2:16 AM
An often commonly disputed stereotype of hip-hop artists is their use and distribution of illegal drugs. In attempts to redefine this negative characteristic, many hip-hop artists have pointed at the majority social group as the facilitator of drug abuse.
In “Justify My Thugâ€, Jay-Z speaks directly to members of government, raising questions about who has made the availability and use of these drugs possible:
Mr. President, there's drugs in our residence
Tell me what you want me to do, come break bread with us
Mr. Governor, I swear there's a cover up
Every other corner there's a liquor store - what is up?
In this example, the poet inquires as to why there is a liquor store in “every other corner†of his community.
In “I Want to Talk to Youâ€, Nas uses the same approach to challenge the notion of drug distribution by asking his representatives what they would do in his situation:
Why y'all made it so hard, damn
People gotta go create their own job
Mr. Mayo,r imagine if this was your backyard
Mr. Governo,r imagine if it was your kids that starved
Imagine your kids gotta sling crack to survive
Here, the poet claims that the distribution of drugs is not only an effect of the poverty that exists in his environment, but also a means of survival.
In “Manifestoâ€, Talib Kweli actually accuses the government of being the body which allows drugs into the country:
Like the C.I.A. be bringin̢۪ in crack cocaine bailin̢۪ out of planes
With the George Bush connections, I push Reflection
Like I'm sellin̢۪ izm, like a dealer buildin̢۪ the system
Supply and the demand it's all capitalism
People don't sell crack cause they like to see blacks smoke
People sell crack cause they broke
In this example, the poet accuses the C.I.A. of flying drugs into the country, and again reiterates the point that it is a means of survival due to the “supply and demand†of a capitalist society.
In “Damn It Feels Good to be a Gangsterâ€, the Geto Boys fully redefine the negative characteristic of drug distribution by accusing the President of being a drug dealer, and therefore, a gangster:
And now, a word from the President!
Damn it feels good to be a gangsta
Getting̢۪ voted into the White House
Everything lookin̢۪ good to the people of the world
But the Mafia family is my boss
So every now and then I owe a favor gettin' down
Like lettin' a big drug shipment through
And send 'em to the poor community
So we can bust you know who
These examples show how hip-hop artists redefine the image of being drug dealers and users by again pointing to the majority class as the creator of the drug problem in this country.
Materialism
Hip-hop music is also seen by the majority class as a genre dominated by materialism. Again, artists point back to the majority class in an attempt to redefine this negative characteristic.
In “Respirationâ€, Black Star points to all the wealth surrounding urban areas, and how it absorbs the lower class in materialism, making them want parts of that wealth:
Where mercenaries is paid to trade hot stock tips
For profits, thirsty criminals take pockets
Hard knuckles on the second hands of workin̢۪ class watches
Skyscrapers is colossus, the cost of living
Is preposterous, stay alive, you play or die, no options
Here, the poet talks about various materialistic aspects of the majority class, and how the lower class must “play or die†to “stay alive.â€
In “All Falls Downâ€, Kanye West actually blames this materialism on American society:
It seems we living the American dream
But the people highest up got the lowest self esteem
The prettiest people do the ugliest things
For the road to riches and diamond rings
In this example, the poet blames the “American dream†for materialism, saying it causes people to “do the ugliest things†for “riches and diamond rings.â€
In “Los Angeles Timesâ€, Xzibit also blames this materialism on the majority class, claiming that is what the youth are taught coming up in urban environments:
Welcome to L.A.
Where you can see the whole city burning
Cause the cops got Uzis and the dealers keep serving
And your kids ain't learning it, except this
Sex power and wealth, forget everything else
Here, the poet expresses his belief that certain aspects of materialism, including “power and wealth†are taught to children through occurrences in society.
These are examples how hip-hop artists redefine the negative characteristic of being materialistic by showing examples of how this materialism is prevalent in the majority class, and often created within that class.
Hip-hop artists have used their lyrics and poetry to influence the rejection and reconstruction of the gangster identity that plagues their social class. This is accomplished through the redefining of negative characteristics assigned by the majority class. In most cases, these redefinitions include pointing to the majority class as the real holders of these negative characteristics. The redefining of these “gangster-like†images through hip-hop lyrics helps to reconstruct the gangster identity by questioning “gangster-like†behaviors and which social class actually has these behaviors. So the question presented is: Who exactly are the gangsters?
Works Cited / Discography
2 Pac. 2Pacalypse Now. Jive Records, 1991.
Black Star. Mos Def & Talib Kweli are Black Star. Rawkus Records, 1998.
Coates, Jennifer. Women, Men and Language. Longman Publishing, New York: 1993.
Dr. Dre. The Chronic 2001. Interscope Records, 1999.
Eminem. The Marshall Mathers LP. Interscope Records, 2000.
Geto Boys. Uncut Dope LP. Interscope Records, 1999.
Haugen, Jason. “‘Unladylike Divas’: Language, Gender and Female Gangster Rappers.†Popular Music and Society: December, 2003.
Jay Z. The Black Album. Def Jam, 2003.
Kanye West. College Dropout. Roc-A-Fella Records, 2004.
Nas. I Am. Sony Records, 1999.
Rakim. Don̢۪t Sweat the Technique. MCA Records, 1992.
Rawkus Records. Lyricist Lounge Volume 1. Priority Records, 1999.
Slaughter, Peter. “Attack on Rap Music.†Barutiwa Weekly News. June 14, 1997.
Talib Kweli & DJ Hi-Tek. Train of Thought. Rawkus Records, 2000.
Talib Kweli. Quality. Rawkus Records, 2003.
The Roots. Phrenology. MCA Records, 2002.
Whaley, Angela. “Hip Hop is Not for Sale.†Colorado State University’s Talking Back: Volume 3, Issue 1.
Xzibit. 40 Days and 40 Nights. Loud Records, 1998.
In “Justify My Thugâ€, Jay-Z speaks directly to members of government, raising questions about who has made the availability and use of these drugs possible:
Mr. President, there's drugs in our residence
Tell me what you want me to do, come break bread with us
Mr. Governor, I swear there's a cover up
Every other corner there's a liquor store - what is up?
In this example, the poet inquires as to why there is a liquor store in “every other corner†of his community.
In “I Want to Talk to Youâ€, Nas uses the same approach to challenge the notion of drug distribution by asking his representatives what they would do in his situation:
Why y'all made it so hard, damn
People gotta go create their own job
Mr. Mayo,r imagine if this was your backyard
Mr. Governo,r imagine if it was your kids that starved
Imagine your kids gotta sling crack to survive
Here, the poet claims that the distribution of drugs is not only an effect of the poverty that exists in his environment, but also a means of survival.
In “Manifestoâ€, Talib Kweli actually accuses the government of being the body which allows drugs into the country:
Like the C.I.A. be bringin̢۪ in crack cocaine bailin̢۪ out of planes
With the George Bush connections, I push Reflection
Like I'm sellin̢۪ izm, like a dealer buildin̢۪ the system
Supply and the demand it's all capitalism
People don't sell crack cause they like to see blacks smoke
People sell crack cause they broke
In this example, the poet accuses the C.I.A. of flying drugs into the country, and again reiterates the point that it is a means of survival due to the “supply and demand†of a capitalist society.
In “Damn It Feels Good to be a Gangsterâ€, the Geto Boys fully redefine the negative characteristic of drug distribution by accusing the President of being a drug dealer, and therefore, a gangster:
And now, a word from the President!
Damn it feels good to be a gangsta
Getting̢۪ voted into the White House
Everything lookin̢۪ good to the people of the world
But the Mafia family is my boss
So every now and then I owe a favor gettin' down
Like lettin' a big drug shipment through
And send 'em to the poor community
So we can bust you know who
These examples show how hip-hop artists redefine the image of being drug dealers and users by again pointing to the majority class as the creator of the drug problem in this country.
Materialism
Hip-hop music is also seen by the majority class as a genre dominated by materialism. Again, artists point back to the majority class in an attempt to redefine this negative characteristic.
In “Respirationâ€, Black Star points to all the wealth surrounding urban areas, and how it absorbs the lower class in materialism, making them want parts of that wealth:
Where mercenaries is paid to trade hot stock tips
For profits, thirsty criminals take pockets
Hard knuckles on the second hands of workin̢۪ class watches
Skyscrapers is colossus, the cost of living
Is preposterous, stay alive, you play or die, no options
Here, the poet talks about various materialistic aspects of the majority class, and how the lower class must “play or die†to “stay alive.â€
In “All Falls Downâ€, Kanye West actually blames this materialism on American society:
It seems we living the American dream
But the people highest up got the lowest self esteem
The prettiest people do the ugliest things
For the road to riches and diamond rings
In this example, the poet blames the “American dream†for materialism, saying it causes people to “do the ugliest things†for “riches and diamond rings.â€
In “Los Angeles Timesâ€, Xzibit also blames this materialism on the majority class, claiming that is what the youth are taught coming up in urban environments:
Welcome to L.A.
Where you can see the whole city burning
Cause the cops got Uzis and the dealers keep serving
And your kids ain't learning it, except this
Sex power and wealth, forget everything else
Here, the poet expresses his belief that certain aspects of materialism, including “power and wealth†are taught to children through occurrences in society.
These are examples how hip-hop artists redefine the negative characteristic of being materialistic by showing examples of how this materialism is prevalent in the majority class, and often created within that class.
Hip-hop artists have used their lyrics and poetry to influence the rejection and reconstruction of the gangster identity that plagues their social class. This is accomplished through the redefining of negative characteristics assigned by the majority class. In most cases, these redefinitions include pointing to the majority class as the real holders of these negative characteristics. The redefining of these “gangster-like†images through hip-hop lyrics helps to reconstruct the gangster identity by questioning “gangster-like†behaviors and which social class actually has these behaviors. So the question presented is: Who exactly are the gangsters?
Works Cited / Discography
2 Pac. 2Pacalypse Now. Jive Records, 1991.
Black Star. Mos Def & Talib Kweli are Black Star. Rawkus Records, 1998.
Coates, Jennifer. Women, Men and Language. Longman Publishing, New York: 1993.
Dr. Dre. The Chronic 2001. Interscope Records, 1999.
Eminem. The Marshall Mathers LP. Interscope Records, 2000.
Geto Boys. Uncut Dope LP. Interscope Records, 1999.
Haugen, Jason. “‘Unladylike Divas’: Language, Gender and Female Gangster Rappers.†Popular Music and Society: December, 2003.
Jay Z. The Black Album. Def Jam, 2003.
Kanye West. College Dropout. Roc-A-Fella Records, 2004.
Nas. I Am. Sony Records, 1999.
Rakim. Don̢۪t Sweat the Technique. MCA Records, 1992.
Rawkus Records. Lyricist Lounge Volume 1. Priority Records, 1999.
Slaughter, Peter. “Attack on Rap Music.†Barutiwa Weekly News. June 14, 1997.
Talib Kweli & DJ Hi-Tek. Train of Thought. Rawkus Records, 2000.
Talib Kweli. Quality. Rawkus Records, 2003.
The Roots. Phrenology. MCA Records, 2002.
Whaley, Angela. “Hip Hop is Not for Sale.†Colorado State University’s Talking Back: Volume 3, Issue 1.
Xzibit. 40 Days and 40 Nights. Loud Records, 1998.
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