The United States during the 1980s held a significant weight in regard to both the political direction of the country, and the emergence of hip hop amongst the youth. The executives in control, such as President Reagan, took the already active “War on Drugs” and redesigned it with a much more aggressive strategy, explicitly targeting poor ghettos around the country. As the government began to focus its efforts on narcotics, black and brown communities became the breeding ground for crime and violence which notoriously come along with drugs. The presence of gang activity rapidly increased throughout the 1980s, specifically in major cities across the United States, using drugs and violence to dominate poverty-ridden areas. Crack cocaine arose as the trendy drug that began to engulf these communities, which drastically heightened tensions between law enforcement and the black neighborhoods. This provoked a new strategy by the Federal government to put “mandatory minimums” in place as a means of capturing cocaine users and locking them up for years on end. As police began to insert themselves so heavily into the drug scene, they capitalized on the demographics of these areas, which prompted the rise of a multi-billion dollar industry – prisons.
Various micro-movements within hip hop, such as gansta and political rap, documented the presence of addictive substances and police brutality in their local communities. In the journal article by Jeffrey Ogbar, he engages the topic of hip hop as a critique of politics, and claims that
“the ways in which rappers have engaged the prison industry is complex, reflecting perspectives including romantic notions of authenticity to radical narratives of prison abolition” (Ogbar, 139).
The hip hop culture became a direct reflection of the everyday struggles that many artists endured, as people were being oppressed, taken from their families for years, and labeled as felons which affected their ability to work. The government systematically dominated the black and brown communities, which practically prevented these groups from succeeding in a capitalist economy. The hip hop artists at the time took note of this atrocious behavior by people with authority, the most notable example being N.W.A. as they merged the genres of gansta and political rap. Arguably their biggest track, “F*ck the Police”, became a staple in the media as both an icon for the unruly behavior of gangs, as well as the effects of police brutality on black communities. The song has been referenced as a cause for riots and protests across the United States.
The hip hop at the time had been known to celebrate this rebellious behavior and essentially glorify those who had fallen into the prison systems. The journal article by Paul Butler notes that
“in this sense, inmates are heroic figures” (Butler, 132).
Today, the presence of police brutality and political rap has yet to cease, with many modern examples such as Jay Z commenting on the movement throughout his music. Butler references lyrics from a Jay Z track in his journal,
“shout-out to my n*ggaz that’s locked in jail / P.O.W.’s that’s still in the war for real… But if he’s locked in the penitentiary, send him some energy / They all winners to me.” (Butler, 132).
The importance of artists such as Jay Z addressing this issue, lies in the fact that the prison rap has transcended the boundaries of music, becoming a fully-fledged, mainstream political movement. I agree with Paul Butler that this movement makes a strong case for the transformation of American criminal justice; even though it originated as a form of musical expression from the underprivileged youth, political rap developed into a movement because of the massive popularity of hip hop and the celebrity status of mainstream artists.
The preferential treatment of whites in the United States has dominated American society and culture since the country’s colonization. Each generation of white Americans have learned from their predecessors and instilled differential treatment based on race, thus leading to a toxic cycle of social hierarchy. Historically, the Jim Crow laws provide a distinguished point of reference in regard to the systematic oppression and political imbalance that divided the country for so long. These laws were put in place to legally require the separation of colored and white people, which ultimately lead to a substantial difference in the quality of public facilities such as schools. This segregation directly restricted the abilities of African American people to succeed in a society that recently freed them from slavery, thus placing black people in a continued era of mistreatment. The old Jim Crow laws were officially abolished in 1965, yet the preferential treatment of whites would merely reinvent itself amongst the American society. In the book, The New Jim Crow by Michelle Alexander, she directly addresses this by saying
“slavery may have died, but for thousands of blacks, the badge of slavery lives on” (Alexander, 138).
Michelle Alexander goes to provoke this idea further, claiming that
“today, a criminal freed from prison has scarcely more rights, and arguably less respect, than a freed slave or black person living ‘free’ in Mississippi at the height of Jim Crow” (Alexander, 138).
The bold comparison sets the tone for this book to draw and support claims that the modern-day prison industrial complex has no significant differences from the Jim Crow laws, as the overarching elements uphold the differential treatment of blacks within society. The New Jim Crow provides numerous examples of the systematic oppression against criminals, such as the ability for an officer to search any person on parole at any given time and the hostility towards felons throughout their entire lives following a conviction. Alexander makes note of another strong comparison, even though the “white only” signs have been taken down, they have simply been replaced with the “have you been convicted of a felony?” section on job applications. The reinvention of preferential treatment in the United States directly correlates with the music released throughout the hip hop movement, even though the mistreatment evolved over time, so has the message.
The election of President Obama in 2008 sparked a new hope for an issue that seemed like it would never be solved. By giving invigorating speeches during his campaign, Obama inspired black Americans to be better fathers as he referenced the massive struggles of youth who grow up with only one parent. Time magazine published an article by social critic and sociologist Michael Dyson critiquing Obama’s speech, in which he stated,
“Obama’s words may have been spoken to black folk, but they were aimed at those whites still on the fence about whom to send to the White House” (Alexander, 174).
In the documentary 13th, the film explores the prison industrial complex from not only the most scholarly experts in criminal justice, but also from inmates within federal prisons. One statistic that stood out to me from3 this documentary conveys the severity of the criminal justice issue, and claims that:
1 in 17 white men will go to prison in their lifetime, compared to the 1 in 3 black men (DuVernay, 2016).
The facts emphasize the importance of this matter, but it is the artists of today who are responsible for spreading awareness of this epidemic through hip hop. The music scene provides a platform for people to escape their unfortunate circumstances and promote their message to the masses; this can be seen with artists such as Kendrick Lamar, who are utilizing this power to the fullest, whether it be by releasing insightful music to the youth or having a meeting with the president.
Ever since the dawn of hip hop, it has been associated with a culture that promotes violence, drugs, and sexism. Whether that stereotype has been caused by the explicit lyrics, raunchy music videos, or just the overall image of a gangster rapper is unclear, yet that impression amongst the public has withstood the test of time. In The Hip Hop Wars, Tricia Rose writes as a concerned expert in the field, as she explores the recent turmoil that has surrounded the genre. The “wars” she refers to, represent the ongoing battle between the hip hop movement and society, which once analyzed in-depth draws out some of the black eyes that coincide with this form of art. But many of these black eyes only portray the commercial rap from the past decade, and they do not embody the entire message behind the hip hop movement. The overexaggerated and abrasive style of the modern hip has altered the public perception of the movement, and thus deters positive discussions or criticisms. The true layers of hip hop can be found buried underneath the polarizing music on the mainstream surface, which is riddled with images of gangsters, pimps, and prostitutes.
“Even more important, this conversation has become a powerful vehicle for the channeling of broader public discussion about race, class, and the value of black culture’s role in society” (Rose, 5).
The debate about hip hop morphed into a discussion about poor, black youth and analyzing the cause of their misfortunate upbringings.
Tricia Rose promotes the idea of using rap and hip culture as a point of departure to address more pressing social and political problems, thus using hip hop as a scapegoat or “whipping boy.” The book builds on this concept with the notion that a substantial amount of American pop culture is predicated by black American pop culture. This evolves into the idea that while black people may not have monetary wealth, they do have cultural and artistic wealth, which can be significantly more valuable as those commodities are consumed by people in the suburbs. After establishing the complex relationship between society and hip hop in the “wars,” Rose identifies a series of the ten most popular arguments used by the critics and defenders of the movement. For the critiques of this genre, she cites the top arguments as: hip hop causes violence, reflects black dysfunctional ghetto culture, hurts black people, is destroying America’s values, and demeans women. As for the defensive arguments she cites reasons such as: just keeping it real, hip hop is not responsible for sexism, “there are bitches and hoes,” we’re not role models, nobody talks about the positive in hip hop (Rose, 26). In the critiques section, there are a couple of points that I agree with, like the notion that hip hop hurts black people and demeans women. I believe that the mainstream hip hop has affected the ability for black youth to succeed in this society due to the established prejudice; As well as the fact that certain hip hop has blatant sexism components that do in fact demean women. In the defensive section, I agree with the arguments that hip hop is “just keeping it real” and that nobody talks about the positives in hip hop; there are elements of the music that are distasteful because they depict the real-life activity of black youth, while at the same time many positive hip hop artists are overlooked to focus on the controversial ones. All things considered though, the top arguments both for and against the hip hop movement stem from one crucial theme – that this music reflects American society.
Racism and sexism have become far too common in the United States, so it should come as no surprise that these components appear in the largest genre of music. The mainstream culture has chosen to criticize hip hop from the outside looking in, yet the reality is that hip hop occurs when the youth chooses to be vocal and it will continue to embody the spirits of the country as a whole.
There is no denying that the hip hop audience has evolved into a substantially diverse crowd, as the movement brought together people from all social classes to appreciate a shared art form. While this unity was especially prevalent amongst poor communities around the country, white people also emerged as key supporters of the hip hop culture. In The Hip Hop Wars, Tricia Rose critically analyzes the contradiction of white involvement as both listeners and participants within hip hop. The commercialization of rap music ultimately led to the large growth in popularity, Rose attributes this to
“a great number of listeners with unnecessarily limited aesthetic literacy are growing attached to the current musical and lyrical standards in hip hop” (Rose, 219).
There has been an increasingly important weight placed on an artist’s brand, as recently musicians have seen their merchandise and partnerships expand into the mainstream. The artists of today now focus their efforts on hyping up their own brands, exemplified with artists such as Jay Z purchasing the Armadale vodka brand or the countless rappers who own clothing companies. In the mid-1990s, the emergence of major record labels within the genre capitalized on the astonishing marketing and more importantly profitability that existed amongst popular hip hop artists. Black culture had officially secured its spot in the mainstream, yet it was through the lens of corporate America and their construction of black life, and the entire country took notice.
Tricia Rose addresses the idea of ghetto tourism that appeared as a result of hip hop’s commercialization, then she went to on evaluate the white consumption of hip hop music. While Rose acknowledges the potential upside to white consumption, as it could result in the sharing of lived experiences and more of a community connection, she denounces this by saying
“in this moment, at least – has a strong likelihood of reproducing the long and ugly history of racial tourism that requires black people to perform whites’ desires in order to become successful in a predominantly white-pleasure-driven marketplace” (Rose, 232).
Yet, hip hop spread rapidly and became the staple of youth culture in the United States. When technological developments such as the internet, streaming services, and YouTube revolutionized the music industry, the potential for hip hop grew larger than ever before. The white audience had propelled hip hop artists to such stardom that they were capable of executing large scale tours and consistently producing platinum records. I agree with Tricia Rose when she says that “it is now conceivable to be a white fan of hip hop” and its artists without having frequent contact with black culture (Rose, 233). Despite the current acceptability of white people’s involvement in hip hop, the core issue still remains – that commercial hip hop reflects and propels the appropriation of black culture.
The fascination with African American people and culture amongst whites represents a new spin on the love and hate dynamic that has shaped their relationship throughout history, promoting the concept of “colorblindness” within the post-civil war era (Rose, 229). Tricia Rose cites the suburban desire to explore deeply rooted racial fantasies that satisfy many curiosities such as: sexual with pimps and hoes, crime through gangs and drugs, and violence with guns and aggressive lyrics. The documentary, Blacking Up, attributes this fascination with the fact that people are looking for a license to be masculine, and rap provides them with that license to be as masculine as possible (Clift, 2010). While the participation of a white audience in hip hop does not appear fundamentally wrong, the ongoing appropriation of the black stereotypes will continue to impair society. Until the negative energy associated with commercial hip hop diminishes, the United States will continue to experience social growing pains as a country.
The hip hop movement encompassed themes and influences that sparked a national conversation built upon a strong foundation for social and political change. As hip hop emerged as a voice for black youth, the result contained authentic stories from previously silenced groups. The creative content produced across not only music, but dance and aerosol art depicted the struggles and triumphs that occur in American ghettos. Many of the fundamental messages that appeared in hip hop were also addressed in the Civil Rights Movement which acted as a predecessor to this effort. The artists would incorporate messages preached by the brightest minds in the fight for civil rights amongst African Americans into the music, mixed with their own tales of hardship. As hip hop has been absorbed into the mainstream media, the commercial artists are tasked with utilizing their spotlight to shine light on relevant issues, which the modern-day example is the Black Lives Matter Movement.
While hip hop began as a black cultural movement, the powerful message combined with its commercialization led it to become a leading genre of the music industry, which allowed for a strong political and social statement. In the essay, The Challenge of Rap Music, Bakari Kitwana referenced rap as a turning point,
“a shift from practically no public voice for young Blacks – or at best an extremely marginalized one – to Black youth culture as the rage in mainstream popular culture” (Kitwana, 455).
The visibility of black youth allowed for the artists to communicate many of the generation’s beliefs to the public, transcending the corporate structures that enabled them. Even through the restrictions of radio, which censored many of the popular hip hop songs, the artists still delivered their message. While hip hop obtained the status of a cultural movement, the relationship with other black activists was not always pleasant. Many members of the Civil Rights Movement actually condemned the content of commercial rap music, arguing that it does not reflect the ideals and values of black culture.
“The criticism forced a dialogue that revealed one of the black community’s best-kept secrets, the bitter generational divide between hip hop generationers and our civil rights/Black power parents” (Kitwana, 455).
Despite the fact that the two movements shared so many of the same ideas and motives, the older generation viewed hip hop as a threat to the Black cultural integrity. Concerns arose regarding the image of rap music in the mainstream, which portrayed the very stereotype the Civil Rights Movement sought to eliminate. Nonetheless, hip hop continued to be the explicit voice for a group determined to bring social and political justice to black communities around the country.
Hip hop lives and dies based on the authenticity of its voice, yet the commercialization has silenced the “keep it real” mentality with oppressive control of the mainstream image due to its proven ability to sell. In the essay Rise Up Hip-Hop Nation, Kristine Wright articulates on the idea that
“hip hop today seems to be searching for meaning, while simultaneously spinning its wheels in battles and beefs; formulas and stereotypes” (Wright, 525).
The artists face a tough choice, that forces them to decide between either selling records by degrading life, others, and themselves, or using their celebrity status to address important social concerns. Not only does this represent a missed opportunity for artists to promote social change, but it also inhibits the development of the youth as they idolize commercial superstars.
“Hip hop must decide now whether it wants to make the same mistakes others before it have made – by gaining the world, but losing its soul” (Wright, 525).
The power of the hip hop movement lies in its ability to “move the crowd” behind a shared goal; to contest the hegemonic authority of our society and use the influential art to promote community activism.
The hip hop movement: a social and political movement led by the African American youth, most notably through various art mediums, such as music, dance, aerosol art, and media platforms. The definition of hip hop must be a thorough one, because it encompasses such a large effort, representing so many different causes. The hip hop movement is the culmination of youth from all walks of life, using their voice to express emotions and stories from the depths of urban America. The movement builds upon the Civil Rights and Black Lives Matter movements to fight for justice regarding issues in black communities – most notably police brutality, the prison industrial complex, and racism in society. What distinguishes the hip hop movement from other youth movements in the past, lies in both its profound use of art to portray their message, and the unity of minority groups around the country via a shared passion. The artists also take on some lesser-discussed social issues, such as the treatment of queer and trans communities within the larger society as well as their own community.
There are a few things that get associated with hip hop but do not reflect the true goal of this movement, such as the stereotype of violent, racism, and sexism that dilutes the credibility of aspiring artists. The corporate structure of record labels capitalized on the popularity of hip hop and emphasized elements of gangsta rap to sell as many records as possible. By commercializing the stereotype of violent, drug dealing black men, the United States as a whole began to pay more attention and create opinions about the African American culture. The hip hop movement faced an uphill battle for respect, due to a growing prejudice of the music and its artists. The legal misfortunes that comes alongside controversial hip hop artists are merely growing pains that occur when young adults from underprivileged backgrounds emerge into the spotlight. The African American communities have long faced social adversity, so when millions of dollars and a celebrity status falls upon a teenager raised in a poverty-ridden community, the results are not always perfect. While these controversial artists appear as a blemish to hip hop’s reputation, they are also indicative of a larger social problem in our country.
The hip hop movement is, in basic terms, the simultaneous reflection and rebellion of society by the youth, as they depict the larger issues of sexism and racism in American culture. Hip hop has become the epicenter for black youth culture, demonstrating a powerful ability to impact and influence the future of the country. The movement has helped the youth by providing an outlet of expression that can reach even the depths of U.S. ghettos. While sports were previously viewed as the escape route for talented teens trying to get out of the hood, hip hop provided an alternative path. The sense of relatability that appears in the music allows for a much stronger connection to the youth than a normal celebrity or professional athlete would have, mainly because hip hop artists tell a more vivid account of their life story. Yet, it also poses the issue of maintaining a negative, racial stereotype that the black community so desperately wants to end. However, the youth of today is slightly different than those who have come before them, because due to technological and social developments, they are more connected and in tune with the world than ever before. The modern-day youth will grow up in an era following monumental activism such as the Civil Rights Movement, Black Power Movement, Women’s Liberation Movement, and Sexual Liberation Movement. For better or for worse, the hip hop movement will directly affect the youth, nonetheless, the differentiating factor is that this group stands more capable of furthering society and spreading their voice than ever before; By utilizing the strong foundation and social progress already made by their predecessors, the United States youth will push the hip hop movement to new heights.
References
Alexander, M. (2012). The New Jim Crow: Mass Incarceration in the Age of Colorblindness. New York, NY: New Press.
Butler, P. (2010). Chapter 7. In A Hip Hop Theory of Justice. New York, NY: New Press.
Clift, R. (Director). (2010). Blacking Up: Hip Hop’s Remix of Race and Identity [Motion Picture]. United States: Limbic Productions.
DuVernay, A. (Director). (2016). 13th [Motion Picture]. United States: Netflix.
Forman, M., & Neal, M. A. (Eds.). (2012). That’s The Joint!: The Hip-Hop Studies Reader (2nd ed.). New York: Routledge
Kitwana, B. (2002). The Challenge of Rap Music: From Cultural Movement to Political Power,. New York, NY: Basic Civitas Books.
Ogbar, J. (2007). Locked Up: Police, the Prison Industrial Complex, Black Youth, and Social Control. Hip-Hop Revolution: The Culture and Politics of Rap, Chapter 5.
Rose, T. (2008). The hip hop wars: What we talk about when we talk about hip hop. New York: BasicCivitas.
Wright, K. (2004). Rise Up Hip Hop Nation: From Deconstructing Racial Politics to Building Positive Solutions. doi:DOI: 10.1080/08854300408428395