Symphony in Effect

What do people need to know about hip hop? Remember summer vacation as kid in the middle of July when the onset of boredom had arrived. Gone was the novelty of June 21st when you and your posse made a bonfire with your books. The first few weeks were amazing; you went to sleep when you were suppose to be getting up… and went out when you were suppose to be going to sleep. However, it was all good, because whatever deviance that freedom inspired produced creative tales to share; and the beat went on and on and on about the girls, the liquor, the drugs, the cops, and the judge. Then one afternoon, you were called out, “Dude you’re storytelling is now tired.” Therefore, like any well thinking maestro, it’s time to put the ‘symphony’ of grandiose tales in effect; this is hip hop.

This article is an inquiry about the artist’s agendas, the stakes, and framing an image to the extent of abstraction. The pioneers of rap state that the origins of hip hop reflected the black and Latinos’ suffering under capitalist constructs of urbanization, de- territorialization, racism, market positioning of alcohol, commercialization of narcotics, and societal abandonment (Ogbar, 2012:141). Reflecting upon Marx, the era’s gang violence is a signifier of commodity fetish. Unfulfilled promises of the American dream initiated the need to ‘buy’ liberty, power, and protection as symbolisms of wealth. In the primary phase, hip hop became the marginalized people’s anthem abridging non blacks, Latinos, and female issues (Ogbar, 2012:140). In terms of this essay, I present not the rags to riches story which we are all familiar with, but the manufacturing of the male journey, and the validity of his storytelling after emancipation. How ‘gangsta’ is he?

“He is a rapper.” In hip hop, the artist’s identity is not separate from his craft; consequently, to the public, this statement symbolizes the gangster and his kin as outlaws against the social constructions of education, commerce, and the family. Mead, a sociologist argues the socialized self acts according to the norms and ideals of our significant and generalized other. From the perception of conservatives, the referent and his parents chose illiteracy, poverty, segregated neighborhoods, and ‘illegitimate’ births (Rose, 2012:201). Being all rappers are Christian, because the adorn crucifix legitimizes the faith; it is concluded sinful behavior is the cause of suffering. To hip hop connoisseurs, the social renegade battles racism and capitalism. In addition, the portrayal romanticizes trade regulations; falsifying the ghetto spoke person has creative sovereignty, freedom of speech, and owns all music catalogues (Miller, 2012:243). Despite which side of the argument we take regarding hip-hop, it is necessary to know that the industry and the artist’s reality are elusive.

Universally, the machination of the product, the artist, begins with corporate economic objectives, how many record sales are attainable from a specific audience (Ogbar, 2012:147). For record labels, market share is the dichotomy between social conscious hip hop and gangster rap (2012:147). It is debatable whether industry heads classify an audience solely as white or black. I am not arguing race relations, but brand positioning. Record sales indicate the maverick appeals to the greater market (Rose, 2012:194). Perhaps the bravado encourages confidence, a pause from class expectations, or simply the rhythm to move. To the economically disenfranchised, hip-hop akin to other creative fields, promotes hope and success, which academics does not always guarantee. Publicity campaigns relate an artist’s intrinsic expertise and a self-determined hustle; an autonomous character liberated from capitalist ownership and ideologies.

As stated by W.E.B. Dubois (as cited in Ogbar, 2012), artists and more specifically, black artists’ images are subjected to the social constructs of the European patriarchal standards (Ogbar, 2012:137,140,147). I agree with Dubois that there is a relationship between and politics (as cited in Ogbar, 2012:148,149), I argue rappers regardless of race or sex, do represent Dubois’ theory of double conscious; rationally fragmenting the self for socio-economic sustainability. Hip hop’s identity and nationalism is ambiguous and contentious politics. Rationality can enforce a commercial exchange for integrity, but this is dependent upon the artist’s beliefs.

A generalized knowledge of hip hop unifies rappers as uneducated Christians whose formative years were blighted by impoverished circumstances. These experiences demanded communal and spiritual protection. Despite the majorities’ endorsement of Jesus, rosaries and re-enactment of the crucifixion, some rappers, as Wu Tang Clan, have explored Asian and Buddhist philosophies (RZA, 2012:313-327). The Nation of Gods and Earths (NGE), a derivative of Islam, known as the Five Percenters, is a common belief system reiterated in many raps (Ogbar, 2012:145-146 and RZA, 2012:317).

Hip Hop’s storytellers relate their ghetto experience; the thug life of hyper sexuality, drugs, poverty, hunger, violence, and unemployment because of parental abandonment and racism (Rose, 2012:195). It is important to interject that socio-economic issues are not exclusive to the black race, but rather class stratification or innate to human existence. W.E.B. Dubois theorizes the visibility of colour, inaccurate historical recording, and the media’s dispersion of stereotypes propagates marginalization. To support to Dubois’ claim, many rappers as Ice Cube, The Game, DJ Run, Russell Simmons and Redman stem from middle class dwellings and are college educated (Ogbar, 2012:153-154 and Ro, 2012:258,262).

Discipline and learning are key factors shared among artists as Jay Z confession of studying the dictionary (Carter,2012:272) and 50 Cent meditating with spiritual leader, Deepak Chopra (Jackson, 2012). In reflection, their conduct indicates rhyming requires an unreserved stock of knowledge and time management.

Contrary to publicity campaigns, numerous artists avoid the hood and grand parties, preferring to limit social relations (Jackson, 2012 and Carter, 2012:286). Not everyone in the hood was their brother’s keeper, which is evident by the actions of drug dealer, Freeway Rick Ross (Ogbar, 2012: 154). Further, gang membership was not an obligatory means to having a family or money. DJ Run and Russell Simmons parents were married; both university-educated professionals provided advice and financially support (Ro, 2012: 261,262). Herein, hip-hop’s legitimacy is questioned, not for the validity of its artistry but the oracle’s authenticity, honesty and agenda. Is he selling Marx’s theory of false consciousness or prophesying hope? There is no definitive answer.

Jay-Z proposes, the missing link is “the story of the hustler” (Carter, 2012:275), the evolving journey (2012:282). Though stereotyping subjected most black people to systematic oppression, not all visible minorities allied with hip hop (2012:281). As youths began to form cultural sub group, a generational divide was created (2012:275,278). However, there was also a separation between acquisitions and social consciousness. In Decoded, Jay-Z highlights the disconnection between Run-DMC’s lyrics of a luxury and the real-time events of the early ‘80’s (2012: 274). For Jay-Z, Melle Mel’s hit, The Message, of violence and drugs, accurately depicts the experiences of those living in South Bronx during that era (2012: 275). Although they were not from the projects and rhymed about the “good life” (Carter, 2012:274), Jay –Z related to Run-DMC’s street style, sneakers and denim, image instead of Afrika Bambaataa’s marketing (272, 275). From breaking dancing to beat boxing, it is evident the hip hop culture is illogic and paradoxical. Regardless of brand positioning, spectators expect the artist the artist to abridge the disparities (Carter, 2012:291).

One thing is certain, hip hop is a business, which certifies the artist has a boss. Corporate machination dictates the artist’s image, clothing, lyrical content, collaborations, and market positioning, but we the fans have the ultimate power. As previously indicated, the implied audience’s purchases determine which artist is socio-culturally legit. Therefore, the most significant act towards an informed and responsible decision is not only getting an education, but further inquiry of what we presume to know.Zen Creatif, AG.