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Put Your Hands Up: Hip-hop, Incarceration, and The Fate of the Black Male pt 3

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Part 3:

Ice Cube—previous member of the rap group, NWA—in The Art of Rap says, “What [street knowledge] means to me is letting the streets know what the politicians is trying to do to them and then letting the politicians know what the streets think of them, if they’re listening.” In the same interview, Ice T then responds with, “I wanted somebody to take my album, when they done, be more intelligent about the game than they were. Versus me saying that I’m tough…” (Something From Nothing). This insinuates that even the “gangsta’ rappers” of the 1980’s who dropped the F-bomb like it was a preposition had an intent to instill values into their hood and into the minds of anyone who would listen.

The rappers of today previously mentioned in the list of chart toppers don’t seem to have any similar kind of intent behind their music. Social conscious messaging is either completely void from these artists’ work or it exists and is swept under the rug by the rap industry. When you look at a rapper like Yo Gotti, his latest album The Art Of Hustle—which features a Billboard top 15 song, Down In The DM—begins with the track My City, which is an authentic reflection of life in Yo Gotti’s hometown of Memphis, Tennessee. Yet, Down In The DM holds almost 11 million views on Youtube compared to My City’s 43,000 views, thus showing the disparity in the kinds of counter-cultural Hip-hop music that is played on a commercial level today.

Michelle Alexander in the New Jim Crow established what the label of “second-class citizen” implies in this country: discrimination equal to the treatment of blacks during slavery and the Jim Crow era. However, how is commercialized Hip-hop related to this label of second-class citizenship? The number of incarcerated African American males is at an all time high in the United States. Simultaneously, the most influential medium for black men to be heard by a mainstream audience has shifted towards a counter-cultural movement that represents excessive sex, illegal drug use, and violence. I suggest that the combination of the two is a powerful force that negatively influences the ways in which African-American males identify themselves in this country and the ways in which others identify them.

When I was ten years old I moved to the edges of inner city Philadelphia. It was the first time I had been in an environment where the majority of people around me resembled my ethnicity and racial make-up on a daily basis. As a boy trying to fit in, I found myself listening to rap music and watching Hip-hop music videos through 106 and Park on BET (Black Entertainment Television) despite my parents’ strict opposition against such things. I was a part of a Christian home with both parents invested into my life, yet I remember how my mind solely desired the fruits of my Hip-hop influenced environment. I wanted to wear the baggie clothes of Puff Daddy, talk like 50 Cent, and get the girls like Nelly. Naturally, I started cursing whenever my parents were absent, I sagged my pants as soon as I left the embrace of my mother to go off to school, and I talked to females like they were meant for only one thing. The black males I looked up to in the media influenced the way in which I viewed the world, even in contest with my own parents’ teachings. If my ten-year-old mind was so influenced by the counter-culture of commercialized Hip-hop that my parents felt a need to move me from Philadelphia after 3 years, I can only imagine the magnitude of influence it has on young black boys whose fathers are in jail.

Put Your Hands Up: Hip-hop, Incarceration, and The Fate of the Black Male pt 2

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Part 2:

Interestingly, there has been another movement, the Hip-hop movement, transpiring in urban environments, especially amongst African American males. Hip-hop’s music has always been used to represent a counter-cultural movement. However, the ways in which Hip-hop has accomplished this has shifted since it has become more commodified. In the 1980’s and 90’s Hip-hop was an amalgamation of messages and sounds as artists from all over the United States gained the access to rep their hood on a mainstream platform. Therefore, Hip-hop as a whole began to reject the norms of American culture by both positively empowering the black community and glorifying criminal behavior. Andre Douglas and Pond Cummings in Thug Life: Hip Hop’s Curious Relationship with Criminal Justice emphasize the latter part of this complex discourse in saying:

Hip-hop exposes the current punishment regime as profoundly unfair. It demonstrates this view by, if not glorifying lawbreakers, at least not viewing all criminals with disgust, which the law seeks to attach to them. Hip-hop points out the incoherence of the law’s construct of crime, and it attacks the legitimacy of the system. (19)

Songs such as Me So Horny by 2 Live Crew, Fuck The Police by Niggaz Wit Attidudes (NWA), and 6 In the Mornin’ by Ice T, which perpetuated violence and a gangsta lifestyle, stood in harmony with the socially conscious messages of My Philosophy by Boogie Down Productions, The Message by Grandmaster Flash and The Furious Five, and Fight The Power by Public Enemy. Ultimately, they all told their own story in their own way without apology, and it created a plethora of counter-cultural themes within the same genre.

This brought up the question for me, “Is the diversity of rap music still prevalent today on the commercial level?” I did an analysis of Billboard’s “Hot Rap Songs” of 2016 to explore this query. The top rap artists played through a commercial medium are Drake, Yo Gotti, Travis Scott, Future, Young Thug, Fetty Wap, and 2 Chainz. These rappers account for over 90% of the Billboard’s top 15 rap songs in 2016 (Billboard). I’ve listened to every song created by these artists that are posted on Billboard this month, and every single one falls into one or more of the counter-cultural themes of drugs, violence, or excessive sex while not one represents education or the exposing of issues within our government, our cities, or our country.

 

Put Your Hands Up: Hip-hop, Incarceration, and the Fate of the Black Male pt1

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Hey y’all,

It’s been a while since I’ve posted anything. Honestly, I’ve tried, but for my last semester of grad school…let’s just say senior-itis has not had any room to hit me. In grinding through this busy semester I did accomplish one of my goals– write a research paper and present it at Ohio State’s most distinguished graduate school research competition (applause applause “thank you very much” applause applause)! It got a lot of great reception and I thought it would be something people are interested in. Since it’s a 7-page paper I decided to split it into 4 parts to share with you all throughout this month. I hope you all enjoy!

Part I:

 

I am a graduate. I am Hip-hop. I am a criminal. In a few short weeks I will proudly graduate with a Master’s degree in Dance from Ohio State University with a focus in Hip-hop dance and culture. Graduation should be a time to celebrate, as I have accomplished an educational milestone that allows me to become a productive and influential citizen to society. However, sometimes I truly dread graduation because, for me, life transitions mean uncertainty—the uncertainty caused by poor decisions as a young adult. I wonder if my criminal record will deter me from opportunities that I could otherwise have. Two misdemeanors of theft have stigmatized me in the eyes of many—just another negative Black statistic.

Consider the correlation between the incidences of incarcerated African American males and the heightened glorification of criminality within contemporary commercial rap music. Today, the African American male is the prominent figurehead of both the industrial prison complex and the commercial rap industry in the United Sates. I will discuss how both discourses aid each other in the marginalization of the black male in American society through a textual analysis of scholarly literature and rap lyrics. I will also explore how Hip-hop dance can combat the stigmatization of African American males perpetuated by both the criminal system and the rap industry through a critical analysis of my work as a graduate student in Hip-hop dance.

Since the 1970’s the number of people incarcerated into the prison system has quintupled from 350,000 to over 2 million (Alexander 8). In some cities, more than fifty percent of the prison population consists of African American males. Today, according to the Bureau of Justice Statistics, almost one of every three African American males will go to prison in their lifetime. One out of every three. Look around. 1-2-Prison. That means over 7 million African American males will be labeled “criminal.” Michelle Alexander in The New Jim Crow provides insight as to what that label entails in saying:

Even when released from the system’s formal control, the stigma of criminality lingers. Police supervision, monitoring, and harassment are facts of life… a criminal record today authorizes precisely the forms of discrimination we supposedly left behind—discrimination in employment, housing, education, public benefits, and jury service. Those labeled criminals can even be denied the right to vote. (141)

The charges that most of these criminals face are for non-violent crimes such as the illegal use of drugs or the illegal selling of those drugs. Yet, these non-violent offenses, though largely self-induced, have laid the foundation for a pernicious, socially violent, movement that labels African American males as second-class citizens—a permanent stigma that is difficult to overcome.