[OPINION]<br />
Hip-Hop Needs Struggle

Hip-Hop Needs Struggle

Shaka Shaw wonders if a Black president and delusions of a 'post-racial America' have ruined rap music

by Shaka Shaw, July 09, 2013

[OPINION]<br />
Hip-Hop Needs Struggle

NWA and Odd Future


While it's relatively easy to point the finger at record labels and radio stations for a perceived decline in quality of mainstream rap music, one of the basic principles of business is that businesses must identify a demand in order to supply it.  So we must first ask ourselves are we ready to appreciate good rap music in 2013 as much as we claim we sp desperately want to see it made?  With a Black president in office who supposedly is “down” with hip-hop and even adopts its mannerisms for moments of code-switching comedy, have we as a people been lulled into a sense of complacency where we feel that hip-hop no longer needs substance or passion behind it? 

For centuries, people of African descent have excelled at the alchemy of turning seemingly insurmountable struggle into fine art.  Consider Black gospel, for instance.  American slaves were separated from their tribes, identities, and beliefs and forced to recognize a foreign religion, something that eventually developed into what would become a cornerstone of the Black community.  The repetitive elements of early gospel songs came about as a means of including and welcoming participation in worship from those who could not and were not permitted to read, just as Bible study was used as a subversive means of teaching slaves to read. Some even used religious songs as code for escape plots. 

In the early 20th century, the earliest incarnations of jazz came along, with Black Americans again taking foreign ideas (European instrumentation, form and harmony) and appropriating it to African sensibilities and Black American lifestyles of the time.  In 1968, James Brown released the call-and-response anthem “Say It Loud – I'm Black and I'm Proud” which held the #1 spot on the R&B singles chart for weeks.  A direct response to the racial climate of the time, Brown wanted the song to inspire Black youth to grow up with pride, despite rampant prejudice.  The call-and-response and consciousness of the song and Brown's general style was something that not only inspired the listening public then, but would later inspire the early and ongoing stages of hip-hop as well as specific acts like Public Enemy, who adopted the same message of pride, though the message was more complex.

Hip-hop was a genre birthed from the experiences of Black and Latino youth in inner-city New York and though it would be a discredit to the art-form to attribute its origin solely to poverty or struggle, it does make sense to say that the Bronx block parties where hip-hop originated were probably a welcome, albeit brief, respite from society's ills.  Early hip-hop was largely party-oriented, with parties being its primary audience without the help of television or radio.  As the focus shifted to the MC and his subject matter, hip-hop became more of a platform for social commentary, which was timely considering the rising crack epidemic. 

The horrors of crack seemed to fuel a rich landscape of diverse voices in hip-hop and even spawned genres that didn't previously exist.  On one hand, there were groups like N.W.A., from LA, where crack first began being used on a large scale in 1984, according to the US Department of Justice. The birth of "gangsta rap,” as it was dubbed, inadvertently became a means of reporting the harsh realities of violent inner-city life, minus the conscience, to the point of glorification.  Similar to how the Hughes Brothers and John Singleton shocked mainstream America with Menace II Society and Boyz N Da Hood, respectively, gangsta rap did the same in the world of music.  As a counterpoint, socially-concious rappers like Brand Nubian emerged as an opposing voice to the perpetuation of violence and drug culture, bringing a message of social consciousness and knowledge of self.

Though these voices were very different from one another, both at one time coexisted on music video shows like Yo! MTV Raps and on urban radio, giving listeners the full scope of hip-hop and the experiences it documented.  It wasn't unlikely to hear Snoop Doggy Dogg's gangsta party staple “Gin and Juice” alongside Arrested Development's “Everyday People” within the same radio program within the same hour with no segregation between what was considered “conscious” and other songs with less positive influences. By the 2000s, Black radio had devolved into a homogenous blend of similar sounds and content, with little room for variety or experimentation.  While acts like Odd Future might exist to upset the norm, it does not come across as genuine, instead coming off as an immature and rather offensive play for shock value.  Without a major co-sign or pre-existing fan base that's proven to shell out the big bucks, there's little room for those that don't fit sonically into the mold.

So the question bears asking: have we (society, the hip-hop


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