"Know What I Mean" digs deep into hip hop in all regards. Dyson has spent a lot of time with hip hop insiders and ivy league academics alike. The thing I enjoyed most about this book is that Dyson brings the analysis of hip hop to an art form in itself. As a preacher and academic he probes the spiritual side of hip hop and its artists with pin point precision. Dyson is able to pull back to look, not only at the artists message, but also to look at the psyche of the artist as its influenced by African American culture, not only in the present but also through the lens of the Civil Rights Movement. Also, his book is a collection of interviews that requires Dyson to speak off the top of his head. We given the outsiders view of hip hop (in some cases) in the form of the interviewer, but we are also met with this stream of conscience that Dyson projects as he speaks on such diverse topics as the incarceration of black youth to the Don Imus faux pas speaking of "...nappy headed hos..."
In order to discuss Dysons views, I want to dive into his insight on a few topics briefly.
On incarceration: Dyson gives us his view on the culture of African Americans and their need for their feelings of family and identity. One of the most striking things I learned is that the black culture feels so displaced that they resort to criminal behavior in order to achieve incarceration. This might seem strange to the average middle American, but Dyson makes a few good points. First, he makes the point that incarceration is so embedded in urban black culture (e.g. sagging paints, and laceless shoes) that its almost a goal to be incarcerated in order to achieve a level of authenticity. As a "vet" of the prison system, the young black male gains a degree of respect from his trial of being separated from his family and friends and gains the comradery of fellow black cons while in the system. This falls contrary to what main stream American sees as socially acceptable behavior. However, the ex-con will be able to speak from a position of authority, having gone through the trials and tribulation of said separation. Being part of this elite faction of young back population gives the listener the benefit of knowing that he knows pain and hardship. This reflects the early 20th centuries need to hear blues from some someone that's been there and knows what its like to suffer. Dyson points out that the suffering is needless and that the very fact that black youth have to struggle everyday as an alienated race proves a much better point of reflection than being relegated to the outskirts of society as a felon.
On the treatment of women: Its known that women are the "n*****s of the world" as John Lennon so eloquently put it. But black culture has seemed to embrace the wholesale exploitation of women for commercial gain. Dyson contributes this to the stereotype "pimps and hos" model that mainstream America wants to see out of black culture. His analysis of "Hustle and Flow" is an eye opener in terms of how we should view the most lowly of people, namely the street prostitute. Dyson talks about how women in hip hop such as Eve and Lil' Kim have switched the dominance of the male sexual desires as the point of power to control by the women as the ones controlling this desire. Through sex, women are able to control the dominate male and therefore control his power. In "Hustle and Flow" Dyson makes the point that the pimp is in dyer straits and leans on his subjugated women in order to help him become successful in the hip hop industry. Now this brings up some interesting points; who is in control here... the pimp or the "ho". Dyson points out that whatever position the woman takes, she is always able to find herself in a position of power if she chooses. This is a powerful statement, because what he's saying is that even though women might be controlled superficially by the male dominated society, they still hold influence.
There are several other ideas that I'd like to dive into but I think this is enough for us to think about right now. Thoughts?
Saturday, February 27, 2010
Sunday, February 21, 2010
Has social responsibility fallen on def ears?
In Bakari Kitwana's essay "The Challenge of Rap Music" we are faced with the juxtaposition of the new voice of the urban black male in the form of hip-hop, with the former voice of empowerment, which was the civil rights movement of their parents. Kitwana analyzes the change in mind set between these generations of black men, especially in the context of its influence on popular culture.
At the beginning of his essay Kitwana poses a few questions: "What was the price of this remarkable breakthrough in the visibility of young Blacks in the mainstream culture?" Kitwana further asks, "... had the growing visibility of young Black entertainers further marginalized young Black intellectuals and writers, who have remained nearly invisible?" These questions are posed because it's widely known that hip-hop and rap music continues to portray the young black urban male in a light that is more criminal than upstanding. Although the mediums of hip-hop and rap gives the young black male a place to be heard in the popular culture Kitwana asks us at what price does this recognition come? As the civil rights movement tried to create the image that black men and women are equals to all races, we see that hip-hop and rap furthered an image that was challenging social norms at best and down right criminal at worse. Has hip-hop and rap then created a positive or negative forum for the black community?
A focus of the essay was the Hip-Hop Summit of 2001 hosted by Russell Simmons. Kitwana speaks of the summit as a plea for social responsibility within the black community. As hip-hop and rap became more mainstream and commercialized it was recognized that black leaders, such as Simmons, needed to guide hip-hop in a direction that recognized the struggle of the urban black male, but at the same time, used their forum to bring the community up from its oppression ie the surge in incarceration of black youth and the poverty within the community. Kitwana critiques the summit as being an invitation only affair. In the end the people that profited from the commercial success of hip-hop argued for a stance that allowed hip-hop to be able to continue 'business as usual'.
Although this sounds like a bleak end to the black leaderships attempt to change hip-hop into a vehicle of social stewardship, it must also be noted that from within the ranks of commercially successful hip-hop artists came efforts to take issue with social injustices that the black community faced. Their were benefit concerts held for a variety of issues, and lyrics written to bring specific events viewed as an affront to the black community to light (Mumia Abu-Jamal).
In the end we need to look at the reality of why hip-hop even has a voice in the mainstream media. They provide a product, that being urban black music. This product has to be in step with what the consumer expects and desires. As the plight of the urban black male gained more media attention, it was acceptable to incorporate this message into the music. It became a message that many consumers wanted to hear and expected from their artists. In the end, it wasn't Simmons summit that enacted change in hip-hop. It was the artists as individuals becoming engaged with a socially responsible world view that echoed black culture at the street level. As artists like KRS-One and Arrested Development brought the message to the masses, the idea of being socially responsible snowballed to being a voice that was not only contrary to the voice of the criminal black urban male, but indeed, challenged it commercially. In the end, it seems, this is what's most important. After all, what good is a message if it falls on def ears?
Looptroop "The Struggle Continues"
lyrics
Arrested Development "Tennessee"
lyrics
At the beginning of his essay Kitwana poses a few questions: "What was the price of this remarkable breakthrough in the visibility of young Blacks in the mainstream culture?" Kitwana further asks, "... had the growing visibility of young Black entertainers further marginalized young Black intellectuals and writers, who have remained nearly invisible?" These questions are posed because it's widely known that hip-hop and rap music continues to portray the young black urban male in a light that is more criminal than upstanding. Although the mediums of hip-hop and rap gives the young black male a place to be heard in the popular culture Kitwana asks us at what price does this recognition come? As the civil rights movement tried to create the image that black men and women are equals to all races, we see that hip-hop and rap furthered an image that was challenging social norms at best and down right criminal at worse. Has hip-hop and rap then created a positive or negative forum for the black community?
A focus of the essay was the Hip-Hop Summit of 2001 hosted by Russell Simmons. Kitwana speaks of the summit as a plea for social responsibility within the black community. As hip-hop and rap became more mainstream and commercialized it was recognized that black leaders, such as Simmons, needed to guide hip-hop in a direction that recognized the struggle of the urban black male, but at the same time, used their forum to bring the community up from its oppression ie the surge in incarceration of black youth and the poverty within the community. Kitwana critiques the summit as being an invitation only affair. In the end the people that profited from the commercial success of hip-hop argued for a stance that allowed hip-hop to be able to continue 'business as usual'.
Although this sounds like a bleak end to the black leaderships attempt to change hip-hop into a vehicle of social stewardship, it must also be noted that from within the ranks of commercially successful hip-hop artists came efforts to take issue with social injustices that the black community faced. Their were benefit concerts held for a variety of issues, and lyrics written to bring specific events viewed as an affront to the black community to light (Mumia Abu-Jamal).
In the end we need to look at the reality of why hip-hop even has a voice in the mainstream media. They provide a product, that being urban black music. This product has to be in step with what the consumer expects and desires. As the plight of the urban black male gained more media attention, it was acceptable to incorporate this message into the music. It became a message that many consumers wanted to hear and expected from their artists. In the end, it wasn't Simmons summit that enacted change in hip-hop. It was the artists as individuals becoming engaged with a socially responsible world view that echoed black culture at the street level. As artists like KRS-One and Arrested Development brought the message to the masses, the idea of being socially responsible snowballed to being a voice that was not only contrary to the voice of the criminal black urban male, but indeed, challenged it commercially. In the end, it seems, this is what's most important. After all, what good is a message if it falls on def ears?
Looptroop "The Struggle Continues"
lyrics
Arrested Development "Tennessee"
lyrics
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