Hip Hop: The Burden of Social Responsibility?

Is hip hop prepared for social responsibility? Bureaucratic systems regulate social institutions as, the arts and politics. Many would argue, art’s deviant cousin, hip hop, does not require formalization, but it does. It is what separates the talented from the masters. Artistry requires research and analysis of the self and the target audience. However, while artists can mobilize social movements, they are not empowered to amend the judicial or medical systems (Assante, 2008:432).

Presidents, lawyers, doctors, and venture capitalists are professionally trained to negotiate and institute social reforms. While activism has its place in society, the influential lobbyists are memorialized because they’ve studied the complexities of human relations. For example, Martin Luther King Jr. and W.E.B. Dubois had sociology degree. United State’s president, Barrack Obama has a law degree but he does know how to rap. In contrast, successful rap artist, Jay Z does not have a law degree. In common, they both share the framework for success that only begins with talent. Their framework includes disciplined investments in research, knowledge, and diversified alliances (Dyson, 2007:428). Therefore, together, they affect social behavior (Assante, 2008:430,433).

The purpose of this research is to describe and analyze hip hop’s unfairly aligned with sociopolitical reform. The subtopics provide an insight about hip hop’s commodified culture, social mobility, black sexual politics, corporate control, racialization, and identity politics. These issues indicate politicians, criminals, feminists, and civil rights leaders displaced their responsibilities to rappers. By reassigning accountability to disempowered subgroups, the dominant culture remains in control. Further, by branding hip hop as the ambassador of black culture, the marginalized remain in the trenches of false hope. This burdens and undermines the essence of hip hop, which is an innovative musical style (Assante, 2008:434).

The Orgin

Firstly, I argue, art stems from deviant behaviour. Martha Graham’s transition from classical ballet to contemporary dance highlights that high and low art forms begin challenging tradition. From the Harlem Renaissance era, artistic forms have narrated black political issues (Assante, 2008:437). Hip hop was created by the youth culture in the late 1970’s (Hunter, 2011:16). Typical of teen behaviour, the genre depicts revelry and creativity. The truth about society is best analyzed through the eyes of the youth culture. While adults will censor their views because of socio-economic responsibility, youths will challenge social rhetoric that is incongruent with actions.

Hip hop pioneers, like their older brother, reggae, debated life. While Jamaicans were disappointed by the People’s National Party in the late 1970’s (Hope, 2006:2); New Yorkers began to question their own leaders. In a democratic and inclusive society, why was there unemployment, poverty, and territorial displacement. Even under capitalist frameworks, functionalism required a support staff. Activists told these issues to the unreceptive state. The youths were the spokespersons for their disenfranchised parents who migrated from the Southern parts of the United States and the Caribbean to the democratic North, New York society (Dyson, 2007:422).

The youth culture, also informed the public sphere about their aspirations. It is the universal grand narrative often spoken by children to the dominant parental culture (Assante, 2008:440). As with all marginalized groups, the state neglected the subordinate class. For the oppressed, conforming to capitalist structures was equal to death, a loss of power and institutionalized slavery (2008:436). Therefore, survival was dependent upon non conforming behaviour (Rose, 2008:195). In forging a place in society, youths challenged the micro, meso, and macro level social constructions. This means subverting parental, church, and state authority (Kitwana, 2005:391). Hip hop does have an activism approach, but it is rightfully youth centered (Assante, 2008:432). Anything less is incongruent with teen behavior and unethical practices towards the mental development of youths. In postmodernity, the dominant society expects hip hop, founded in the mid ‘70’s to correct predated social issues as racism and gender inequality (2008:432). Those in power; the politicians, activists, and wealthy artists are responsible for providing a fair socio-economic state (ibid). However, the pioneers have become adults and like, prior generations, their views are dependent upon capitalist constructs (Dyson, 2007:425).

Hip Hop: The Commodified Culture

Hip hop the music, became hip hop the business. While social responsibility does define the ethical character of an industry, it is not a businesses’ primary objective (Dyson, 2007:425). As echoed by artists and industry executives, hip hop is not a nonprofit organization (Hunter, 2011:17). Hip hop is positioned to narrate black people’s experiences; therefore, artists and fans are both the antagonist and the protagonist (Rose, 2008:199). Reflecting upon Max Weber’s (1922/1968) theory of cross cutting stratification, hip hop does not represent the socialization of all black people (Weber,1922/1968 cited in Allan,2010:175). Identity reflects the factors of gender, race, language, income, sexuality, and geographic location. In essence, what hip hop, the business, does is glorify the suffering of marginalized black people (Rose, 2008:203).

Similar to Karl Marx’s (1844/1979) theory of religion, hip hop is “opium” for the disenfranchised (Marx 1844/1979 cited in Allan, 2010:89). I propose the problem lies in the transformation of rap to hip hop the culture. Like all villages, it functions for the purpose of consumerism; the post modern form of escapism.

Hip Hop: Social Mobility

Unfortunately, often hip hop is marketed as the sole means for expedient social mobility. As wealth indicates leisure, poverty speaks of desperation. In the past few years, there has been an increase in Chicago’s murder rate. Often these deaths are associated with aspiring rap artists from the city’s poorest neighborhoods. Recently, a young rapper, Joseph Coleman (Lil JoJo) was killed in Chicago. It is speculated “Coleman was feuding with rappers Lil Reese, Lil Durk and Chief Keef as well as with the Black Disciple street gang” (Konkol, Jansenn, and Horton,2012). No arrests have been made. While, Keith Cozart, Chief Keef, was newly signed with Interscope records, Coleman was negotiating a deal with Waka Flocka and Brick Squad (Konkol, Jansenn, and Horton, 2012). All these actors had hip hop careers at stake. Coleman’s family state it was a about rap and not gang related (Konkol, Jansenn, and Horton, 2012). Economic liberation was at stake for Coleman and the speculated nemesis (Konkol, Jansenn, and Horton, 2012).

However, like basketball hip hop is marketed as the only feasible way for men and women to rise out poverty (Kitwana, 2005:391). While university education is promoted in the United States, the mainstream culture rarely highlights the accomplishment of black people post graduation. Further, the media and misinformed comrades classify education as consumer debt instead of an investment. The choice has been predetermined for the impoverished, when the cost of mix tapes and popping bottles is juxtaposed against the monetary and mental cost of obtaining a university degree. Employing external associations as designer brands and rappers to frame one’s identity displaces the internal development of logic.

Mass media sells the stereotype because it generates a profit (Hunter, 2011:30). Further, in our mediated society, the marketing of designer products imply consumerism solves poverty (Hunter, 2011:18). In the 1970’s the zoot suit exemplified the superfly disco era. It was bold without any form of ambiguity. Hip hop markets a “leisure look” of t-shirt, jeans and sneakers (2011:19) with a higher markup. It is estimated hip hop clothing brands made 2 billion dollars in 1994 (Bakari, 1994:389).

Transforming low class rap to high class hip hop indicates the genre is cultural movement with economic power. Hip hop music has become a commodity (Hunter, 2011:16). It increases the rappers’ and industry’s profitability by using hegemonic branding (2011:16). The Dirty South subculture of hip hop associates its branding with pornography and commercial sex (2011:16). This visual culture provides a link or validation to the music (2011:16). However hip hop does not simply market sex, rather it is integrated into the concept of black “lifestyle” (Hunter, 2011:16). Thus, rappers conveniently license their name and persona to other products as condoms, clothing, and alcohol (2011:16). Although the merchandising is legal, it does institute and profit from black stereotypes (2011:18). These products and services reignites prejudices and authorize the dominant class to defame the black race (ibid). Money and powerful alliances provides a buffer for rappers from the effects of discrimination, but not the patrons and black people (Dyson, 2007:428).

Hip Hop: Black Sexual Politics

For the public, these practices unfavorably effect black sexual relationships (Hunter, 2011:18). Further relationships that require solidarity for civil rights has now become commodified (2011:20, 26). Women and men evaluate each other’s character by products and pre-established gender roles; the thug and the promiscuous princess (2011:19, 31).In contrast to feminist appeals, rhymes state men symbolize their love with gifts (2011:23). Conversely, men deny by branding them as gold diggers (ibid). Often male rappers narrate, black women capitalizes on birthing children; therefore it is easily inferred black children are never a product of mutual love (ibid). As previously mentioned, marketing black women as strippers implies stripping is the only means for a favourable income (2011:26). My statement is not a judgment call against black women or men.

According to our lectures, democracy permits freedom of choice without harm to another. Herein lies the problem, freedom requires unbiased information in the public sphere (Rose, 2008:195). Democracy is subverted when information is de-centered and manipulated. The absence of female rappers on the forefront to counteract these issues circuitously implies black women are illogical and hypersexual (Hunter, 2011:30). Indie labels provide freedom for non-conformist artists, however being underground, does not circumvent, or challenge patriarchal ideals. Perhaps the presence of feminists from the dominant culture would be more effective than the views of black female rappers (Said, 1994, 366). However, it is difficult to distinguish between those who support and those who oppose hip hop imagery. In general, we can be opposed to a phenomenon but identify with the need and purpose of the actor. Often it is stated “It is our culture” by those in defense of hip hop (Hunter, 2011:31). However, as language dictates, race does not identify cultural characteristics.

Hip Hop: Corporate Control

In postmodernity, wealth grants authority. Originally, capitalism stemmed from European philosophies. I argue, capitalist constructs continue to own the means of production; but the capitalists’ behavior can be adopted by anyone in power regardless of race. Record labels often functions like a pyramid scheme (Rose, 2008:215). Each rappers survival is dependent upon the exploitation of label mates, newcomers, and black youths (2008:203,215). This poses an ethical and economic problem. According to critical functionalist, industrialists own intellectual creativity. Art symbolizes freedom of expression yet bureaucracy imprisons it.

Firstly, it is more cost efficient to introduce a rapper with similar characteristics. It provides a sense of familiarity to the audience. However, if the principal record label has marketed a stereotypical view, it will further stigmatize the marginalized group (Rose, 2008:203). It is not the rapper that is at risk. It is the populace’s ability to authentically interact with each other. Celebrities remain in a bubble. The residual effect of their behavior affects them with record sales or inter-industry politics. The other members of society need to get along with each other (Assante, 2008:432).

Here is the catalyst for my research question. Human relations are the masses responsibility (Assante, 2008:434). We cannot expect the machinations to direct us, because we are more informed and aware of each more other than the industry. The majority of North America does not have intermediaries, as managers and body guards to negotiate interaction with each other. This is where hip hop becomes a complex and controversial topic. I propose, we are often perplexed by hip hops narrative because we do not experience these narratives habitually in everyday life. Often those who grew up with the first generation of hip hop can no longer identify with the lyrics. Old school hip hop is revered because it is sentimental, authentic, and inclusive of all races (Assante, 2008:432).

Hip Hop: Racialization

Fans of hip hop identify with marginalization. Defining hip hop as black music and culture is inaccurate (Kitwana, 2005, 392). Further, this perspective introduces racial conflict, which was not a part of hip hop’s formative years (2005: 382). Earlier hip hop positioned the collective minority culture, Latino, white, black, Jews and women against the state; not each other (ibid). Hip hop did not discriminate by demeaning its own members or exploiting another. Framing hip-hop as black culture is prejudicial towards other races. As stated, rap music is not about race. It is about social experience and that encompasses all races (2005:392). Global hip hop patrons understand the code (Dyson, 2007:423). Although the music and culture is nativized, the interpretation of hip-hop is legitimate (ibid).

Black people accepted white artist such as Eminem because they respected his skills (Kitwana, 2005:389). Subsequently, it signaled to other races that black youths were not begrudging any skillful rapper (2005:382).

From my perspective, when Eminem debuted "Slim Shady "in 1999, the lyrics represented the dominant mood among the youth culture. It was an era of asserting an aggressive identity, similar to former Los Angeles Lakers basketball player, Dennis Rodman. Folks were dying their hair blond and with multi colored leopard prints. In addition, there was a resurgence of tattoos. In contrast, in the early1990’s, hip hop fans accepted and quickly dismissed black rapper, Mc Hammer and white rapper, Vanilla Ice, because their lyrics and persona was incongruent with youth culture. The ruggedness of dancehall from Shabba Ranks and Beenie Man was center stage in mainstream America. Tricia Rose (2008) article states, “The rise in rap/hip hop was driven primarily by the sale of images and stories of black ghetto life to white youth” (Rose, 2008:196). I disagree with Rose’s theory because it implies white youths are appropriating hip hop (Kitwana, 2005:382). As largely part of the dominant group, I do not believe white youths use hip hop to confirm or mimic black culture (2005:384).

While art is subject to some form of creolization, it is often more a factor of cultural space than race. For example, a black rapper from Jamaica will not rhyme with the same semiotic space as a Canadian-Jamaican black rapper. Further hip hops collaboration with white artist does not “weaken” the genre (Kitwana, 2005:384). Migration and the educational system often compel races to interact. Therefore, while some people may maintain discriminatory ideologies it is not out of ignorance, it is by choice. The image of thug life and gangsters does not occupy every visible place in our society. I do agree with Rose (2008) that the industry markets hip hop culture as a stereotypical parody (2008:196). Similar to Gwen Stefani appropriation of the harajuku culture, hip hop is branded to the extremes of comedic caricature (2008:196,198). In this aspect, it attracts patrons because of the humorous approach (2008:197).

However, while the thug life does exist, if many truly inhabited those social spaces where gang life reigned supreme, gangster rap would be dead.

Corporations play on our unfamiliarity with true gangsterism where bullets fly at inconvenient times and no one has a designer bulletproof vest. It is in these cultural spaces where grown men are forced to be subservient to fourteen year olds toting an M16. Only silent tears for an innocent man gunned downed because he was on the wrong side of the street. Stories about gang men dressed as women seem funny. In reality, there is no humour when they block all exits and spray bullets to their magazines are empty. Why else would rappers practically sell their selves to the very corporation they once despised, to get out of the hood?

Hip Hop: Identity Politics

Rappers are in a polarized position between music and social reform rhetoric.Their fragmented identities are in conflict between the role of a revolutionist and a conformist. Whereas rap is the artist, hip hop is the created culture about “black cultural dysfunction” (Rose, 2008:198). For example, lyrics about hyperactive sexuality, teenage pregnancy, and poverty existed prior to industrial machinations (2008:200).However it was not indicative of only blacks. Record labels often exploit predated social issues and assign a spokesperson to provide validity to their product (2008:198). Hence, the rapper defends his job by declaring that women are “bitches and hoes” (Rose, 2008:198). The industry executive and rappers do not provide a solution for these social concerns (ibid).The cultural space needs to be kept intact to fulfill economic agendas (2008:199). Eradicating hip-hop is not an effective solution because the constructs that incited it remain. I propose the deregulation of hip hop as a signifier of black culture is more feasible. However, it first requires the participation of all black people (Rose, 2008:199).

For the marginalized being invisible in society is equated with being despised. The postmodern global village requires the importance of being identifiable among the masses. Among the youth culture there are oscillations between creating a new persona and partaking in emancipatory politics. In reflection, a new music culture has not been produced since hip hop in the mid 1970’s. We are no longer artistic and political risk takers (Assante, 2008:430,432). The Black cultural nationalism during the late 1960’s to late 1970’s has been supplanted by fragmented identities (2008:430). Economic stakes have increased because our visual culture demands material possession over logic (2008:437).

It is uncertain if rappers are victims or participants in commercialization (Rose, 2008:203). However, the marketing of hip hop lifestyle is prepackaged and ready to assemble for the fans (Dyson, 2007:425). Hip hop can be an expedient fix for the ego (Dyson, 2007:424). It does not solve the problem of socio-economic and political oppression among black people (Assante, 2008:433). Hip hop has its place in society has a music genre and culture (ibid). However, the industry and the artists irrationally propose hip hop products provides the ideal identity for all black people is irrational (Dyson, 2007:423).

Firstly, rappers often promote a lifestyle of excessive alcohol, drugs, and partying. Yet if this was a common practice, albums would never be made. The artists are explicit when presenting the good life mentality (Assante, 2008:440). Yet they rarely explain the importance of code switching, adapting to ones environment (Dyson,2007:426-7).While the good life is phenomenal, it is unethical for the industry to promote a one dimensional perspective (Assante,2008:435,440). They are aware of their target audience’s demographic and therefore know their level of vulnerability. For example, Courvoisier cognac sales increased by 4.5 percent in 2000 after the release of Busta Rhymes’ song, Pass the Courvoisier (2005:390).

In North America, racial and economic oppression exists and playing into stereotypes might guarantee a better future (Rose, 2008:203). This debatable inquiry highlights WEB Dubois’ argument for identity politics against Booker T. Washington’s emancipatory politics (Assante, 2008:429). Are hip hop artists prepared to expand social stakes beyond economic rewards? The hip hop industry frames unconstructive behavior and culture as black identity (Rose, 2008:201). The absence of historical knowledge about social issues as race and economy perpetuates the cycle of oppression (2008:204). Conscious rap links present social issues with historical events (Assante, 2008:431). For example, Lauryn Hill spoke out and acted upon the commodification of the female body in the industry (ibid). However, Hill’s fan based diminished instead of increasing in female patrons. I argue it is because Hill’s fans did not research historical constructs of black identify and sexuality. Consequentially, they would have recognized Hill’s message had some credibility. Oppression is not necessarily self-inflicted. Yet, the actor is responsible for researching his or her history (Assante, 2008:438). We must analyze the internal and external factors that made the situation plausible and be prepared to fix it (2008:435).

Is hip hop prepared for social responsibility? No, but we are ready. Individually our artistry, socio-political awareness, and education prepare us to interact with each other. We are hip hop. As scholars and diversified professional, we are disciplined to research and question all constructs. Hip hop is a universal musical culture. Like reggae, it should never be burdened with solving socio-political problems that is up to the politicians and us. We can use hip hop’s superego to create reputable subcultures within the genre.Zen Creatif, AG.