to rap anymore. I was not a happy camper. It made me sneak and listen to what was forbidden. Being a mother now, I attempt to screen what my children listen to. I have also come to realize, taking the time to sit down with your children and talk with them about what is being said in the songs and what is the right and wrong thing to do. I make sure my twelve year daughter knows who she is and what she is to demand when it comes down to how she is to be respected and treated. I inform my son of how he should act in the streets and how to treat a female. I also remind him that he has a mother and a sister. Treat females how he would want his mother and sister treated. I inform my children that many hip hop artists say and do things to add “flavor” to their persona. They are in the business of making money and to some accomplish it by any means necessary, which includes: wear pants that sag, having a mouthful of gold and diamonds (in their teeth), having tattoos all over their bodies, and saying disrespectful things about their culture, females, police and neighborhood. Learning the difference and still enjoying the music begins at home. It does not take all that is being done. One of the coolest and cleanest of hip hop artists of all time is the Fresh Prince and DJ Jazzy Jeff. I can only recall my mother allowing me to only listen to his music. That is a smart move. When you want to go far in any business, you have to be marketable to more than one race, culture and generation. The appeal has to be universal.
The younger generation is so easy to be impressed. Parents are becoming younger therefore; they are not educating their children about reality. Knowing reality is the key to the younger generation and not being gullible to what rappers and hip hop artist say and do in their songs and in their media indulged life. You cannot disrespect civil service workers and get away with it. Being disrespected in someone else’s neighborhood and toward someone’s sibling can get you killed today. Throwing up signs to certain songs or even saying certain words can get you killed. No cool points for you. Society is quick to be judgmental and not wanting to accept what appears to be distasteful. I guess many should be proud because Hip hop is more acceptable than Heavy Metal.
I believe that it is not the appearance of violence Hip Hop promotes, it is the excuse that is used by the listeners and the media that states, Hip hop is the reason for the violence.
What society need to realize is, people commit acts of violence for others reason not known or revealed to anyone; not because the music says or make it appear to be the in thing to do. Those who commit the acts are victims of insecurities beginning at home.
Hip Hop talks about violence and can indulge violence however; it cannot be the total blame when violence appears on the scene.
Much of society associates the violence that has occurred within the boundaries of Hop-Hop is the main reason for negative feelings toward the genre of music. Giving much of what I have heard in mainstream media and not knowing anything about the music; I would be inclined to believe there is too much violence involved to have any enjoyment in listening it. Hip-Hop would not be the only music that I would offer this opinion to. I would also have reserve about heavy metal music and rock and roll. Heavy metal would definitely be at the top of a list labeled, do not let your children listen to.
NWA is the first of hip-hop rappers that I can remember that were disrespectful in their lyrics. I remember wanting to listen to their entire cd and my parents forbidding it. The only thing heard by my mother was f&@!* the police. I could not listen to rap anymore. I was not a happy camper. It made me sneak and listen to what was forbidden. Being a mother now, I attempt to screen what my children listen to. I have also come to realize, taking the time to sit down with your children and talk with them about what is being said in the songs and what is the right and wrong thing to do. I make sure my twelve year daughter knows who she is and what she is to demand when it comes down to how she is to be respected and treated. I inform my son of how he should act in the streets and how to treat a female. I also remind him that he has a mother and a sister. Treat females how he would want his mother and sister treated. I inform my children that many hip hop artists say and do things to add “flavor” to their persona. They are in the business of making money and to some accomplish it by any means necessary, which includes: wear pants that sag, having a mouthful of gold and diamonds (in their teeth), having tattoos all over their bodies, and saying disrespectful things about their culture, females, police and neighborhood. Learning the difference and still enjoying the music begins at home. It does not take all that is being done. One of the coolest and cleanest of hip hop artists of all time is the Fresh Prince and DJ Jazzy Jeff. I can only recall my mother allowing me to only listen to his music. That is a smart move. When you want to go far in any business, you have to be marketable to more than one race, culture and generation. The appeal has to be universal.
The younger generation is so easy to be impressed. Parents are becoming younger therefore; they are not educating their children about reality. Knowing reality is the key to the younger generation and not being gullible to what rappers and hip hop artist say and do in their songs and in their media indulged life. You cannot disrespect civil service workers and get away with it. Being disrespected in someone else’s neighborhood and toward someone’s sibling can get you killed today. Throwing up signs to certain songs or even saying certain words can get you killed. No cool points for you. Society is quick to be judgmental and not wanting to accept what appears to be distasteful. I guess many should be proud because Hip hop is more acceptable than Heavy Metal.
I believe that it is not the appearance of violence Hip Hop promotes, it is the excuse that is used by the listeners and the media that states, Hip hop is the reason for the violence.
What society need to realize is, people commit acts of violence for others reason not known or revealed to anyone; not because the music says or make it appear to be the in thing to do. Those who commit the acts are victims of insecurities beginning at home.
Hip Hop talks about violence and can indulge violence however; it cannot be the total blame when violence appears on the scene.
Hip Hop and Violence
by Candace Henderson
The topic of whether hip hop has a violent nature of if it causes violence is very irritating to me. How can one say that one music genre is the cause of violence among today’s youth? That statement alone is crazy and ridiculous.
When I read the article, Listening to Rap: Cultures of Crime, Cultures of Resistance by Tanner et al, it made my mind race a mile a minute. I wanted to see/ read what the findings were at the end when it came to does hip hop cause violence. I was shocked to read that the study concluded that blacks are less likely to commit crimes just because they listen to hip hop. What was funny to me was that the article stated that whites and Asians were more likely to commit crimes after listening to rap. I’m not saying that I’m this world renowned scholar who has completed intensive studies on the issue, but I have to say that I have always felt that whites and other non- black groups would be more likely to commit crimes after listening to hip hop.
When whites and other non-black groups listen to rap, they feel as if they have to fit in or prove themselves worthy to become a part of the hip hop world. So, those groups take what the rappers say literally. They forget that hip hop is an art form and sometime art forms are fictional. By them taking the lyrics literally, crime rate will increase. And when asked why did you do it, their response is “hip hop made me do it.”
Now, I’m not saying that blacks don’t commit crimes based on hip hop lyrics because there are a few who feel they need to prove their “hardness” by committing crimes. All I’m saying is that I agree with the study performed in the article. With that being said, the world needs to stop using hip hop as a scapegoat for all violence. Hip hop is not the cause of violence. Stupid people who don’t have any regard for human life, let alone their own life, cause crime. People need to stand up and start taking accountability for their actions and stop blaming others. No one tells a person after listening to hip hop to go out a rape, kill, or rob someone. If the listener cannot decipher between reality and fiction, they need not listen to music, watch movies, or read books. They should have 24 hour supervision at all times because clearly they are a danger/ hazard to themselves and especially to society.
The topic of whether hip hop has a violent nature of if it causes violence is very irritating to me. How can one say that one music genre is the cause of violence among today’s youth? That statement alone is crazy and ridiculous.
When I read the article, Listening to Rap: Cultures of Crime, Cultures of Resistance by Tanner et al, it made my mind race a mile a minute. I wanted to see/ read what the findings were at the end when it came to does hip hop cause violence. I was shocked to read that the study concluded that blacks are less likely to commit crimes just because they listen to hip hop. What was funny to me was that the article stated that whites and Asians were more likely to commit crimes after listening to rap. I’m not saying that I’m this world renowned scholar who has completed intensive studies on the issue, but I have to say that I have always felt that whites and other non- black groups would be more likely to commit crimes after listening to hip hop.
When whites and other non-black groups listen to rap, they feel as if they have to fit in or prove themselves worthy to become a part of the hip hop world. So, those groups take what the rappers say literally. They forget that hip hop is an art form and sometime art forms are fictional. By them taking the lyrics literally, crime rate will increase. And when asked why did you do it, their response is “hip hop made me do it.”
Now, I’m not saying that blacks don’t commit crimes based on hip hop lyrics because there are a few who feel they need to prove their “hardness” by committing crimes. All I’m saying is that I agree with the study performed in the article. With that being said, the world needs to stop using hip hop as a scapegoat for all violence. Hip hop is not the cause of violence. Stupid people who don’t have any regard for human life, let alone their own life, cause crime. People need to stand up and start taking accountability for their actions and stop blaming others. No one tells a person after listening to hip hop to go out a rape, kill, or rob someone. If the listener cannot decipher between reality and fiction, they need not listen to music, watch movies, or read books. They should have 24 hour supervision at all times because clearly they are a danger/ hazard to themselves and especially to society.
Hip Hop: Violence Infused?
by Brittany Hill
One of the most controversial topics when hip hop arises is whether or not hip hop is to blame for the many violent acts committed by individuals who support and listen to hip hop. There are so many people who use hip hop as a scapegoat when it comes to discussing violence, especially violence that involves today’s youth. However, one can often encounter individuals, such as myself, who actually find blaming hip hop for violence as being absolutely absurd and quite ridiculous.
Violence is purely none other than an act. Acts are in turn committed by individuals. No matter how much an individual tries to justify their acts of violence, their actions are merely their actions and that of no one else’s. Typically when violence is committed, there is no driving force. There is nothing or no one forcing another to participate or partake in such acts of foolishness. Violence, just like most things in this world, is a choice. You have the option to do or not to do. The decision is strictly up to you. No commercial on television or song on the radio can physically make you do so.
Hip hop is just a business. Just like movies and places such as the circus. It is simply there for your amusement and enjoyment. Hip hop artist are entertainers, just like actors and clowns. That is there occupation and they are going to do what it takes to get paid. They find out what sells and will do whatever it takes to sell their product as much as possible. If they find their audience is interested in sex, fighting, fashion, or even squirrels, then you better believe you will hear them discussing sex, fighting , fashion, and even squirrels. Just as we are looking to make a living, hip hop artist do too. Giving the audience what they want is their role as entertainers, whether non supporters like it or not.
What I find amazing about this controversial subject is how hip hop is constantly singled out and placed as the one to blame when there are several other genres of music speaking on many of the same things. For example, American Idol winner and country singer Carrie Underwood released her song “Before He Cheats” a couple of years ago which spoke on committing vandalism to her supposedly boyfriend that she caught cheating. Her chorus held lyrics such as “slashed all four tires” and “dug my key into the side of his pretty, little souped up four wheel drive”. Just like many hip hop songs and songs in other genres before and after, Ms. Underwood’s hit, violence was the main topic of conversation. They are hits, because artist, whether rock, pop, hip hop, or country, finds that it sells.
Whether one thinks hip hop influences violence a little or a lot, it certainly is NOT the cause of violent acts. No one should verbally say they committed theft or murder, because Lil’ Wayne or Eminem told them so out of a speakerbox. If you aren’t ready to be held accountable for your actions, then well I suggest you take a second thought before you engage in them.
One of the most controversial topics when hip hop arises is whether or not hip hop is to blame for the many violent acts committed by individuals who support and listen to hip hop. There are so many people who use hip hop as a scapegoat when it comes to discussing violence, especially violence that involves today’s youth. However, one can often encounter individuals, such as myself, who actually find blaming hip hop for violence as being absolutely absurd and quite ridiculous.
Violence is purely none other than an act. Acts are in turn committed by individuals. No matter how much an individual tries to justify their acts of violence, their actions are merely their actions and that of no one else’s. Typically when violence is committed, there is no driving force. There is nothing or no one forcing another to participate or partake in such acts of foolishness. Violence, just like most things in this world, is a choice. You have the option to do or not to do. The decision is strictly up to you. No commercial on television or song on the radio can physically make you do so.
Hip hop is just a business. Just like movies and places such as the circus. It is simply there for your amusement and enjoyment. Hip hop artist are entertainers, just like actors and clowns. That is there occupation and they are going to do what it takes to get paid. They find out what sells and will do whatever it takes to sell their product as much as possible. If they find their audience is interested in sex, fighting, fashion, or even squirrels, then you better believe you will hear them discussing sex, fighting , fashion, and even squirrels. Just as we are looking to make a living, hip hop artist do too. Giving the audience what they want is their role as entertainers, whether non supporters like it or not.
What I find amazing about this controversial subject is how hip hop is constantly singled out and placed as the one to blame when there are several other genres of music speaking on many of the same things. For example, American Idol winner and country singer Carrie Underwood released her song “Before He Cheats” a couple of years ago which spoke on committing vandalism to her supposedly boyfriend that she caught cheating. Her chorus held lyrics such as “slashed all four tires” and “dug my key into the side of his pretty, little souped up four wheel drive”. Just like many hip hop songs and songs in other genres before and after, Ms. Underwood’s hit, violence was the main topic of conversation. They are hits, because artist, whether rock, pop, hip hop, or country, finds that it sells.
Whether one thinks hip hop influences violence a little or a lot, it certainly is NOT the cause of violent acts. No one should verbally say they committed theft or murder, because Lil’ Wayne or Eminem told them so out of a speakerbox. If you aren’t ready to be held accountable for your actions, then well I suggest you take a second thought before you engage in them.
Sunday, October 9, 2011
by Trevor Thompson
This week I have been educated about the race and identity and authenticity of hip hop. If I were asked the question prior to this class, was hip hop a black movement? I would have replied yes. Having the opportunity to visit or be exposed to the Bronx various cultures, most people will only have the impression that a majority of hip hop artist are black because that is who is portrayed in the media. However, I have come to the conclusion that hip hop developed out of a culture who were oppressed. These people were both Black and Latino. When people are oppressed, they try to find an outlet, develop some type of elixir to ease the pain; thus came hip hop. Hip hop allowed people of many cultures a way to express themselves and to make a living. Hip Hop provided freedom and opportunity to develop ones identity. Growing up in poverty, one might not be able to see themselves as a physician or attorney, but you could image himself/herself being a hip hop entertainer because he/she had the opportunity to see other people’s dream come to fruition in thier community.
I have learned that various cultures contributed to the evolution of hip hop. Hip hop is not black music, but the music of the impoverished and in some cases, the revolutionaries. I also was curious about the forgotten hip hop artist of other cultures whose music did not become main stream but maybe had opened doors for other artists. I know these artists tried to make an identity for themselves as being the first in their race and culture to DJ, Rap and B boy. However, for some reason, their voices were silenced and names forgotten by the masses.
Additionally this week, I have learned that authenticity or realness is essential for street credibility in the hip hop culture. It could destroy an aspiring artist career. However, it was fascinating to also learn that there are various perceptions of keeping it real. An artist may not have money, or the material things in life, but what they do have is their reputation and their name. They will battle lyrically, and physically, to make sure that their name is kept in tack. At the end of the day it is about making sure you get your respect.
This week I have been educated about the race and identity and authenticity of hip hop. If I were asked the question prior to this class, was hip hop a black movement? I would have replied yes. Having the opportunity to visit or be exposed to the Bronx various cultures, most people will only have the impression that a majority of hip hop artist are black because that is who is portrayed in the media. However, I have come to the conclusion that hip hop developed out of a culture who were oppressed. These people were both Black and Latino. When people are oppressed, they try to find an outlet, develop some type of elixir to ease the pain; thus came hip hop. Hip hop allowed people of many cultures a way to express themselves and to make a living. Hip Hop provided freedom and opportunity to develop ones identity. Growing up in poverty, one might not be able to see themselves as a physician or attorney, but you could image himself/herself being a hip hop entertainer because he/she had the opportunity to see other people’s dream come to fruition in thier community.
I have learned that various cultures contributed to the evolution of hip hop. Hip hop is not black music, but the music of the impoverished and in some cases, the revolutionaries. I also was curious about the forgotten hip hop artist of other cultures whose music did not become main stream but maybe had opened doors for other artists. I know these artists tried to make an identity for themselves as being the first in their race and culture to DJ, Rap and B boy. However, for some reason, their voices were silenced and names forgotten by the masses.
Additionally this week, I have learned that authenticity or realness is essential for street credibility in the hip hop culture. It could destroy an aspiring artist career. However, it was fascinating to also learn that there are various perceptions of keeping it real. An artist may not have money, or the material things in life, but what they do have is their reputation and their name. They will battle lyrically, and physically, to make sure that their name is kept in tack. At the end of the day it is about making sure you get your respect.
Post racial? The Minority View
by Donal Davis
This week's discussion was very interesting. Interesting to me in that so many people expressed that they felt that hip hop was post racial. I found myself bewildered by the fact that so many shared this view. It forced me to recognize that it was not ridiculous or far fetched, and challenged my own views on the subject. I pride myself on not being obstinate and ignoring the facts around me, and this weeks discussion made me consider why so many would feel that hip hop and our society had evolved past race.
I grew up in a very culturally diverse set of communities in New Jersey, and have gone to school with people from all over the world. I have also moved around the country and been an observer of how race is handled in various parts of this country.
As a youth in New Jersey we were certainly race conscious, a fact that was certainly exposed during the Rodney King verdict in 1992 when neighbors began attacking each other on the main streets of our suburban community. Daily you were reminded that race mattered even in this highly integrated community if you happened to try to run to class through the Latin door, or worse the Roman door, if you know you should use the Black door. Of course, you could always just play tough and kick your way through the Jewish door, or take your chances at the Arab doors. This is the foundation from which I observe things. When the World Trade Center bombing in 1993 became news it was easy to observe the unease in the Arab community and see the prejudice levied against them in the aftermath. The worst part of the above description is that it is the best that I have yet to see race handled in our country. Every one knew who they were and how they were different, and found their own identity and left others to have theirs and express it freely.
As I began high school in Baton Rouge, Louisiana, I had the misfortune to attend Robert E. Lee high school which by my estimation took its namesakes position on the education and treatment of young black children. I arrived at the school to find that though I was a freshman, I had taken all the math classes that the high school had to offer save one honors math for seniors. My presence in the class was met with scorn and mockery. When there was a state wide math-a-thon which my teacher encouraged me to participate in the other students mocked me, because in their view the new black kid didn’t stand a chance against their resident red head. Well, when the results were announced later that week that, not only, had I scored best in the school, but third in the state. It did nothing to ease my acceptance by the other students. Obviously, the black kid had found a way to cheat.
My travels across Md, TX, Ca, NY, DC and many other places have various examples of how we are not a post racial society, yet one that struggles with self identity and the identity of others. Tennessee has been a true eye opener more because of how the black community seems to segregate itself more than it seems to be segregated by others. I have only recently become accustomed to being the only black family at many events we attend here in Hardin County. We’ve always found ourselves welcomed, but also glaringly out of place racially. I’ve later asked others in my community why they didn’t go to that park or attend that dance and I always hear the same answer “That is the White Park” or “the White dance”; “The Black park is over there.”
It is from this perspective that I am forced to reconcile what I have seen in the discussions versus what I know from first hand experiences. I am slow to discount others views or intelligence simply because they draw different conclusions from my own, and am reluctant to do so now. I can however observe that there has been a large effort over the past several years by those in authority and the media as a whole to convince the viewing public that our society is past racial divisions and stands as a united America. In light of my observations of the general consensus of many participating in the discussions, I would have to acknowledge that these efforts to convince are going well. I observe, however, that the efforts to actually change the behavior, rather than just the perceptions of people are not coming along as well.
This week's discussion was very interesting. Interesting to me in that so many people expressed that they felt that hip hop was post racial. I found myself bewildered by the fact that so many shared this view. It forced me to recognize that it was not ridiculous or far fetched, and challenged my own views on the subject. I pride myself on not being obstinate and ignoring the facts around me, and this weeks discussion made me consider why so many would feel that hip hop and our society had evolved past race.
I grew up in a very culturally diverse set of communities in New Jersey, and have gone to school with people from all over the world. I have also moved around the country and been an observer of how race is handled in various parts of this country.
As a youth in New Jersey we were certainly race conscious, a fact that was certainly exposed during the Rodney King verdict in 1992 when neighbors began attacking each other on the main streets of our suburban community. Daily you were reminded that race mattered even in this highly integrated community if you happened to try to run to class through the Latin door, or worse the Roman door, if you know you should use the Black door. Of course, you could always just play tough and kick your way through the Jewish door, or take your chances at the Arab doors. This is the foundation from which I observe things. When the World Trade Center bombing in 1993 became news it was easy to observe the unease in the Arab community and see the prejudice levied against them in the aftermath. The worst part of the above description is that it is the best that I have yet to see race handled in our country. Every one knew who they were and how they were different, and found their own identity and left others to have theirs and express it freely.
As I began high school in Baton Rouge, Louisiana, I had the misfortune to attend Robert E. Lee high school which by my estimation took its namesakes position on the education and treatment of young black children. I arrived at the school to find that though I was a freshman, I had taken all the math classes that the high school had to offer save one honors math for seniors. My presence in the class was met with scorn and mockery. When there was a state wide math-a-thon which my teacher encouraged me to participate in the other students mocked me, because in their view the new black kid didn’t stand a chance against their resident red head. Well, when the results were announced later that week that, not only, had I scored best in the school, but third in the state. It did nothing to ease my acceptance by the other students. Obviously, the black kid had found a way to cheat.
My travels across Md, TX, Ca, NY, DC and many other places have various examples of how we are not a post racial society, yet one that struggles with self identity and the identity of others. Tennessee has been a true eye opener more because of how the black community seems to segregate itself more than it seems to be segregated by others. I have only recently become accustomed to being the only black family at many events we attend here in Hardin County. We’ve always found ourselves welcomed, but also glaringly out of place racially. I’ve later asked others in my community why they didn’t go to that park or attend that dance and I always hear the same answer “That is the White Park” or “the White dance”; “The Black park is over there.”
It is from this perspective that I am forced to reconcile what I have seen in the discussions versus what I know from first hand experiences. I am slow to discount others views or intelligence simply because they draw different conclusions from my own, and am reluctant to do so now. I can however observe that there has been a large effort over the past several years by those in authority and the media as a whole to convince the viewing public that our society is past racial divisions and stands as a united America. In light of my observations of the general consensus of many participating in the discussions, I would have to acknowledge that these efforts to convince are going well. I observe, however, that the efforts to actually change the behavior, rather than just the perceptions of people are not coming along as well.
What's Real
by Chelsey Lyles
My parents were hippies, complete children of the seventies. They were both so different. My father was raised Muslim, my mother Baptist, My mother was a pacifist and my father was a member of the Black Panther Party. My mother was all light and energy and my father could sit for hours in complete stillness and silence. The one thing they both agreed on is that they wanted us to think for ourselves, be whoever we wanted, all six of us.
So when rap hit the scene and we had to decide if it was “real” music the choice was completely up to us. I was only born in 89’ so my foray into rap is very limited. Everything that came out from the mid to late 90s was at my disposal but the earlier stuff was not really at the top of my list. All I can remember is commercial rap. Biggie, Dre., and Tupac were in my ears before I learned to tie my shoes. I knew every lyric to every song on Tupac’s Me Against the World album. I was watching videos and the news when all there was was rap.
Reading this week’s articles made me second guess myself for a minute, second guess my love for music that is as familiar to me as the smell of fried chicken or the texture of my hair. The idea that “keepin’ it real” is more important than a story that needs to be told is just beyond my grasp. The idea of authenticity simply never occurred to me. Art is art. Who cares where it comes from and how it is arrived at?
I won’t claim there’s good and there’s bad, authentic and inauthentic. All there is, is the music. So when I heard Eminem’s Recovery album and found my head bobbing along to “Not Afraid” I didn’t think about whether he was white but about the words that he was saying. It wasn’t about keeping it real but about the music, the culture that is hip hop.
My parents were hippies, complete children of the seventies. They were both so different. My father was raised Muslim, my mother Baptist, My mother was a pacifist and my father was a member of the Black Panther Party. My mother was all light and energy and my father could sit for hours in complete stillness and silence. The one thing they both agreed on is that they wanted us to think for ourselves, be whoever we wanted, all six of us.
So when rap hit the scene and we had to decide if it was “real” music the choice was completely up to us. I was only born in 89’ so my foray into rap is very limited. Everything that came out from the mid to late 90s was at my disposal but the earlier stuff was not really at the top of my list. All I can remember is commercial rap. Biggie, Dre., and Tupac were in my ears before I learned to tie my shoes. I knew every lyric to every song on Tupac’s Me Against the World album. I was watching videos and the news when all there was was rap.
Reading this week’s articles made me second guess myself for a minute, second guess my love for music that is as familiar to me as the smell of fried chicken or the texture of my hair. The idea that “keepin’ it real” is more important than a story that needs to be told is just beyond my grasp. The idea of authenticity simply never occurred to me. Art is art. Who cares where it comes from and how it is arrived at?
I won’t claim there’s good and there’s bad, authentic and inauthentic. All there is, is the music. So when I heard Eminem’s Recovery album and found my head bobbing along to “Not Afraid” I didn’t think about whether he was white but about the words that he was saying. It wasn’t about keeping it real but about the music, the culture that is hip hop.
Hip Hop: Race, Identity, & Authenticity
by Brittany Hill
When it comes to the role of hip hop there are several factors that tie in and play a huge role. Race, identity, as well as authenticity are of those many factors. These factors are not only important in evaluating the hip hop artist, but just the genre of music in general. They help one understand not only where hip hop has come from, but how far it can and will go. Understanding these factors can also allow for a better appreciation of the genre of music.
Just like in many other things in our society, race plays a huge role in hip hop. As hip hop began its rise in the late 1900’s, it was mainly utilized as an outlet for low income, underprivileged individuals and communities which in most cases consisted of nothing, but Blacks. Since Blacks were the main ones to produce and bring forth hip hop, many other races turned a deaf ear to hip hop, because they felt as though they wouldn’t be able to relate before they even heard what all the noise was about. This goes back to separation and segregation. The fear of another culture or race interfering with or influencing another one’s culture or race was still big therefore allowing Blacks to keep a hold on hip hop for a longer period of time. Yet, now there are several races that not only enjoy the sounds of hip hop, but go as far as producing some hip hop tunes of their own. For example, in Mickey Hess’s article Hip Hop Realness and the White Performer, Hess explains the journey of the White performer Eminem and his claim to fame in the hip hop world.
Identity has always been a big factor in the world of hip hop whether it comes to those attempting to establish their own identity in the hip hop world or individuals trying to see who in the hip hop world they identify more with. Establishing an identity in the hip hop world also determines one’s succession in the hip hop world. People are constantly looking for “real” people they can relate to and identify themselves with. It you are able to display how much you can identify and relate to those around you then you are more likely to have more people interested in what you have to say. At the same time, having an identity that isn’t like others, is original in the hip hop world, and stands out makes you more likely to have success as well which brings me to the factor of authenticity.
Authenticity can be defined in many ways. So whether it is in a dictionary or in the world of hip hop, authenticity is way more than just words. To be authentic in the hip hop world is extremely important. It allows one to be relatable, respected, as well as admired. People are always looking for someone who has “been there and done that”. They love to see that “been there and done that” to be somewhere they have been or something they have done. Yet, at the same time they are looking for someone who isn’t like Joe Flow who came out last week. Authenticity also relates to hip hop when it comes to speaking on hip hop itself. It is something that cannot be duplicated. No other genre is like hip hop nor comes close. Hip hop has a story to tell and I am getting numerous paper cuts from all the pages I have to turn to read it!
When it comes to the role of hip hop there are several factors that tie in and play a huge role. Race, identity, as well as authenticity are of those many factors. These factors are not only important in evaluating the hip hop artist, but just the genre of music in general. They help one understand not only where hip hop has come from, but how far it can and will go. Understanding these factors can also allow for a better appreciation of the genre of music.
Just like in many other things in our society, race plays a huge role in hip hop. As hip hop began its rise in the late 1900’s, it was mainly utilized as an outlet for low income, underprivileged individuals and communities which in most cases consisted of nothing, but Blacks. Since Blacks were the main ones to produce and bring forth hip hop, many other races turned a deaf ear to hip hop, because they felt as though they wouldn’t be able to relate before they even heard what all the noise was about. This goes back to separation and segregation. The fear of another culture or race interfering with or influencing another one’s culture or race was still big therefore allowing Blacks to keep a hold on hip hop for a longer period of time. Yet, now there are several races that not only enjoy the sounds of hip hop, but go as far as producing some hip hop tunes of their own. For example, in Mickey Hess’s article Hip Hop Realness and the White Performer, Hess explains the journey of the White performer Eminem and his claim to fame in the hip hop world.
Identity has always been a big factor in the world of hip hop whether it comes to those attempting to establish their own identity in the hip hop world or individuals trying to see who in the hip hop world they identify more with. Establishing an identity in the hip hop world also determines one’s succession in the hip hop world. People are constantly looking for “real” people they can relate to and identify themselves with. It you are able to display how much you can identify and relate to those around you then you are more likely to have more people interested in what you have to say. At the same time, having an identity that isn’t like others, is original in the hip hop world, and stands out makes you more likely to have success as well which brings me to the factor of authenticity.
Authenticity can be defined in many ways. So whether it is in a dictionary or in the world of hip hop, authenticity is way more than just words. To be authentic in the hip hop world is extremely important. It allows one to be relatable, respected, as well as admired. People are always looking for someone who has “been there and done that”. They love to see that “been there and done that” to be somewhere they have been or something they have done. Yet, at the same time they are looking for someone who isn’t like Joe Flow who came out last week. Authenticity also relates to hip hop when it comes to speaking on hip hop itself. It is something that cannot be duplicated. No other genre is like hip hop nor comes close. Hip hop has a story to tell and I am getting numerous paper cuts from all the pages I have to turn to read it!
Reflection: Chang: Chapter 6
By Brittany Anderson
I chose to reflect on my reading in Chapter 6 in Chang’s book. As I read more into the book and learn about the rappers and the DJs, I see their passion and how it wasn’t something they just decided to do one day. For example, Chang talks about how as a little boy, Grandmaster Flash was trying to make a science out of radios. He was also fascinated with basically anything you plugged into the wall. Instead of being the normal child and being attracted to the streets and the sports, he wanted to pick up the abandoned radios, take apart washing machines, and even hair dryers. The passion he had a s a child was remarkable. I was reading when he said the DJ is the foundation and I didn’t understand what Chang meant. When I sat and thought about it, when I’m at a party, the party is basically in the DJ’s hand because they change and set the moods for the party by changing the songs. The hype and attitude of the DJ plays a significant part as well. When I was reading about b-boying, I didn’t know what it was. I looked it up on you tube and was impressed. I was impressed because the young people here down south are starting to do that. A guy that I know from California, originally from Memphis, visited and started doing that. His friends of course made fun of him and never thought he would do anything like that because he was always so cool and laid back and a big football player. They laughed but soon started to do it themselves. There was passion back in the day with b-boying because no matter if they got scratches, cut, or even bruised while b-boying, they would still always go out and give it their all. That motto still lives in some children today but not many; ranging from rappers, dancers, students, and even the parents nowadays. It was also interesting to see how if no one was dancing, then there was violence. Just as today, if the children aren’t involved in something positive, they will get into something they have no business. Reading chapter six is convincing me there is hope for the communities but I am reading the next chapter to find out.
I chose to reflect on my reading in Chapter 6 in Chang’s book. As I read more into the book and learn about the rappers and the DJs, I see their passion and how it wasn’t something they just decided to do one day. For example, Chang talks about how as a little boy, Grandmaster Flash was trying to make a science out of radios. He was also fascinated with basically anything you plugged into the wall. Instead of being the normal child and being attracted to the streets and the sports, he wanted to pick up the abandoned radios, take apart washing machines, and even hair dryers. The passion he had a s a child was remarkable. I was reading when he said the DJ is the foundation and I didn’t understand what Chang meant. When I sat and thought about it, when I’m at a party, the party is basically in the DJ’s hand because they change and set the moods for the party by changing the songs. The hype and attitude of the DJ plays a significant part as well. When I was reading about b-boying, I didn’t know what it was. I looked it up on you tube and was impressed. I was impressed because the young people here down south are starting to do that. A guy that I know from California, originally from Memphis, visited and started doing that. His friends of course made fun of him and never thought he would do anything like that because he was always so cool and laid back and a big football player. They laughed but soon started to do it themselves. There was passion back in the day with b-boying because no matter if they got scratches, cut, or even bruised while b-boying, they would still always go out and give it their all. That motto still lives in some children today but not many; ranging from rappers, dancers, students, and even the parents nowadays. It was also interesting to see how if no one was dancing, then there was violence. Just as today, if the children aren’t involved in something positive, they will get into something they have no business. Reading chapter six is convincing me there is hope for the communities but I am reading the next chapter to find out.
Monday, October 3, 2011
Reflections of Race and Hip Hop
Hip hop comes from the struggles of a group of people and served as a vehicle for change. Most of these people were African American or Puerto Rican. I think that in most situations the race of an individual authenticated their struggle, swagger andn ultimately, their their music. Race kind of served as a type of checks and balance system for race, identity and authenticity of a hip hop artist. Being Black or Puerto Rican automatcally meant you were down and you were a part of something, right? Sounds simple but it hasn't really been that way for sometime.
Someone who does not identify racial or have the same struggle comes in and introduces the music game to something new. In my mind it initially begins as a kind of sideshow in the circus that is hip hop. "This white boy can flow," or at least you used to. Kind of reminds me of the fascination with blue eyed soul singers. It's as if the color of a person's skin makes their ability an oddity. I'm not quite sure it should or not, after all we all have some type of struggle. Isn't Eminem's growing up in a trailer park as valid as 50 Cent's gun shot wounds??
But in today's musical climate were so many rappers are faking the funk in exchange for cushy advances and album sales, it's hard to tell who's struggle is real and who's is a figment of a record executive's imagination. With that being said, I think that race as an identity for hip hop and in terms of authenticating an artist, isn't as valid of a technique if you will, as it used to be. Being black and rapping doesn't automatically give you a "struggle card," just means you can talk the talk. Right now its not really about who you are or where you came from that makes a person authentic, it's more about who you can be perceived to be. –Melody Andrews
I would like to think that race doesn't play an in depth part of hip hop but, it does. From the formation of hip hop , to its current state, hip hop has been dominated by African Americans. I am glad that Dr. Dre took the time to coach and mentor Eminem. I will give Eminem all the credit in the world for his past 12 years of contributions to hip hop. Yet and still, it wasn't ideal to see a young white man that happened to live an impoverished life, have a unhappy marriage, and a life that he wasn't ashamed to embrace it all as his own. He has turned out to be one the best lyricists in hip hop. The identity of hip hop goes somewhat hand in hand with the race. The rappers and faces of hip hop today wants the listeners to identify with them through their music. Many artists expose their hood credit and want that excepted as their stamp of validation when they enter the world of hip hop. Many focus on their early days of writing rhymes, jail time, drug sellings, sleeping with mutiple women, and family struggles, which identifies them and it is this that is trademarked as their identity. While some artists have proclaimed being very poor, once they make it in the industry, some respond to fame and fortune with expensive cars, pricey jewelery, and excessive spending. Authenticity has a major role in hip hop, I clearly remember that Rick Ross was exposed as being a former correctional officer for 18 months. To make matters worse, after being exposed, Rapper 50 Cent used the mother of Rick Ross' son to further humilate him by posing with their son on photos and web sites. I was afraid that he would be portrayed as the police or a snitch but luckily, he endured and prevailed. I don't think anyone wants to be known as a fake but its clear that any chance another rapper has the chance to out another for any small or large omission on the hood credit, the punches are easily thrown and the beef starts. –Arquita Hill
Review: Let's Get Free: A Hip Hop Theory of Justice
Let's Get Free: A Hip-Hop Theory of Justice. The New Press, 2010. 224 pages, $11.41
by Melody Andrews
Two years ago, Jamal Michael Barrow was released and deported to Belize after serving a nine year stint in a New York prison. In 2010, Torrence Hatch was indicted on a first degree murder charge. Last month, Clifford Joseph Harris, Jr. was released from an Arkansas prison. Last week, Troy Davis was executed by lethal injection in Georgia. It is no doubt that the mainstream ideology is that rap is synonymous with crime. Three of the aforementioned men are rappers who have had highly publicized brushes with the law. Troy Davis, however, was not a rapper. He was an African American man serving time in a federal penitentiary, like 2.3 million Americans just like him (Butler 30). Currently the United States of America has a higher incarceration rate than any other nation in the free world (Butler 29). This comes to no surprise to Professor Paul Butler who is a former prosecutor and the author of Let’s Get Free: A Hip Theory of Justice.
At the height of Butler’s career as a prosecutor in the District of Columbia he was arrested and tried for a crime he did not commit. Until then Butler had never realized what those individuals he bought charges against go through. He never considered their potential innocence or the factors that got them in the predicament. Until his own arrest, Butler lived by the prosecutor’s rule that 99 percent of those individuals accused of crimes are guilty (Butler 19). Butler’s Let’s Get Free illustrates his awakening to the truth about the system of crime and punishment that operates in the United States. In his debut book, Butler examines the prison system in various socioeconomic terms such as the way imprisonment affects the family structure, race relations and the economic implications of what he calls “mass incarceration.” In the true fashion of hip hop, Butler presents a controversial outlook on the justice system in America through his perception and style, examinations of hip hop popular culture and the implications for the future of the American justice system.
Paul Butler was raised by a single mother on the South Side of Chicago (Butler 12). He stayed out of trouble (to the contempt of his peers) and went on to study at Yale and later Harvard Law (Butler 12). Although the odds were stacked against him, he pulled himself up by his proverbial boot straps and went on to excel. His bright and getting brighter future did not include getting arrested for simple assault. However, without experiencing that brush with the law and obtaining a record, the former prosecutor probably would have never penned Let’s Get Free. It goes without saying that Butler’s style in Let’s Get Free was influenced by both his experience as a prosecutor and being prosecuted. Though his phrasing reflects his education, it is not at all uptight or stiff. He exhibits a flow and liquidity that envelopes the reader in Butler’s mind and thoughts. For instance, the first chapter, which reads like a dramatic urban novel, allows the reader to grow with Butler through his achievements and ultimately his downfall. The chapter’s title, “The Hunter Gets Captured by the Game: A Prosecutor Meets American Criminal Justice,” foreshadows the twist of fate Butler experiences. Butler employs use of the hip hop term “the game,” which sets a slightly casual tone for the entire work. One literary technique and theme that appears throughout Let’s Get Free is irony. The basis of the book is pure irony. Prosecutor turned prisoner turned advocate for judicial reform. Chapter five begins with this ironic anecdote:
“Kathryn Johnston had spent all of her eighty-eight years in the city of Atlanta […], and she was scared to death[...] She kept a gun to protect herself against intruders. The intruders, three of them, came late one Tuesday night […] the men, dressed in street clothes, began tearing down the front door. The old woman took her pistol and fired one shot through the door. She missed. The three invaders rammed the door open and returned fire. Thirty-nine times. After they killed Mrs. Johnston, they put her in handcuffs. The intruders were Jason Smith, Gregg Junnier, and Arthur Tesler, all officers of the Atlanta Police Department,” (Butler 72).
It is extremely ironic that the elderly Kathryn Johnston, who lived in constant fear of drug dealers and thugs in her own neighborhood, would ultimately be slain by the very individuals who she was sure would protect her: the police. Another notable example of Butler’s use of irony is seen in the second chapter, when Butler describes the disparity between sentencing for cocaine and crack-cocaine related crimes. After the death of a college basketball player resulting from cocaine overdose, legislatures decided to make crack cocaine related crimes punishable at a one to one hundred ratio in comparison to cocaine in its powder form (Butler 39, 40). Toxicology reports later revealed that Bias’s death was not from crack cocaine but the powder substance (Butler 40). In the long run, Butler’s use of ironic antidotes aid in linking the culture of hip hop to the culture of justice.
Though the full hip hop element of Butler’s Let’s Get Free appears late in the work (it is not discussed in full detail until Chapter 7), it provides an artistic approach to all the statistical data discussed in previous chapters. Butler states that the chapter serves as the soundtrack for his thoughts on the justice system (Butler 108). He successfully illustrates that though educated and once a prosecutor he is still “down.” Of all the attributes to hip hop that Butler discusses a few are notable for their direct ties to popular hip hop. The snitch is one of these attributes. Nearly everyone who’s ever had siblings has heard their mother’s warning that no one likes a snitch. That very saying is definitely true in hip hop culture, this is evident in the Baltimore based Stop Snitching campaign and even more so in the cautionary “snitches get stitches.” However Butler’s approach to snitches is not of a threatening nature, instead he asserts that snitching harms more than it helps the community. Snitches are defined by Butler as, “informants who receive a reward, usually cash or leniency from prosecution, in exchange for providing law enforcement with information about criminals,” (Butler 74). This is profoundly different from the mainstream ideology of the beneficial bell ringer. Even though Butler does not condone snitching to get ahead, he does support witnesses doing their civic duty and helping to solve crimes in the community. The difference, Butler says, is that snitches tattle only when it is beneficial to them (Butler 74). The portion of Let’s Get Free that is dedicated to snitches arouses a few questions in the reader, one being if Butler had not been snitched on himself by a neighbor would he feel so strongly against them? This question makes it difficult for Butler’s opinions and findings to be read as unbiased. Even though he does make valid points against them, his discussion is often full of generalizations. Another, less controversial theme prevalent in hip hop that appears in Butler’s work is the idea of change.
Over a beat sampled from Zapp and Roger’s “Be Alright,” Tupac rhymed about hard economic times and streets full of crime; the daily struggle to survive for some Americans. A simple phrase served as his reminder to the poor, hustlers and single mothers that bleak situations would get better: keep ya head up. Hip hop, as mentioned in Jeff Chang’s work Can’t Stop Won’t Stop, originated as a form of rebellion in the midst of social and economic oppression. A struggle for change and at its core hip hop has remained just that. Coincidentally, that is exactly what Butler is calling for in Let’s Get Free. During the course of the book he encourages the masses to stand up what against what he calls mass incarceration rates in the United States. Butler does this by presenting startling numbers that for every one Caucasian male incarcerated there are eight African-American males incarcerated (Butler 38). Butler suggests that the justice system in America needs a new approach and that hip hop may be just what it needs. He states that,
“Hip-hop offers a fresh approach. It first seems to embrace retribution […] The “unwritten law in rap,” according to Jay-Z, is that “if you shoot my dog, I’ma kill yo’ cat… know dat / For every action there’s a reaction.” Next, however, comes the remix. Hip-hop takes punishment personally. Many people in the hip-hop nation have been locked up or have loved ones who have been. […]You understand criminal justice differently when the people that you love experience being “locked down all day, underground, neva seein’ the sun / Vision stripped from you, neva seein’ your son,” (Butler 108)”
Butler highlights that African American and Hispanic men dominate the hip hop industry as well as prisons (Butler 109). He suggests that because hip hop is an extremely popular genre with influences in all forms of art and media, it has the power to influence and ultimately change the law and how it affects those individuals it is supposed to protect.
The phrase “police state” evokes images of Nazi occupied Germany, a place where freedom is hardly imaginable and being watched under strict supervision is the norm. Let’s Get Free warns against letting the government and law enforcement agencies having too much power. The author insists that giving more power to law enforcement means that the civil liberties of individual citizens is being invaded without them even realizing it (Butler 37). In theory, Butler is correct a police state would be disastrous for America and although he provides strong evidence to support his argument and suggestions on how people can ultimately “get more free” he often fails to provide concrete ways to implement his plans against what he calls mass incarceration. His ideas are profound and fairly innovative, but their effect on the future of the American justice system is unclear. Sure, Butler has eloquently made suggestions and predictions about the future of crime and punishment in the United States, but in essence that is all that they are. With Butler’s many suggestions is rarely a rebuttal or any negating factors. There is little to no mention of how the recent recession has affected the crime rates, which was utterly surprising considering that Butler consistently provided the numbers to support his findings. Let’s Get Free is without a doubt a good start for Butler’s movement and the only way for it to materialize is for people to read it, understand it and care about the issues that it poses. The movement to a freer America needs manpower and political support to implement and instill Butler’s plans.
Let’s Get Free, a novel by former prosecutor Paul Butler is without a doubt captivating. It quickly engages the reader and not only encourages the reader to think, but requires them to do so in order to gain a complete understanding of what Butler is presenting. Every nation has its problems, with that being said it does not mean that numbers of those inhabiting prisons and jails is not an appalling predicament. But it would be better if Butler’s plan started with baby steps and not just jumped to freeing 500,000 on a whim. It’s not that simple. Like he stated early on there is nothing simple about crime and punishment (Butler 11) and because of that there is no simple solution. Let’s Get Free is without a doubt a great read. It is riveting and engaging. The book presents situations that most Americans rarely ponder when watching CSI or Law and Order. Correcting the issues of America’s justice system sounds almost effortless, but the reality is that Let’s Get Free is in fact no easy answer.
Saturday, October 1, 2011
Reflections on Race, Identity and Authenticity
I believe that Race, Identity, and Authenticity are all fundamentals in the creation of hip hop. The article by Hess states, " Hip Hop music is a Black form, given the involvement of African Americans in it's creation, and because its concepts of authenticity are so tied to the roots of its culture" (Hess 375). No matter what profound contributions White individuals make to hip hop, the established groundwork of this genre will always be a defining principle. I am not saying that the hip hop culture will not be accepting of White artists, but I do believe they will be expected to in a sense "step lightly".
Identity of an artist is important in their ability to relate to their audience, while expressing their talents. The ability to know who you are, and what you have to offer brings a sense of authenticity to one's music. The issue that plagued Vanilla Ice was all about the false identity that he portrayed to the audience, once his credibility was tarnished his ability to identify with the audience was destroyed. Knowing who you are empowers your ability to relate to others.
Authenticity is imperative to establishing your identity, and your realm of influence. If your story is not truth, then you void any possibility of credibility in a genre based on the origins of hip hop. Who you are and where you have been in life are monumental truths that impact the validity of your reputation and lyrics. By altering or mislabeling who you are you dissolve any truth to your art.-by Rachel Wacker
Race has had and continues to play a significant role in hip hop. Consider for a moment an example of fashion. Although I can't stand the sagging pants trend, the attention received by the media and "officials" can clearly be seen as motivated by race when one considers the timing of the attention. White skaters and bikers actually could be observed "sagging" to a certain degree well before the trend caught on with young black boys. The trend is disgusting no matter who does it, but why the intense reaction now? Consider an example of political speech. When the Dixie Chics voiced an opinion that was controversial, they were targeted by the media personally, meaning the attention was directed precisely towards them, not Country Music as a whole. Yet, when Kanye, Jay-Z, Common, and David Banner speak out the whole of hip hop was considered to share their opinions. Though it may be true, it was an instant conclusion. When ever a rapper is arrested it in construed as being a wholesale representation of an entire community in the media. This is clearly racially motivated.
Christians argue that the greatest trick the devil ever pulled was convincing the world he doesn't exist, I say that the Klan and racists are degrees more clever, because you know they exist but deny why.
Identity is often a function of race. Studies demonstrate that cross-cultural (meaning race) identifications are far less accurate than those among the same race. We know our families, which extends to our community. How many reading this post can distinguish among different Hispanic races, Asian races, or African races??? Oh yes, African races (yes the S is intentional) all black people didn't come from one neighborhood. African Americans are from the most genetically diverse place on the planet. There is greater genetic diversity among neighboring tribes in Africa than is observed between people from outside of Africa put together. Interesting.
Authenticity? We know truth when we here, but will we listen. Do we want fantasy or reality? Animation is more popular than documentary. Real recognize real!-By Donal Davis
Identity of an artist is important in their ability to relate to their audience, while expressing their talents. The ability to know who you are, and what you have to offer brings a sense of authenticity to one's music. The issue that plagued Vanilla Ice was all about the false identity that he portrayed to the audience, once his credibility was tarnished his ability to identify with the audience was destroyed. Knowing who you are empowers your ability to relate to others.
Authenticity is imperative to establishing your identity, and your realm of influence. If your story is not truth, then you void any possibility of credibility in a genre based on the origins of hip hop. Who you are and where you have been in life are monumental truths that impact the validity of your reputation and lyrics. By altering or mislabeling who you are you dissolve any truth to your art.-by Rachel Wacker
Race has had and continues to play a significant role in hip hop. Consider for a moment an example of fashion. Although I can't stand the sagging pants trend, the attention received by the media and "officials" can clearly be seen as motivated by race when one considers the timing of the attention. White skaters and bikers actually could be observed "sagging" to a certain degree well before the trend caught on with young black boys. The trend is disgusting no matter who does it, but why the intense reaction now? Consider an example of political speech. When the Dixie Chics voiced an opinion that was controversial, they were targeted by the media personally, meaning the attention was directed precisely towards them, not Country Music as a whole. Yet, when Kanye, Jay-Z, Common, and David Banner speak out the whole of hip hop was considered to share their opinions. Though it may be true, it was an instant conclusion. When ever a rapper is arrested it in construed as being a wholesale representation of an entire community in the media. This is clearly racially motivated.
Christians argue that the greatest trick the devil ever pulled was convincing the world he doesn't exist, I say that the Klan and racists are degrees more clever, because you know they exist but deny why.
Identity is often a function of race. Studies demonstrate that cross-cultural (meaning race) identifications are far less accurate than those among the same race. We know our families, which extends to our community. How many reading this post can distinguish among different Hispanic races, Asian races, or African races??? Oh yes, African races (yes the S is intentional) all black people didn't come from one neighborhood. African Americans are from the most genetically diverse place on the planet. There is greater genetic diversity among neighboring tribes in Africa than is observed between people from outside of Africa put together. Interesting.
Authenticity? We know truth when we here, but will we listen. Do we want fantasy or reality? Animation is more popular than documentary. Real recognize real!-By Donal Davis
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