There's nothing like a bit of controversy to get Black
folks talking about a revolution. Let there be one incident of a
non-Black person attempting to justify calling us nigger and we
flood the telephone lines on every Black radio program. Let there
be a shootout between rival musical artists outside of an arena
or the introduction of another reality show depicting us as bumbling
minstrels and we send out so many emails that we end up spamming
each other.
So it came as no surprise that when the Academy of
Motion Picture Arts & Sciences announced its candidates for
outstanding performances in film for 2005 and the lone African-American
nominee in the performance by an actor or actress category had gone
to an otherwise prolific and talented actor for his portrayal of
a pimp, we whined. Then we discovered that not only was the actor-from-the-pimp-movie
nominated, but the song from the film that decries the life of a
pimp - where one of the lines in the song says, "I got a snow
bunny/ and a black girl too/ you pay the right price/ and they'll
both do you" - was nominated for best song. Oh, did we cry!
And we moaned and locked arms everywhere except at the box office.
For
the cognoscenti who believe that African-American actors are only
nominated for playing roles that reflect disparagingly upon our
culture - for instance, Denzel as a wayward law enforcement officer,
Halle as a less-than-chaste grief stricken mother - this was the
latest slight to our community at the event commonly referred to
as the Oscars. For the greater community, the one that extends
from Compton to Conakry, this was a further abridgement of our recognition
as Garvey-esque leaders and DuBois-type thinkers to a subculture
that glorifies the lives of the scourges of civilized society. Where
was this sense of outrage when MTV launched a program called "Pimp
My Ride" and hired an African-American rapper to host the program,
which is about "pimping out" beaten down cars? Who's pimpin'
whom here?
Every revolutionary can rhythmically chant, "it's
not about what they call you it's about what you answer to,"
but when we answer to so many different names these days - pimps,
ballers, and shot-callers - the concept of self-definition proves
elusive. Take for instance, the name "hip-hop." There
exists a hip-hop label for the generation that seemingly extends
to everyone from 15-year-old acne-faced adolescents to the 45-plus-year-old
entertainment guru, Russell Simmons. There are efforts to register
"hip-hop voters" - that nebulous demographic of 18 to
35 year olds who move easily within a universe of blogs and bottled
water. But the true essence of hip-hop lies in more significant
numbers - specifically, numbers totaling 500 billion. As in 500
billion US dollars. According to a new report by MarketResearch.com,
that is how much young Americans who identify with the hip-hop culture
spent on merchandise - from music to clothing to jewelry.
According to the report's publisher, more than 24
million Americans aged 15 to 29, or 39% of the entire age group,
identify with hip-hop culture. Of this number, according to the
U.S Census Bureau, roughly 5.7 million people, the buying power
of non-Hispanic Blacks was $105.1 billion or $18,406 per capita.
These numbers overall, the study continues, are expected to grow
to 25 million Americans by 2010, with an increased disposable income
of $644 billion.
But how much of that revenue is actually being returned
to the community that gave birth to the cultural movement? More
importantly, with the dire plight of young African-American youth,
particularly males, worsening - in 2004, 72% of African-American
black male high school dropouts in their 20's were jobless; that
is, unable to find work, not seeking it or incarcerated - can we
afford a "bling-bling" mentality? (See "Plight Deepens
for Black Men, Studies Warn" New York Times, March 20, 2006.)
As a community - a nation - African-Americans are the greatest exporters
of commodities that benefit other communities who demonstrate their
gratitude by charging us back for the use of our talents and efforts.
Metaphorically, it is akin to siphoning crude oil from an outside
nation and then charging them triple the cost for the use of the
gasoline.
How did we allow our culture, in particular the hip-hop
culture, to be morphed from its roots in rap music, specifically
an artistic form of social protest in urban communities, into a
ubiquitous commercial industry that not only rejects civil
remonstration but also glorifies the very characters that the originators
of the culture rejected? Was integration good for rap or hip-hop?
Where are our stories being told today in music? Where is
the diversity reflected in the culture that has generated such venerable
musical art forms as jazz, rap and arguably, rock and roll? More
specifically, should we continue to call ourselves members of a
hip-hop nation if the tenets of this culture no longer represent
us?
In the mid to late 1970s, America witnessed the beginning
of an empire. For the first time since Michael, Marlon, Tito, Jackie
and Jermaine took the stage, young African-American males and eventually
females, had heroes that they could identify with. When the young
men and women from neighborhoods in the Bronx and Harlem developed
their own musical style - which was a mix of rhythms from existing
records with their own creative poetry - "hip-hop" was
born. Hip-Hop - as distinguished from Rap, which is a part of hip-hop
ethos - had the effects of a genuine culture. The music, the style
- tennis shoes, jeans, mock turtleneck sweaters and Kangol hats
- and even the language (B-Boy, MC and DJ) defined the Zeitgeist.
Hip-Hop icons such as Kool DJ Herc, Grand Master Flash, Grand Wizard
Theodore, Afrika Bambaataa and Kurtis Blow walked the same city
streets, witnessed the same poverty and shared the same unique vernacular
with young people in urban areas.
With the crossover appeal of "Rapper's Delight"
by the Sugarhill Gang in 1979, and then the success of "Rapture"
by the white group, Blondie, rap music - which by now was utilized
interchangeably within the music industry with hip-hop music - moved
from
the fringes to a wider appeal among audiences. This spawned interest
and participation by groups such as the Beastie Boys and the rock
group Aerosmith. Then there is the chronology of emerging artists
and popular styles - from the highly politicized sounds of Public
Enemy and Boogie Down Productions to the gangsta rap of Niggaz With
Attitude (N.W.A.); from the strong sista' styling of Queen Latifah
to the G-rated rap of DJ Jazzy Jeff and the Fresh Prince. The Fresh
Prince would eventually morph into the Fresh Prince of Bel-Air as
a television sitcom and then Will Smith, Academy Award nominated
actor. This same concept of metamorphosis is significant in hip-hop
or rap music, because it gets back to those same numbers - $500
billion. In three short decades, this genuine art form that began
as a positive "affect" for so many urban youth, has become
a commercial monstrosity that in "effect" has attempted
to negatively redefine the culture while contributing less than
5% back to the community which gave it birth.
Ever since the Brooklyn Dodgers recognized the profitability
in dismantling the increasingly popular Negro League and integrating
its ranks with a player named Jackie Robinson, mainstream America
continues to utilize the integration umbrella to integrate African-American
people into an erstwhile nonexistent "mainstream" for
its own profit. Where was the cultural "mainstream" before
hip-hop? Were Guns ‘N Roses fans or even the AC/DC or Fleetwood
Mac listeners really clamoring to hear lyrics about young, single
African-American mothers on government assistance whose boyfriends
were "slinging rocks" to pay for diapers? We submit that
as a culture, African-Americans, particularly young African-Americans
who identify themselves as part of the "hip-hop" nation,
have been lulled into an "MTV-Cribs" fantasy by a commercialized
scheme that does not care for and does not speak for their culture,
heritage, or interests. Again, who's pimpin' whom?
Movies, television and music are now peppered with
Black and Brown faces that America has deemed "marketable."
This marketability that was once based on looks and talent now uses
a measuring stick of outrageous and denigrating behavior. Today,
young brothers and sisters coon, clown, preen and grin for a moment
of fleeting fame, which in today's market can mean millions of dollars
for the proverbial
15 minutes. You don't have to have any real talent. You don't have
to sing or dance. Hey, you don't even have to look good. You can
be a marginally talented, uncreative high-school dropout if you
know how to call your women ho's and roll "nigger" off
your tongue on top of an infectious beat. From the window to the
wall, you can party like it's your birthday, sport a grill and fall
in love with a stripper. Forget about the cost of the Cadillac Escalade
(manufacturer's suggested retail price $57,280) or that Bentley
(average cost of a 2006 Rolls-Royce Phantom is $320,000, roughly,
$4995/month). You are a part of the "hip-hop" generation.
You are contributing to the $500 billion pot. Sit back and enjoy
the fruits of your labor.
This month, the National Action Network, the civil
rights organization headed by Reverend Al Sharpton will host its
8th annual national convention in New York City. Each year around
the commemorative time of the assassination of Dr. Martin Luther
King, Jr., the convention brings national delegates from the organization's
30 chapters together with business and community leaders, national
figures and elected officials to address the prominent global issues
affecting people of color. For several years, Mrs. Coretta Scott
King was the keynote speaker at the gala dinner.
This year, one of the larger panels, "Has Hip
Hop Gone Too Far? Are we Getting Rich or Dyin' Tryin'" will
focus on three key areas: (1) the effect that today's version of
hip-hop has on young people in America; (2) whether or not hip-hop
stars have a responsibility to present positive images/messages;
and (3) can the African-American community continue to claim hip-hop
if it caters to mostly nonwhite suburban youth? In addition, the
discussion will consider the viability of developing an alternative
musical market that is genuine in its approach to today's young
people; and, if it is developed, how to nurture and satisfy this
new industry. Most importantly, however, this panel will attempt
to accomplish something that most do not: solutions. That is, solutions
in the form of a "self-help" guide for African-American
youth who identify as the hip-hop nation. Solutions such as, "How
to Move Your Money from a Grill to a G.E.D." and "Pimps
Don't Have 401 (k)'s." This type of dialogue between the activist
civil rights community and young people will be the only way that
this precious demographic will begin to recognize that the community
cannot afford to continue to export its greatest resource - themselves
- for such little return. This will be the only way that they will
learn, indeed, how to rename or if needed, reclaim their names for
themselves.
Atty. Marjorie Fields Harris can be contacted through
her organization, the Fields
Harris Group. Rev.
Darren Ferguson is a minister and activist in New York City. |