From Politics to Industry: Enhance of Hip Hop Culture - Essay Example

Hip Hop Politics: From Politics to Industry Hip hop in its broad categorization, encompasses various artistic forms, which trace their roots to a marginalized subculture within the U.S. This subculture was primarily located in New York City’s South Bronx, Harlem; expressed by both the Latino and black youths in the 1970s. its unique characteristic feature was its manifestation of four distinct elements, all of which were representative of the subculture. These were represented in Oral articulation (rap music); Physical representation (breaking); visual representation (graffiti), and aural articulation (DJing or turntablism). These are the core foundational elements, which continue to enhance the development of hip-hop, in its multitude of diverse styles. Thus, both cultural coherence and stability were and continue being provided (Perkins 17). In its evolution, right through the South Bronx arena, the hip-hop culture was able to spread both to suburban and urban areas. As a phenomenon, not only was this aimed as an identity factor of the marginalized populations, but also as an avenue of agitation. Throughout America’s history, the marginalized communities have faced varied discrimination, from socio-economic, educational and even political neglect (Perkins 24). Thus, as an avenue, African Americans and the Latino community were able to display their grievances and perspectives. It is the aim of this paper to delve more on the political, and to some extent, the associated socio-economic aspects of hip-hop. problems were expressed providing a platform for airing their voice (Perkins 31). To achieve this goal, I will organize the paper into different sections, beginning with a general introduction and analysis of Hip-hop as a culture and phenomenon. Thereafter, I intend to delve into the different aspects, which make up this unique sub-culture; and why it had, and continues having such a great effect on contemporary society. Throughout, will be an assessment of its industrialization process, becoming not only a global phenomenon, but also a sort of identity. following, will be a discussion of its political aspect, concerning how it has and continues shaping American debate, policymaking, and implementation. This section will delve into hip-hop’s role in politics, as well as the general entertainment industry. The paper will also touch on what roles the culture has in today’s politics, which were non-existent before. This will be achieved through displaying the culture, in terms of stages of political development. Wholesomely, the paper intends to provide an in depth analysis of Hip-hop’s role, as both an avenue and way of self-expression. Historical Context: Hip Hop as a Culture The 19th century initiated various changes in American history, in terms of its role and capacity as a global leader and economic driver. This was influenced fundamentally by the existence of a strong economic foundation, great military capacity and political maturity; in terms of democratic ideals and perspectives (Ogbar 34). However, the critical issue of race and racial discrimination continued being an influential factor, affecting how internal politics and social interaction was conducted within the U.S.A. Hip hop as a sub-culture, strove to enhance the socio-economic and political aspects of American minorities; fundamentally so, through its music and associated dance (Ogbar 37). It made considerable social and political impacts, especially after it inception, fundamentally influenced by the prevailing social contexts. To be noted is that American democracy had come far, in terms of equality and the universal observance of equal rights and freedoms (Ogbar 47). Community-based Perspectives and Ideology. Hip-hop as a phenomenon, rode on the agitation of equality and the observance of universal freedoms, in the American society. Initial hip-hop focus was on the strive for black empowerment, as opposed to current trends influenced by materialism and success. The political nature and politics of various Hip-hop affiliations, i.e. record labels, social movement and empowerment agencies, thus gradually begun sinking to the background; giving way to individualism and material success (Ogbar 75). Through its former authentic nature and edgy trait, hip-hop was a core movement in the equalities fight. As a voice of those discriminated against, it sought to create a unique link between community members; encompassing their way of life, ideals, life goals and perception (Ogbar 79). Political Influences and Effects Hip-hop as an identity was very influential, right from its inception in the 1970s. music, as one of the core components of the culture, was influential in shaping African American style, fashion and dialect; in addition to cultural affiliation and tradition (Ogbar 88). Agitation was based on the need for better treatment of the minority populations, in all aspects of American social life. The Hip-hop industry and culture, was fundamentally a crusade of universal equality and freedoms. Further, she enhances the contribution of not only the Black American community, but also Puerto Ricans, as part of the larger Latino community (Rivera 21). The music scene is perhaps an avenue through which such contribution can be best experienced. Through the ‘Latino (culture-wide) boom’ of the late 20th century, various contributions were experienced in hip-hop scene. Artists such as the legendary Big Pun, Angie Martinez and Fat Joe, in addition to J-Lo amongst others, symbolized the collaboration between the two communities on social issues (Rivera 30). However, is the debate on whether the Latino society, was able to continue its participation in, and entitlement of the Hip Hop culture. This is due to the trend in which the culture, and music genre in specific, became more exclusively African American. This was further influenced by the aspect of many Puerto Rican performers embracing their Latino culture, and subsequent performance in Spanish; rather than English the core avenue of hip-hop expression (Rivera 37). It is this sought of ‘alienation’ that then made hip-hop an almost exclusive black American affair. This gradually changed witnessed in the closing years of the 20th century, resulted in hip-hop’s embrace of the Latino culture as well, as a similar form of identity, as that of the African tradition. This was informed by the fact that both cultures were representative of the core foundation of their societies. By both sharing the strive for better universal empowerment, this fuse was inevitable (Rivera 44). Economically, the presence of mass communication; through its various avenues and outlets, made and continues making hip-hop a global phenomenon. Technologies have influenced the global reach, making many an artist, global icons in their own right and measure (Rivera 45). Attesting to this is the influential nature of Black American DJs and artists i.e. DJs - Kool Herc, Jazzy Jay, Grandmaster Flash and Grand Wizard Theodore and Afrika Bambaataa. Influential artists include Tupac, Biggie Smalls, Dr Dre, Snoop Dogg, Ice Cube, Ice T, Eazzy E, P Diddy, Jay Z, Nas, Lil Wayne, the Game, 50 Cent, LL Cool J and Rick Ross amongst others. This was however influenced by the push towards materialism, which irked older hip-hop fans, as well as artists (Chang, and DJ Kool 54). To them, this was a manifestation of the culture’s focus on individualism and wealth, as opposed to the community-based agitation for greater empowerment. The commercialization, thus resulted in the culture, and especially the music genre, lose its earlier political nature and black politics. In converse to this was the fact that individual development and success was greatly enhanced, as exemplified by the likes of Jay Z, Nas, 50 Cent and P Diddy (Chang and DJ Kool 66). Of core concern was the music’s use of profanity, in addition to graphic depictions of sex, violence, drugs and gangster life, which are blamed for the divergence of the music’s message and representation. Today’s hip hop, is thus full of material aspirations such as designer clothes and shoes, luxury cars, big houses, designer jewelry amongst others (Chang and DJ Kool 78). Political Agitation on Equality and Communal Empowerment Hip-hop, in all its musical representation, is primarily rooted in funk, disco and reggae; which has enabled it to gain worldwide acclaim. From early on, as a genre, it was frequently credited with aiding in the reduction of inner-city gang violence. The physical violence was instead replaced by ‘battles’ of artwork and dance. The aim was towards enhancing the politically and socially conscious aspect of the culture, towards the social conditions present. In terms of political activism, while hip-hop as a genre was not as extreme as one of its subgenres – gangster rap, it continues to form a potent avenue of communication across linguistic and cultural boundaries (Malone and Martinez 534). Through its inextricable linkage with both politics and power, it continues playing a core role in political and social transformation. Undoubtedly, it is in this current era, where the culture is most vibrant, having accessed a global following (Malone and Martinez 538). This is traceable to the very roots of former colonization, plantation slavery, and inhumane treatment. Sorrowful slave songs were later replaced by American jazz (in its subversive character), R&B and Blues; which was representative of the existing Civil Rights movement (Malone and George 539). America has given little of beauty other than its grandeur and human spirit. It is the latter, which in the contemporary global arena, which has, and still remains the most recognizable and beautiful conveyance of human experience. Though neglected, in addition to having been, and still being half despised; to being persistently misunderstood and mistaken, hip-hop remains the greatest gift to the Negro population. As the outstanding spiritual heritage of the nation (Black Nation), despite its global stature, hip-hop remains a grassroots observable aspect; born of the community from which it originates. This is fundamentally the reason why, hip-hop is expressed and appreciated by various populations globally. Pertinently so is the fact that its political development within the U.S.A, holds vital lessons towards the enhancement of global social and political transformation (Malone and George 542). One is able to identify its developmental stages, categorized into three core phases. First was its role as an emergence stage through cultural awareness. This was characterized by the identification and subsequent recognition of art and music as avenues of the voices of marginalized society. Following in the second stage was the presence of both the institutionalization and social creation aspects (Kitwana 87). This was characterized by the development of alternative, independent non-profit organizations and institutions; within the civil society, which were geared towards agitation for greater economic and social justice for all. The third was the stage where as a subculture, Hip-hop engaged in political activism and participation, initially within the U.S., but later on throughout the global arena (Kitwana 94). This last stage was crucial as it was marked by the varying demands, made on the nation; through various group actors. Fundamentally so was the ability of Hip-hop in affecting electoral outcomes, by way of political participation. Subsequently, this avenue of agitation was to become vital for other populations, in calling for various measures against injustice and unfair bias in various contexts present (Kitwana 103). Thus, not only were American hip-hop artists in the forefront of universal suffrage and recognition of human rights and freedoms, but also other artists from various arenas. The linking factor in this case, was the presence of Hip-hop as an avenue of voicing their concern (Kitwana 110). American and International contexts: Hip Hop as an Avenue of Agitation The subculture has mainly been influenced by rap music, a subgenre through its provocative fixture on the cultural landscape of the U.S. Through its multiplicity of voices, rap is not only fundamental as a subgenre, but also through themes, cultures, lyrics and music represented, as well as the rhythmic and rhymed characteristics. This is achieved through the fuse of innovative music technology and traditional oral (African-based) traditions (Rose 28). Initial agitation was more peaceful and information-based, aiming at changing the perspectives of the American populace. However, rap and especially gangster rap became more critical of the prevailing social contexts, as is showcased in the presence of racial politics, sharp criticism of government and the police (30). It is such aspects, which informed the manner, means and level of responses from various pertinent institutions. In addition, has been the presence of sexual rap politics, of a complex nature, regarding such aspects as male sexual domination and representation (35). Further still, have been the aspect of female rappers and their critique of the male gender. Gangster rap, pioneered in the inner city neighborhoods and projects, became popular because of their message, style, figurative and visual representations amongst other factors. Fundamentally so was the political aspect of such music, as was showcased during Bush Snr and Clinton’s consecutive administrations (47). The contributions of such artists as N.W.A and Ice-T were to shape racial policies within the USA. N.W.A’s ‘Straight Outta Compton’ and Ice-T’s ‘6 in the Mornin’ both put gangsta rap on the commercial scene. However, it was the explosive controversy, surrounding Ice-T’s song ‘Cop Killer’, which provided a perspective of how hip-hop could influence American politics (Rose 56). The responses were varied, with one side viewing this as a form of expression against brutality and racial discrimination meted out by law enforcement. Chang and DJ Kool provide a comparison that was made between the song, and the bustling movie industry, where movies were made of teacher, nurse and even student killers, yet there was no such fervent resentment portrayed (Chang and DJ Kool 138) To drive the argument home was Ice-T’s comment that Arnold Schwarzenegger (the actor) had killed dozens of cops in the Terminator movies, but there was no reaction as exhibited due to the song. It is such songs and the hip-hop culture in general, which continue illustrating the power of ‘a single voice of expression.’ A key question that would be asked would be why such a song as Ice-T’s brought such controversy, even to the extent of receiving criticism from two consecutive administrations (aforementioned). This is even while there was present, other forms of expression and representation (artistic) that should, and ought to have drawn such reactions (Chang and DJ Kool 138). In conclusion, Rap music, essentially the Hip-hop culture as a whole, remains a critical force, vibrant in its own aesthetic nature. Rap is viewed essentially as a powerful, abate noisy element of popular contemporary American culture; drawing great attention and criticism to itself the world over. From its early days as a form of agitation and self-expression, to its current phase, inclined more to individualism and materialism, Hip-hop continues being influential in the global context. This is not only true in America, but other nations as well, where it is utilized in voicing various concerns. A good example would be the South Sudanese musician Emmanuel Jal in his quest of healing his war-torn country people. Currently, such success stories are few as, a result of the commercialization aspect of the culture. As older folks would say, and symbolically expressed in Nas’ Hip Hop is Dead, contemporary hip-hop can no longer be utilized to the same capacity/ level, as an avenue of agitation, as was the case in the 1970s and 80s. this however, does not mean that it has no place in society, rather is that its role-play gradually has changed from its initial focus, into a commercial commodity. Works Cited Chang, Jeff and DJ Kool Herc. Cant Stop Wont Stop: A History of the Hip-Hop Generation. New York, St. Martin’s Press/ Macmillan, 2005. Print. Dubois, W.E.B. Souls of Black Folk. New York: Barnes & Noble, 1903. Print. Kitwana, Bakari. The Hip-Hop Generation: Young Blacks and the Crisis in African-American culture. Basic Civitas Books, 2003. Print. Malone, Christopher and George Martinez Jr. The Organic Globalizer: The Political Development of Hip-Hop and the Prospects for Global Transformation. New Political Science, 32.4, (2010): 531-545. Web. 18 April, 2004. Ogbar, Jeffrey O.G. Hip-Hop Revolution: The Culture and Politics of Rap. Lawrence, Kansas: University Press of Kansas, 2007. Print. Perkins, William E. Droppin Science: Critical Essays on Rap Music and Hip Hop Culture. Philadelphia, 1995. Print. Rivera, Raquel Z. New York Ricans from the Hip Hop Zone, (1st Ed). Palgrave Macmillan, 2003. Print. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America (Music Culture, 1st Ed.). Wesleyan, 1994. Print. Read More