Thesis - souljor.com

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I Gave You Power: How Hip-Hop Maintains Relevance Through The Visual Culture It
Creates
Jordan Renee Powell
Submitted in Partial Fulfillment of the Requirements
for the Degree of Master of Fine Arts in Graphic Design
at
The Savannah College of Art and Design
© May 2013, Jordan Renee Powell
The author hereby grants SCAD permission to reproduce and to distribute publicly paper and
electronic thesis copies of document in whole or in part in any medium now known or hereafter
created.
Signature of Author and Date________________________________________
________________________________________________________________/___/___
Sharokin Betgevargiz Committee Chair
date
________________________________________________________________/___/___
Dr. Thomas Larose Committee Member
date
________________________________________________________________/___/___
Robert Newman Committee Member
date
Creates
A Thesis Submitted to the Faculty of the Graphic Design Department
in Partial Fulfillment of the Requirements for the
Degree of Master of Fine Arts in Graphic Design
Savannah College of Art and Design
By
Jordan Renee Powell
Savannah, GA
© May 2013
Acknowledgements
God is my provider, and I thank Him for every ounce of strength he has given me to
complete the requirements for this MFA course of study. I am beyond grateful for the
opportunity to study Graphic Design at a graduate level, and being able to pursue a thesis topic
that means more to me than any other area of research would. I would not have been able to
complete this thesis without the support of my family, friends, SCAD faculty and staff, and
classmates. I’m thankful for the role everyone played in the success of this thesis, and would like
to offer specific thanks to those who played essential roles in this process.
To my committee Chair Sharokin Betgevargiz—Thank you for believing in me, pushing
me to assert myself, and helping me realize what I have to say should be heard in this world of
design. Your perspective on cultural dialogue, and design discourse is always enlightening, and I
have enjoyed learning from you these past two years. You have been a pleasure to learn from,
and I appreciate you taking on the task of chairing my thesis. It is an honor to be the first MFA
candidate you have chaired for, and I hope to represent, both you and I well.
To Robert Newman—You are amazing Bob, truly. You have been one of my favorite
professors during my time here at SCAD and it is due to your brutal honesty, love for design,
awesome personality and integrity. I am greatly appreciative for you agreeing to be on my
committee and you have made this experience more than enjoyable. I appreciate your guidance
during this journey, and couldn’t be more thankful for you helping me find my voice. You
consistently push me as a designer, and it is something I will always remember about you and
my time here at SCAD. Your role as committee member has been invaluable—thank you so
much for helping me develop a visual thesis that speaks so true to who I am. I will miss you Bob.
To Thomas Larose—It is always so comforting knowing I have full support from my
family at Virginia State University. Thank you so much for agreeing to be on my committee.
You are the busiest Department Chair I’ve ever met, so I am more than grateful for your
feedback, support, and the time you took out for me. You are one of the main reasons I opted out
of the previous topic I was going to research for a thesis. Thank you for realizing that my current
topic would be more rewarding and speak truer to who I am. I hope to make you Mrs. Ford, and
Mrs. K proud, and continue to represent the VSU Art Department well. You all helped lay down
the foundation for the rest of my career, and I am forever grateful. I can’t thank you enough.
To Scott Boylston—While not official, thank you for being a fourth committee member. I
respect your feedback, and the craft you bring to the process of writing. Thank you for helping
me refine my paper and pushing me to realize what it is I am trying to communicate in a
cohesive narrative. I would also like to thank you for every contact and resource you were able to
provide during this process. It was extremely helpful and I thank you for helping me make
relevant connections to professionals outside of my immediate committee members.
To Roslyn Hunter—Mom, your support during this process has been the comfort I needed
during many sleepless nights of frustration, and anxiety. Even when you don’t understand
specific design problems, you are always there to listen and offer any support you can. Your love
has been such a motivator, and just like every other moment in my life, you have been there to
encourage me when I don’t feel like pressing forward. If I could thank you for just one thing, it
would be for your love—it has been a place of comfort and solace, and I appreciate it more than
you know. I love you Mom, Thank you.
To Quentin Powell—You are my best friend and biggest support system. Thank you for
knowing me better than anyone in this world, and supporting me in everything I do. As I tell you
all the time, you have had a huge role in the development of my personality, which has
ultimately influenced who I am as a designer. I take after you in so many ways, and my love for
Hip-Hop culture is just one of them. You have been an essential source of authenticity,
knowledge, inspiration, and honest criticism throughout my thesis process. Thank you for being
there day and night and for all of your support. I love you very much Daddy and I can’t thank
you enough.
To the 2013 SCAD Graphic Design MFA Class—I couldn’t have picked a better group of
people to go through the graduate experience with. I have learned so much from you all on both
a professional and personal level and I will never forget our time spent here together. Thank you
for all of your feedback during this entire 2 years. I consider you all family now, and that has
been one of the greatest gifts I’m taking away from this experience. I wish you all nothing but
success in all your future endeavors and hope to maintain healthy relationships with you all.
Table Of Contents
1 | Abstract
2 | Statement of Influence
3 | Chapter One: Origins of Hip-Hop
3 | 1.1 Foreword
4 | 1.2 Roots
6 | Chapter Two: Hip-Hop As An Art-Form
8 | Chapter Three: Hip-Hop & Graphic Design; Unlikely Allies
12 | Case Study: Fight The Power; Public Enemy’s Ability to Evoke Many responses,
and Convey Several Messages Through Sampling and Creating a Multi-Media
Experience
17 | Chapter Four: Expansion of Hip-Hop
17 | 4.1 Foreword
17 | 4.2 Hip-Hop’s Role In Current Pedagogy
21 | Methodologies / Visual Component
22 | Conclusion
24 | Works Cited
27 | Appendix A: Collected Research
53 | Appendix B: Key Terms/ Hip-Hop Vernacular Explained In Context To This Thesis
55 | Appendix C: Conversations Conducive to Research
61 | Appendix D: Figures
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Creates
Jordan Renee Powell
May 2013
Abstract:
Hip-Hop is not just rap music. It is accurate to say that rap music is a part of Hip-Hop,
but it is a misconception that rap and Hip-Hop are synonymous. Often overshadowed by the pop
dominance of rap, Hip-Hop’s mark on art and design, and its own language as an art-form is
overlooked.
Mirroring other demonstrations of collective youth rebellion, such as the Punk Movement
of the 1970s, Hip-Hop is the manifestation of the reaction to urban hardship. Through its visual
language Hip-Hop has been able to maintain relevance cross-generationally and has had the
ability to reach and influence a global demographic. This lasting effect of Hip-Hop is due to the
immersive experience it creates in part, through the use of art and design elements as a means of
communication. This thesis will explore the parallels between Hip-Hop and Graphic Design, and
how Hip-Hop has been able to maintain relevance globally, by dissecting the universal messages
of the culture and how it is communicated to its audience through a multi-media platform. It will
also show how the visual culture of Hip-Hop has expanded the culture’s opportunities to become
and maintain a major place in History.
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Statement of Influence:
Upon embarking on the search for a worthy thesis topic, I can remember feeling
anxious about finding a subject that reflects my interests while still speaking to who I am as a
designer. I wanted to find an area that I would be able to offer new insights on, while still being
able to study and reference visual culture and graphic design elements.
Growing up as an active member of Hip-Hop, my respect for the culture is deep-rooted,
and is undoubtedly present in a lot of my work. Not only has it played a part in developing my
personality, it has also had a hand in shaping who I am as a designer. As I matriculated in
institutions of higher learning, I noticed the parallels between Hip-Hop and Graphic Design. I
started to pay more attention to these connections and often referenced them, without realizing
how important this relationship would become to me.
My hope is to highlight Hip-Hop’s ability to attain and maintain global relevance, by
dissecting the universal messages of the culture and the methods by which it is communicated
through a multi-media platform, I aim to contribute to the discussion of Hip-Hop in current
pedagogy based on visual culture, graphic design, as well as conversations outside of academia. I
want to make connections between a culture I was born loving, and a field I grow in everyday,
and try to become better at as my thinking becomes more informed. The parallels between HipHop and graphic design are worth exploring because they affect current society more than most
realize, and because it is worth being recognized as a major part of American Visual Culture.
I often ask myself; what is the draw towards Hip-Hop? I think it’s because Hip-Hop
cannot be limited to one tangible form, but serves as a means of storytelling that manifests itself
in any way the participant (essentially the creator) sees fit/chooses. If it is a mural that speaks to
the injustice faced by women in hijab of Islamic Culture that incorporates styles inspired by the
graffiti seen on the subways in Brooklyn, or if it is a song inspired by the poetry of a twelve your
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old boy searching for the answers his absent father couldn’t provide for him over boom-bap
beats, Hip-Hop takes on the form of the creator. What is amazing is that the story intended
from the creator can take on a whole new meaning depending on what audience it reaches which
is not only a parallel to the relationship formed between creator and audience in design, but to
many means of media in society. Hip- Hop is Art. Pure. Honest. Vulnerable.
A unique exchange between creator and audience presents itself in the culture of HipHop, and this thesis will work to identify, analyze, and establish relevance of its existence within
the world of graphic design and visual culture.
Chapter One:
Origins of Hip-Hop
1.1 Foreword
With roots as deep as the slave-trade in the 1800s, the subculture that is Hip-Hop serves
as a means of creative response to impoverished communities, and the less-than desirable
circumstances of its people. It is the answer of the people to injustice that crosses the lines of
gender, class, and race like few other art forms have had the ability to do. Drawing from a
history of resistance and oppression, Hip-Hop serves as an outlet, an escape; freedom. At its
inception, it represented ownership to people whose voice went unheard. Urban AfricanAmerican and Latino youth in different New York City neighborhoods of the late 1970s early
80s are credited with originating this culture that has now become essential to the fabric of
American culture. Mirroring other demonstrations of collective youth rebellion, such as the Punk
Movement of the 1970s, Hip-Hop is the reactionary manifestation of urban hardship. Hip-Hop is
a cultural movement akin to Art Deco and the Harlem Renaissance, and, much like these
movements, it incorporates several elements. Under its umbrella, Hip-Hop has four variegated
means of artistic expression; emceeing (rapping), turntablism/DJing, breaking, and graffiti.
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1.2 Roots
In the beginning there was Africa, and it is from Africa that a lot of American music, be
it Jazz, R'n'B, Soul or Electro, is either directly or indirectly descended.1 The traditional tribal
music of Africa was able to establish itself in American Culture via the transport of African
people during the slave trade of the 18th century. Along with their rhythms, tribal chants and
other melodic expressions, African people brought with them a tradition of storytelling. In a lot
of African (usually western) tribes there is a Griot, whose job is to keep an oral history of the
tribe or village, and to entertain with stories, poems, songs, dance, etc. The ways the stories were
expressed differed between Griots, and ultimately provided different tribes grounds to form their
own imagery. These stories became inspiration for chants and work-songs that were sung
throughout the course of the day during the labor-intensive duties of their roles as slaves. Fastforward 300 years; these traditions became the foundation of the new sounds of blackness.
Rapping, the rhythmic use of spoken or semi-sung lyrics, grew from its roots in the tribal chants
and what later evolved into plantation work songs.
This new choral expression of the ad-lib style progressed through the scat-singing of the
early jazz days via pioneers like Cab Calloway to the street poetry of the Last Poets in the 1970s.
Musically, the old African folk songs and drum rhythms developed into the blues and urban jazz
that by the 1950s made black America’s music known around the world.2
Through the influence of gospel, Fifties rhythm and blues and various technical
innovations like the electric guitar and electric organ, black music arrived at Soul in the early
1960s. By the end of that decade, with the help of James Brown and Sly Stone and it had
mutated into a hybrid, street funk, which is where Hip-Hop begins to surface.
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2
The Roots Of Hip-Hop." RM Hip Hop Magazine Apr. 1986: 2. Print.
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In parks and community centers, up and coming DJs were playing to packed crowds of
urban youth eager to hear the old funk tunes. Pretty soon (by 1976/77) the DJs and dancers
were paying special attention to the percussion breaks in records like Jimmy Castor's “It's Just
Begun”, Dennis Goffey's “Scorpio” and Herman KeIly's “Dance To The Drummer's Beat”: in
fact to any record with a good drum break, including tracks by the Rolling Stones and other rock
bands. Those interested in the breaks started calling themselves B-Boys and the wild, acrobatic
style of dancing which accompanied the playing of the breaks became known as breaking. The
better Bronx DJs like Kool Herc, Afrika Bambaataa and Grandmaster Flash started mixing two
copies of the same record to make the breaks last longer; with fast cutting between the decks a
20-second drum break could be turned into a five-minute mix. Besides experimenting with the
technical side of DJ-ing like cutting and scratching, they were also experimenting with the new,
electronic sounds coming out of Europe.3
The meeting of Punk and Hip Hop cultures in the late 70s and early 80s is an overlooked
often downplayed facet of Hip Hop history. Most people think of Run DMC‘s Rock Box and
later their collaboration with Aerosmith when they think of Hip-Hop merging with Rock-N-Roll.
The truth is that in a very organic way, artists from both cultures “broke bread” (collaborated)
and came to respect each other not so much because of the music, but because of the ‘rebellious’
attitude and spirit that personified both groups.4 What the connection between alternative HipHop and punk indicates, is that both movements stem from the need of something they could call
their own.5 By reappropriation both movements were able to voice feelings of alienation or
frustration in a way that made sense to them, taking the form of the creator. Both Punk and HipHop are also highly visual in nature, and the visual culture created within subcultures have both
3
4
D, Davey. "Hip Hop History 101: How Hip Hop merged w/ Punk and New Wave pt1 –
Intv w/ Fab 5 Freddy - YouTube." YouTube. http://www.youtube.com/watch?v=EyxNc-7cA7E (accessed March 14,
2013).
5
Watson, Elijah. "Hip-Hop Exhibiting Punk Characteristics: What Does it Mean? |
Hypebeast." HYPEBEAST. Online Magazine for Fashion, Arts, Design and Culture . http://hypebeast.com/2012/5/hip-hop-exhibitingpunk-characteristics-what-does-it-mean?_locale=en (accessed March 14, 2013).
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become highly recognizable—from the clothing, to design of concert flyers, to the street art
associated within each subculture, both movements are highly recognizable and have served as
a creative voice for those involved.
Chapter Two:
Hip-Hop As An Art-Form
“Hip-hop is a way to live man,
it ain't no institutionalized religion or somethin. It's a way to live,
it's a culture…if you ain't really got nuthin beneficial to offer this hip-hop…
preserve the value of the art-form, the music, the way of living, don't even f**k wit it!
We don't need deadweight…”
- Busta Rhymes “The Coming” 1996
With such a strong musical presence, Hip-Hop as an art-form, and the visual culture that
it creates, is often overlooked by those not directly invested in the culture. Rap’s pop dominance
has overshadowed the way that Hip-Hop has become such a far-reaching, transformative art
movement for the past two decades. Hip-Hop has left its mark on theater, poetry, literature,
journalism, performance art, dance, visual arts, photography, film, video, and graphic design; not
to mention the recombinant and emerging versions of any of the aforementioned. 6 In his book
Total Chaos author Jeff Chang quotes pioneering Hip-Hop critic, Harry Allen, on his comparison
of the evolution of Hip-Hop as an artform to the Big Bang.
“Its vanishing point is the Bronx, somewhere ‘round ’68. Its ‘epoch of inflation’ is the
six-year period before the breakthrough of commercial rap in 1979. Sometime between
the middle and the end of that epoch, Afrika Bambaataa famously articulated the outlines
of the hip-hop aesthetic by defining four primary elements, its founding genres: graffiti
writing, b-boying/b-girling (breaking), DJing, and MCing… Together these elements
constitute ‘one, never-to-reappear ‘superforce’.’ After that, anything could happen.”
6
Chang, Jeff. Total chaos: the art and aesthetics of hip-hop. New York: BasicCivitas Books, 2006.
7
At the turn of the 1980s, Hip-Hop seemed to be moving away from the avant-garde.
Graffiti art came to be recognized for being reactionary to conceptualism and minimalism, an
“outsider” art that correlated to postindustrial dislocation, confronted “drop-dead” government
with creativity, and encapsulated all that was transgressive and progressive in the movement.
Breaking/ B-boying’s democratic reclamation of public space and its aggressive athleticism
reinvigorated modern dance. Djing “brought the noise” for the postmodernists’ interest in
rupture, repetitions, and bricolage, and MCing suited the needs for poststructuralists’ obsession
with texuality. 7
Each element of Hip-Hop had become and remains a portal for the creators within the
culture to help root Hip-Hop as a multi-media, multi-sensory, immersive experience that has a
strong visual language. The reason Hip-Hop has been such a major influence and maintains its
relevance, is because the creators of the culture did not see it as a trend or fleeting-moment in
time; Hip-Hop became a lifestyle. For the artist involved this meant communicating that lifestyle
in any way they deemed appropriate. When one hears “Hip-Hop Artist”, majority of the time the
automatic association is “Emcee”/Rapper (Appendix A). Often a missed realization is that HipHop Artists are visual communicators too. As the culture of Hip-Hip evolved, so did its
participants, and the same kids “tagging the subways”, designing mixtape covers for local HipHop acts, or designing flyers for a block party have become the same thinkers influencing
design, branding, and current trends in design aesthetics today. Even after three decades, there is
also a negative scope to Hip-Hop growing on a global scale; it’s facing exhaustion.
By 2005 the capitalist opportunities associated with Hip-Hop culture had become a polar
opposite from its origin of being a self-contained vehicle of expression. Abused by corporate
media monopolies with their deployments of blockbuster-minded executives, programmers
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looking for a reaction, and marketers obsessed with styles and vernacular, Hip-Hop began to
incur a dismayed response from Hip-Hop activists due to the “pimping” of their culture. In a
conversation on rap’s accommodation to global hypercapitalism, Greg Tate wrote: “Consider, if
you will, this ‘as above, so below’ doomsday scenario: twenty years from now we’ll be able to
tell our grandchildren and great-grandchildren how we witnessed cultural genocide: the
systematic destruction of a people’s folkways.” The paradox is, even as Hip-Hip rose to the peak
of its functionality as a generator of entertainment and luxuries of a capitalist lifestyle, Hip-Hop
continued to be a voice and provide vision to millions of people globally.8 Hypercapitalism,
while unfortunate to some, did not sever Hip-Hop’s communicative quality.
Chapter Three: Hip-Hop & Graphic Design; Unlikely Allies
“When I think of Hip-Hop, I think of a big cultural change.”
- Big Daddy Kane / Emcee
Hip-Hop is not monolithic; it takes on many styles. As aforementioned, it can be tasteful,
violent, revolutionary, relevant, inconsequential, irreverent, raw, and sophisticated, sometimes all
at once. It frequently reclaims and cycles its roots, reintegrating imagery from the past into the
present which is a major parallel to the cyclic nature of Graphic Design. In both Hip-Hop and
Graphic Design, there is an exchange between creator and audience that is heightened by
elements of storytelling that stick with the people through the multi-sensory language that is
often catered to the visual. The demographic that engages in Hip-Hop culture, knowingly or
unknowingly, has broadened due in part, to the visual language that has formed as a result of the
culture. Like Graphic Design, Hip-Hop is a tool of communication that influences generations.
It has the power to unify people from a global perspective, challenge injustice, perpetuate
stereotypical representations of African-American culture, serve as a means of expression of a
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range of emotions, be the voice for the under-dog, provide a view into the violent realities of
different cultures, become a source of inspiration, and be a teacher all in one.
Hip-Hop has numerous commonalities with Graphic Design because of the thought
process of its creators, and the means of execution used to convey these stories. Essentially, HipHop artists use what they have to tell their stories, and in their origins, the visual storytelling
aspects of Hip-Hop that were visually delivered were the results of reappropriated images and
messages. To look at Hip-Hop critically, it is valid to say that the message behind many of its
stories, and the imagery associated with the culture are not completely original in thought or
execution, but are presented in a postmodern style that resonates with the community it is
reflecting. Like Graphic Design, Hip-Hop samples from existing sources and recombines them
into a new message. Even though this sampling occurs, more often than not it does not totally
destroy the recognition of the original source, but credits it, and adds to its
understanding/overstanding, and provides different context, which in turn shows Hip-Hop’s
communicative efficiency. On the other hand, there are instances in both Hip-Hop and Graphic
Design where the original source of a certain style, delivery, “swag,” or aesthetic becomes lost
through translation, and becomes a matter of authenticity; is anyone truly original anymore?
In both Hip-Hop and Graphic Design, the discussion of originality is constant. Whether
someone is referring to designer Jessica Hische’s recent popularity due to her (impeccable)
talent, skill, and style inspired by vintage hand-lettering and previous designers (such as Louise
Fili), or if it is someone discussing A$AP Rocky’s style, sound, and overall demeanor not being
the typical “Harlem-Swag” but pulling from a more southern Houston-based persona, there is
always the question in both communities; who is really original? What it comes down to in both
instances is the artist reintergrating styles, images, sounds, and other influences in voice and
visual manifestation that communicates their narrative. This ephemeral component of fringe
culture is as transient as human existence itself. Both cultures mold themselves to the ebb and
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flow of American popular culture; neither create anything that is truly original. Both combine
clichéd metaphors and tropes through existing digital or analog technology into appropriate
expressions that affect a global audience.9
The parallels between Hip-Hop and graphic design are even beginning to be recognized
amongst designers, and visual artists in academia who hold a high regard for the Hip-Hop
Culture and understand its relevance and effectiveness as a tool of communication. In his article
Dezyne Klass: Exploring Image-Making Through The Visual Culture of Hip-Hop, John Jennings
says:
“Both [Hip-Hop and graphic design] focus on representation of ideas and the forming of
connections between people and community. Both are also definite subcultures, each
operating with its own agreed practices, standards, style and language. They both have
social ordering systems, ideologies dealing with the construction of self-expression, and
concerns with the expression of self through bricolage and fashion. Ironically even
though they are subcultures, Hip-Hop and design have both been overly commodified
into corporate versions and have helped with the branding of American culture on a
global scale.”
Designers and those who actively participate in any aspect of Hip-Hop both recognize this shift
in both cultures from a more personal to corporate relationship. In both cultures there has been a
more capitalist drive within its community since its conception, or early practices, and for some
involved, the experience has changed (not always) for the worst.
In both communities, communication on a global level is its biggest asset. Hip-Hop and
Graphic Design both peak when the creators can convey a story that becomes relatable past its
intent. Currently both Hip-Hop and Graphic Design are moving away from these regional
borders. At its conception it was typical to know automatically where a Hip-Hop Artist
(including visual Hip-Hop artists) were from based on lyrical content, tagging styles, how they
9
Bennett, Audrey. Design studies: theory and research in graphic design. New York: Princeton Architectural Press, 2006.
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chose to wear their clothing and accessorize, dancing styles, album cover artwork, and
production. The same can be said for design in its early phases. Different schools of design,
Bauhaus for example, would be immediately recognized by its overall style to anyone familiar
with their work. In today’s digital age, technological advances have made both Hip-Hop and
Graphic Design easier to produce, more customizable, and easily accessible at a faster rate for a
bigger audience. This access to a world of cultural influences makes it easier to cross-reference
styles that were once just regional, which has demystified the borders within each community.
Regional styles have become less relevant.
With the ability to have a global audience with a click of a mouse, regional styles are now
cross-referenced and re-interpreted in a new way by artists because both cultures are now
products of more exposure, and influence. The Internet has been responsible for catapulting both
communities into a world of sharing, that at their conception, neither had exposure to. With
social media sites like YouTube, Facebook, Bandcamp, Tumblr, Behance, Pintrest, Soundclick,
Vimeo, Instagram, etc. artists can now have direct access to their audience and control the
promotion of said work. One now has the possibility to gain exposure without even stepping foot
out of their personal workspace. For Hip-Hop Artists (visual and musical) and Designers alike,
the control one now has for the promotion, and visibility of their art is now something they can
control in a different way. They also have access to inspiration of worlds they may have been
unexposed to otherwise. Current society is so flooded with images, and references from all
cultures, that it is almost inevitable that artist will reference these experiences and styles in their
work.
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Case Study:
Fight The Power; Public Enemy’s Ability to Evoke Many responses, and
Convey Several Messages Through Sampling and Creating a Multi-Media
Experience
“From the heart, it’s a start, a work of art
To revolutionize, make a change, nothin’s strange
People, people, we are the same”
- Chuck D “Fight The Power” 1989
Major themes in Hip-Hop revolve around disregard for “the establishment”, confronting
abusive authority, and championing individual rights and expression. In both the music and
visual manifestations of Hip-Hop culture, it is very common for artists to address social injustice
and voice the concerns of their communities. Hip-Hop often serves as documentation of many
moments in history, and the artists involved could be considered facilitators of these messages by
presenting them in ways that resonate with the public.
One example of such a facilitator of history, is a group that was able to deliver their
message past the music; Public Enemy. Consisting of three vocalists/emcees (Chuck D, Flava
Flav and Professor Griff) and two DJ’s/turntablists (Terminator X who was replaced by DJ Lord
in 1999), the group Public Enemy is known for their politically charged messages, voicing their
frustrations and concerns for the African American community, and combating American media.
Public Enemy is highly revered in the Hip-Hop community because of their ability expose truths
felt by victims of injustice, while still being able to reach a mainstream audience. Public
Enemy’s use of different samples and styles from a variety of musical genres and visual artists
has been a key characteristic that has made their message resonate with cultures that extend past
the African-American community it was intended to speak for. The turning point in their career
is a body of work associated with their song “Fight The Power”. This song is on their album
Fear of A Black Planet, but was originally conceived at the request of film director Spike Lee
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who wanted a piece of music to represent his 1989 film Do The Right Thing. The message of this
song encompasses ideas, images, and sounds reintegrated from different songs, movements,
and moments in history. When writing the song Chuck D says
"I wanted to have sorta like the same theme as the original ‘Fight The Power’ by The
Isley Brothers and fill it in with some kind of modernist views of what our surroundings
were at that particular time".10
The group's bass player Brian Hardgroove has said of the song's messages, "Law enforcement is
necessary. As a species we haven’t evolved past needing that. Fight the Power is not about
fighting authority—it’s not that at all. It’s about fighting abuse of power” (PE Website, Retrieved
2013-04-11). The ideation behind this song was a threat to the status quo of American Culture
that was beginning to form based on the comfortable notions of multiculturalism and political
correctness. In an article dissecting the messages of the song, author Laura K. Warrell states:
“Fight the Power” brusquely dismissed the liberal hope that racial injustices will be
remedied once everyone realizes we’re all the same beneath the skin: “People, people we
are the same/ No, we’re not the same/ ‘Cause we don’t know the game.” Meanwhile,
conservatives, with their decreasing attention to social programs, seemed content to let
America’s race problems stay within the borders of the inner city. Today’s artists don’t
seem to know what real provocateurs like Public Enemy know: Shock is a short-lived
effect that wears off quickly and has no real consequences. Art can be relevant without
being overtly political, but if there are no real motives or ideas behind shock, its images
too often fall flat…. “Fight the Power” pushed audiences to question authority, and said
what we were too afraid to say about American society. The song came at a time when
10
"Public Enemy - Chuck D, Flavor Flav, Professor Griff, Terminator X, DJ Lord & The
S1W's." Public Enemy - Chuck D, Flavor Flav, Professor Griff, Terminator X, DJ Lord & The S1W's.
http://www.publicenemy.com/index.php?page=page1&limit=100 (accessed April 14, 2013).
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young people, who were being cast aside as gangstas or slackers, were hungry for
meaning and connection. Not since the idealized ’60s had there been such a force in
music toward action. Music fans were reminded of their political strength and their right
to defy the establishment. When Public Enemy called us to battle, it revived the notion
that it just might be possible to fight the system. At the very least, we knew it was
necessary.”11
For more than twenty years “Fight The Power” has been the anthem for those subjected
to false accusations, and has served as a rallying cry for people frustrated with abuse of power. In
a survey administered amongst approximately 100 participants (Appendix A), people were asked
to recall what comes to mind when they hear the song and or see the title (Fight The Power).
While not everyone was familiar with the song, for those who were, the song evoked many
images that include civil rights activists such as Malcolm X and Martin Luther King Junior, the
Black Panther movement, Pan-Africanism, Afrocentricity, protest, police brutality, injustice,
RBG (the colors red black and green, that represent African-Americans in many contexts), 1989,
and corruption in urban cities. These associations come as no surprise because, the visual
components of this song all reference historical imagery associated with the rebellion of the
African-American community towards injustice.
It can also be credited with developing a style for songs with similar messages to come,
to base their visual aesthetics off of. The same theme of sampling that takes place in the
production of this song carries over into its visual representations. For instance, the video that
accompanies “Fight The Power” takes place in a closed off block of Brooklyn, New York in
1989. In the video Public Enemy is a host of a block party that simulates a protest, or an activist
march/rally such as that of the Black Panther Party. Some audience/protest participants can be
11
Warrell, Laura K.. " “Fight the Power” - Salon.com." Salon.com.
http://www.salon.com/2002/06/03/fight_the_power/ (accessed March 1, 2013).
15
seen holding picket signs with images of Harriet Tubman, Jesse Jackson, and other figures
associated with the advancement of racial equality in the African-American community at that
time (Figures 1-3). Audience members are even seen wearing RBG paraphernalia, and the
uniform of the aforementioned Black Panther Party (Figure 4). The artwork for the single (Figure
5), which is the same cover used for the movie Do The Right Thing, also includes imagery
associated with the same themes. The bold use of color, hand-rendered typography, and the
images are all cross-referencing different elements of Hip-Hop such as graffiti and the identity of
the emcee. It has become one of the main images associated with politically-charged Hip-Hop,
and this can be credited with it’s clear message, and the powerful song that it is attached to.
“The song is built out of nonstop references and allusions to the history of black
American culture and its relationship to the broader cultural landscape.” (Walker p.1)
Even the group’s logo (Figure 6), that can be seen throughout the video, has a huge
presence, and adds to the story of Public Enemy. The logo speaks to the injustices faced by the
African-American community in particularly highlighting African-American males. It is a black
and white logo that shows a black man under the scope of the target of a police officer’s gun.
This not only speaks to the messages in a lot of Public Enemy’s music, but the African-American
community at large which makes it one of the most insightful, informed marks in the visual
culture of Hip-Hop. When asked to name one of the best pieces of Hip-Hop Design in the last
thirty years during a panel discussion in 2006, Hip-Hop Designer Cey Adams credits the logo
with offering insight that is stronger than the band/group.
“For me one of the things that I still to this day find absolutely amazing and still so
pleasing to the eye is the Public Enemy logo. Chuck D had insight early on of how
important it was to have a mark that was stronger than the band. And in some ways, the
logo is synonymous with Hip-Hop itself. Black men are a target, beginning and end, ‘nuff
16
said. The idea that he came up with a way of visualizing that—to me, it surpasses
everything that’s happened since.”12
When there is a message as strong as that of “Fight The Power”, the visual components
associated with that message are what people remember and recall. This song was able to forge a
whole new lane in the visual culture of Hip-Hop by serving as an example of how you can crossreference moments in history to evoke those same emotions associated with it. “Fight The
Power” evokes a revolutionary response due to its message and the visual components associated
with it. “Fight The Power” (and all of its components) is an example of a visual manifestation in
hip-hop visual culture that captures a moment in history and has been able to inform design,
style, and art past it’s intentions. Both the song and video automatically place the audience in the
exact moment in time and serve as the key references to the black power movement, conscious
hip-hop, Afrocentricity, and the Golden Era of hip-hop.
Tying this exploration into the field of design and to reference Marshall McLuhan, this is
a great example of the Medium being the Message.
“An abstract painting represents direct manifestation of creative thought processes as
they might appear in computer designs. What we are considering here, however, are the
psychic and social consequences of the designs or patterns as they amplify or accelerate
existing processes. For the “message” of any medium or technology is the change of
scale or pace or pattern that it introduces into human affairs. The railway did not
introduce movement or transportation or wheel or road into human society, but it
accelerated and enlarged the scale of previous human functions, creating totally new
kinds of cities and new kinds of work and leisure. This happened whether the railway
functioned in a tropical or a northern environment, and is quite independent of the
freight or content of the railway medium. The airplane, on the other hand, by
12
17
accelerating the rate of transportation, tends to dissolve the railway form of city, politics,
and association, quite independently of what the airplane is used for.”13
Chapter Four:
Expansion of Hip-Hop
4.1 Foreword
Instead of graffiti just being seen in back alleys, or break-dancing being contained to
parties, and urban culture, Hip-Hop is now influencing the likes of video games (Figure 7),
fashion, marketing tactics, branding strategy and even pedagogy. For more than a decade,
different aspects of society have capitalized on the appeal of Hip-Hop culture; sampling its
language, techniques, styles, and cultural references. Beyond a trendy “hipness”, Hip-Hop as an
art-form and tool of communication, is now a societal norm that fits seamlessly into current
visual culture. Hip-Hop has now become a centralized feature of an increasingly globalized
cultural landscape. 14
4.2 Hip-Hop’s Role In Current Pedagogy
Given the salience of Hip-Hop culture in the lives of many urban American youth, the
educational community has begun to pay considerable attention to the pedagogical possibilities
of Hip-Hop Culture within formal schooling contexts. Drawing from a variety of disciplinary and
theoretical traditions, researchers and practitioners have effectively demonstrated the variety of
ways that educational contexts are enhanced when Hip-Hop and other forms of popular culture
become a part of the formal school curriculum. In particular scholars have shown how the four
elements of Hip-Hop culture (See Chapter One) can be used within classrooms to improve
13
14
McLuhan, Marshall, and Quentin Fiore. The medium is the massage. New York: Random House, 1967.
Hill, Marc Lamont. Beats, Rhymes, and Classroom Life: Hip-Hop Pedagogy and The Politics of Identity. New York: Teachers College Press,
2009.
18
student motivation, teach critical consciousness, promote creativity, and transmit disciplinary
knowledge. These foci and approaches, along with others, collectively compromise the field of
study that Marc Lamont Hill refers to as Hip-Hop Based Education (HHBE). 15 In his book,
Beats, Rhymes, and Classroom Life: Hip-Hop Pedagogy and The Politics of Identity, Marc
Lamont Hill states:
“While current HHBE research has demonstrated the effectiveness of Hip-Hop-based
curricula in contributing to more favorable learning environments and outcomes,
insufficient consideration has been given to the cultural stakes attached to such
interventions. Ironically, despite the fact that many scholars and practitioners advocate a
Hip-Hop-based curriculum because of its connection to the cultural experiences of
students, current scholarship has failed to extend conversations about HHBE beyond the
parochial considerations of contemporary educational policy. Instead of carefully
unpacking the complex relationships that are forged between youth and Hip-Hop culture,
current classroom research has focused primarily, if not exclusively, on narrow
conceptions of educational success such as attendance and standardized test score
outcomes. Although these issues are of critical importance…they have come at the
expense of deeper and broader analyses of the ways that HHBE shapes and responds to
students’ lived experiences with Hip-Hop Culture.”
Currently Hip-Hop-based courses are taught in several universities across the U.S. that
include: Harvard, North Carolina Central University, and others. From a design standpoint, artist
and professor, John Jennings has developed a design course, “Image-making Through The
Visual Culture of Hip-Hop (aka Dezyne Klass)” which strives to reacquire images through
decoding their origin and meaning. It also examines Hip-Hop metaphors through critique and
15
Hill, Marc Lamont. Beats, Rhymes, and Classroom Life: Hip-Hop Pedagogy and The Politics of Identity. New York: Teachers College Press,
2009.
19
visual experimentation, which are afforded via the exercises and image-making problems
assigned. The projects deal with a diverse array of topics that include the transience of space,
identity, and meaning, creating visual narratives, and designing anthropomorphic symbols and
social awareness through visual essay.16 He states:
“The course expounds upon the power of image in Hip-Hop and how it has helped to
promote Hip-Hop’s current status as a global culture. Visual literacy and social
commentary on image is a focus of the course through the application of traditional
modes of analysis. The course acts as a medium through which the culture and history of
Hip-Hop and the culture and processes of image-making can be brought together to
study how they inform each other.”17
In an anonymous survey (Appendix A) participants were asked a series of questions
related to Hip-Hop Culture and Hip-Hop as an art-form. When asked: How do you think Hip-Hop
evolved into something bigger than just music? One participant goes on to explain his/her
experience with Hip-Hop in the classroom:
“ I was fortunate enough to be in a course taught by 9th Wonder when I went to school in
North Carolina. When you think of how small Hip-Hop was compared to what it is today,
I think it’s worth recognizing that this thing is bigger than just music. Hip-Hop is a
global phenomenon in my eyes. I’m being taught Hip-Hop, in a classroom. That’s mindblowing.”
The course this participant is referring to is called Hip-Hop in Context and was taught at
North Carolina Central by professor and Hip-Hop Producer, Patrick Douthit, known in the Hip16
17
20
Hop community as 9th Wonder. Douthit stayed at the university for three years and then later
moved to Duke University, where they also embraced his course. 18 In an interview included in
Andrew Rausch’s book, I Am Hip-Hop: Conversations On The Music and Culture, Douthit
explains that he feels anything that has been a part of society for 37+ years, needs to be studied,
analyzed, and understood at a college level. He compares Hip-Hop to Jazz in the interview
saying:
“Jazz was created in the streets, and now it is studied all across the world. I believe that
Hip-Hop is going to come to that I just wanted to be one of the forerunners (teaching) of
it rather than there be some 60-year-old guy who knows nothing about the art form but
teaches about it because he reads a couple of books.”
His course at NCCU covered Hip-Hop from 1968-1997. A lot of history courses fail to
discuss black history accurately post-Martin Luther King. Douthit says, “It’s like after Martin
died what happened?...This course covers everthing between his assassination and the
assassination of the Notorious B.I.G.” There were a lot of things that happened from a sociopolitical standpoint, which corresponded with Hip-Hop culture. It is a misconception that HipHop and politics don’t have any connection, so the course discusses the creation of Hip-Hop
culture, how it affected the overall view of the black community and gives a broader
understanding of Black History. 19
Hip-Hop takes on many roles, even in the classroom. Current pedagogy is stull trying to
find Hip-Hops best fit in its curriculum, but it definitely affording broader discussions not just in
music but sociology, history, design, and culture studies.
18
19
Rausch, Andrew J.. I Am Hip-Hop: Conversations On The Music and Culture. Lanham, Md.: Scarecrow Press, 2011.
Rausch, Andrew J.. I Am Hip-Hop: Conversations On The Music and Culture. Lanham, Md.: Scarecrow Press, 2011.
21
Methodologies / Visual Component
For the visual component of my thesis I chose to represent the visual culture of HipHop in three sections—a visual timeline, video montage, and a Hip-Hop mix.
Visual Timeline: Through the use of album covers, I highlighted the change of styles and use of
design in Hip-Hop from early conception to present day. I explored commonalities amongst eras
and explore how imagery in society informs many themes in Hip-Hop as an art form (Figures 810). To speak to the urban element of street flyers, the promotion of Hip-Hop, and the overall
street setting of the culture, I chose to display the albums chronologically, on a wall made of
chain-link fence. Within the wall there are explanations that explain the different design styles
common amongst the different eras of Hip-Hop as well as credit the inspiration of other cultures
within Hip-Hop design work and styles.
Video Montage: This component (Figures 11-13) gave viewers a look into how Hip-Hop has
informed art, branding, fashion, and politics and vice versa. Images of how Hip-Hop is used as
an art form were shown as well as how the culture has expanded from personal to a global tool of
communication. It also gives the viewer an accurate depiction of the four elements of Hip-Hop:
emceeing, graffiti, breaking, and DJing. The video also highlights moments in history, cultural
traditions, and politically-charged imagery that has informed Hip-Hop culture.
Hip-Hop Mix: The last element of the visual component is the actual music. It would have been
a missed opportunity to not include the actual music of the culture, so the mix allowed the
audience to hear actual mixes, and what the music sounds like. It also shows how the content has
changed since its conception from a party element to a tool to deliver specific narratives that are
more poetic/lyrical in nature.
22
The feedback from the exhibit proved to be very positive, and served as a major catalyst
for discussion involving the visual culture of society as a whole. Many viewers interacted with
the piece inquisitively and spent time with it, which was the desired result. When developing this
visual component, the intent was to provide an immersive experience that engages the audience
on a multi-sensory level. Tactile, audible, and visual elements were used in this exhibit which
attracted more viewers.
Conclusion
While it was a bit easier to find text relating to the origins and development of Hip-Hop
as a culture, finding text that discussed Hip-Hop as an artform, as well as current discussion that
covers the parallels between Hip-Hop and design was challenging and presented limitations.
Although there was not an abundance of literature on these parallels, it forced me to tap into the
connections I’ve made personally, and inspired the data set I was able to acquire through primary
research. Through the surveys and interviews collected, connections were made that helped
inspire a direction for my visual exhibit, as well as offer insight into the associations people
make with Hip-Hop without realizing.
Hip-Hop’s voice is the reason it has maintained relevance today. The message of HipHop culture when narrated through song, visual imagery, dance, turntablism, and its use as an
art-form only makes its communication stronger, because it is not limited to one form of
storytelling. To say Hip-Hop’s ability to attain and maintain global relevance, is solely due to the
visual culture it creates, discredits all of the other extensions of the culture. By dissecting the
universal messages of Hip-Hop and the methods by which it is conveyed through a multi-media
platform, it has been discovered that Hip-Hop is a multi-sensory, immersive experience that
catapults participants (knowingly or unknowingly) into a world of highly effective
communication through all of its elements. Hip-Hop has become wider than its roots and has
flourished in a society that rejected the culture’s sustainability during its conception. The culture
of Hip-Hop in general is instrumental in the success of many marketing brands, current
23
pedagogy, and provides a major platform for collaborative work amongst artists of all
backgrounds.
There are clear connections between Hip-Hop and graphic design worth discussion,
further analyses, and exploration. They are both tools that affect current society past a broad
understanding and are both engrained in American visual culture. The parallels between the two,
both reveal that neither have one set linear process to deliver its intended narrative, but leave the
responsibility with the artist as communicator.
Hip-Hop takes on the form of the creator, and as a result communicates narratives that
connect with a global audience because it is more personal in nature than one may realize.
Similarly, design practices afford designers/visual communicators opportunities to explore their
visual language in a way that connects with an audience past its intent.
24
Works Cited
Adams, Cey, and B. Adler. Definition: the art and design of hip-hop. New York: Collins
Design, 2008.
Bennett, Audrey. Design studies: theory and research in graphic design. New York: Princeton
Architectural Press, 2006.
Bradley, Adam. Book of rhymes: the poetics of hip hop. New York, NY: Basic Civitas Books,
2009.
Chang, Jeff. Can't stop, won't stop: a history of the hip-hop generation. New York: St. Martin's
Press, 2005.
Chang, Jeff. Total chaos: the art and aesthetics of hip-hop. New York: BasicCivitas Books,
2006.
D, Davey. "Hip Hop History 101: How Hip Hop merged w/ Punk and New Wave pt1 –
Intv w/ Fab 5 Freddy - YouTube." YouTube. http://www.youtube.com/watch?v=EyxNc7cA7E (accessed March 14,
2013).
Decoded. New York, NY: Spiegel & Grau, 2010.
Durand, Alain. Black, blanc, beur: rap music and hip-hop culture in the francophone world.
Lanham, Md.: Scarecrow Press, 2002.
Emery, Andrew. The book of hip hop cover art. London: Mitchell Beazley, 2004.
Evans, Jessica, and Stuart Hall. Visual culture: the reader. London: SAGE Publications in
association with the Open University, 1999.
Fernandes, Sujatha. Close to the edge: in search of the global hip hop generation. London:
Verso, 2011.
Hall, Peter, Stefan Sagmeister, and Chee Pearlman. Sagmeister: made you look. New York:
Booth-Clibborn Editions, 2001.
Hill, Marc Lamont. Beats, rhymes, and classroom life: hip-hop pedagogy and the politics of
identity. New York: Teachers College Press, 2009.
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Jenkins, Sacha. Ego trip's book of rap lists. New York: St. Martin's Griffin, 1999.
Keyes, Cheryl Lynette. Rap music and street consciousness. Urbana: University of Illinois
Press, 2002.
Kugelberg, Johan, and Joe Conzo. Born in the Bronx: a visual record of the early days of hip
hop. New York: Rizzoli, 2007.
McLeod, Kembrew, and Rudolf E. Kuenzli. Cutting across media: appropriation art,
interventionist collage, and copyright law. Durham [N.C.: Duke University Press, 2011.
McLuhan, Marshall, and Quentin Fiore. The medium is the massage. New York: Random House,
1967.
Neer, Katherine. "How Hip-hop Works" 19 December 2007. HowStuffWorks.com.
<http://entertainment.howstuffworks.com/hip-hop.htm> 17 April 2013.
Paniccioli, Ernie, and Kevin Powell. Who shot ya?: three decades of hiphop photography. New
York: Amistad, 2002.
Picaza, Julian . "Urban Dictionary: Author Julian Picaza." Urban Dictionary, May
15: Social Bully. N.p., n.d. Web. 15 May 2013.
<http://www.urbandictionary.com/author.php?author=Julian+Picaza>.
"Public Enemy - Chuck D, Flavor Flav, Professor Griff, Terminator X, DJ Lord & The
S1W's." Public Enemy - Chuck D, Flavor Flav, Professor Griff, Terminator X, DJ Lord
& The S1W's. http://www.publicenemy.com/index.php?page=page1&limit=100
(accessed April 14, 2013).
Rausch, Andrew J.. I am hip-hop: conversations on the music and culture. Lanham, Md.:
Scarecrow Press, 2011.
Resnick, Elizabeth. Design for communication: conceptual graphic design basics. Hoboken,
N.J.: Wiley & Sons, 2003.
Stith, Kevin "History Of Hip-Hop." History Of Hip Hop
EzineArticles.com. http://ezinearticles.com/?History-Of-Hip-Hop&id=429044
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Stoute, Steve, and Mim Eichler Rivas. The tanning of America: how hip-hop created a culture
that rewrote the rules of the new economy. New York: Gotham Books, 2011.
"The Roots Of Hip-Hop." RM Hip Hop Magazine Apr. 1986: 2. Print.
Thomas, Julia. Reading images. Houndsmills, Basingstoke, Hampshire: Palgrave, 2001.
Warrell, Laura K.. " “Fight the Power” - Salon.com." Salon.com.
http://www.salon.com/2002/06/03/fight_the_power/ (accessed March 1, 2013).
Watson, Elijah. "Hip-Hop Exhibiting Punk Characteristics: What Does it Mean? |
Hypebeast." HYPEBEAST. Online Magazine for Fashion, Arts, Design and Culture .
http://hypebeast.com/2012/5/hip-hop-exhibiting-punk-characteristics-what-does-itmean?_locale=en (accessed March 14, 2013).
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Appendix A:
Collected Research
Research Synthesis
Since it’s conception, Hip-Hop has had the ability to attach itself to different moments in
history, influence style and become a major part of American Visual Culture. During the weeks
of April 8,2013 – May 10, 2013—I gathered research through anonymous surveys to see what
visual cues are immediately associated with Hip-Hop culture, and to see what other relevant
connections I could make in the culture.
Survey Conducted Amongst: 50 anonymous participants
Survey Questions
1.
How are old you?
under 18: 1 | 2%
18-25: 28 | 64%:
26-30: 5 | 11%
31-38: 3 | 7%
39 +: 7 | 16%
Note: Only 44 of the 50 participants chose to provide their age.
2.
Gender
Female: 25 | 57%
Male: 19 | 43%
Note: Only 44 of the 50 participants chose to provide their gender.
3.
Where are you from?
US – East Coast: 17 | 40%
US – West Coast: 9 | 21%
US – Midwest: 4 | 9%
US – The South: 11 | 26%
Europe: 1 | 2%
Africa: 1 | 2%
Note: Only 43 of the 50 participants chose to provide their gender.
4.
What best defines where you grew up (neighborhood)? (Rural, city, etc.)
Urban: 25 | 50%
Sub-Urban: 24 | 48%
Rural: 1 | 2%
5.
What was your first memorable exposure to Hip-Hop?
a) My first memorable experience has to be the first time I heard Will Smith's "Homebase" record. My
brother and I found it while looking through my Dad's old CDs. It was the only thing I listed to for a
solid month.
b) The movie brown sugar.
c)
Listening to music with my dad when I was about 4 or 5 years old.
d) The first song I remember leaning from him was MC Nas-D & DJ Freaky Fred's "It's My Cadillac (Got
That Bass)". I would walk around signing "My Cadillac got that bass, bass, bass".
e)
Hip-Hop really rose to popularity in Germany around 1997/1998, and there were three cities that stood
out in the landscape: Hamburg (for the North), Stuttgart (for the South), Berlin (for the in-between),
each with their own unique styles. Living close to Hamburg, my first exposure to Hip-Hop was to
groups from Hamburg, mainly a group called Fünf Sterne Deluxe (Five Stars Deluxe), that was known
28
for their very humorous lyrics, that was a mix between storytelling and comedy. At the same time, a
group from Stuttgart called Freundeskreis (Circle of friends) released their album "Esperanto" (in
reference to the supposably universal global language, stating that Hip-Hop was like that to them),
which was very political (mostly left). Through the latter I then started to listen to what was at the
time called "Conscious rap" (from what we perceived that to be in Germany).
f)
Grew up when hip hop was in its infancy. Being front row at a Heavy D, Dougie Fresh concert during
the 80s was most memorable.
g) Watching music videos when I was a kid such as Crossroads by Bone Thugs. From there I'd say it was
downloading random albums from artists like The Roots and Common on Napster/Limewire.
h) Biggie Tupac beef
i)
MTV and BET. The Goodie Mob era, Lil John.
j)
listening to blow fly, rudy ray moore real low in the basement. Gil Scott Heron "the revolution will not
be televised" The first radio hit sugar hill rappers delight.
k) living in NY when the Sugar Hill Gang came out with Rappers Delight.
l)
My mother would play a great deal of Tupac records. There was always tons of music in our house.
My personal hip hop preferences were MC Lyte and Salt-n-Pepa (my first hip hop loves). There was
much of talk of the East Coast/West Coast beef. I preferred Biggie anyday to Tupac because I felt like
he had more music I could relate to and the beats were killer. New Orleans Bounce was also newly
emerging and gave the New Orleans metro area new life with a new dance like most regional music.
m) My mother playing her Curtis blow vinyl records while we cleaned the house. Seeing a group of guys
battling against each other (some rhyming, some dancing) outside in the neighborhood, at 10 years
old.
n) Being at my Grandma's house in Compton, listening to all the best G-Funk had to offer. Snoop, Dre,
Dogg Pound, etc.
o) Outkast - Ms. Jackson video
p) 1995-1997 years. My uncle was about 15yrs old then. I was about 5-6 so i was really impressionable.
and he would collect cds for DAYS! It was mostly r&b--biggie, usher, immature, aaliyah, bone thugz
for the most part. But i rememer just being in his room listening to those cds. My first experience with
hip-hop is definitely not the opinion I hold today. I was exposed to hip-hop in middle and high school
in South Florida where they believe hip-hop to be a type of Hispanic-rap bullshit, which I thought and
still think SUCKS ASS. But then I moved away from HELL aka South Florida and started hanging out
with people who knew what real hip-hop is and it changed my whole life.
q) My first memorable Hip-Hop exposure was also my first concert, which featured Ludacris and
Outkast. I've attended many concerts since then, but that still stands as the best performance I've
attended in person. I'm not sure if that's just because it was my first concert, but they still stand as two
of my favorite Hip-Hop artists despite their respective fall from relevancy and break-up.
r)
When I was in 3rd or 4th grade, I got a boombox for Christmas. My mom got me a few CD's for it.
One of them was a CD about female power, but she got it for me because I really liked the song "It's a
She Thing" by Salt n' Pepa and that's the only CD that had that song. Also about the same time... I was
obsessed with "Gangster's Paradise" and my nanny and I would sing along in the car when it came on
the radio! (Note: My mom was a single working mother and needed help so that's why I had a nanny. It
wasn't like I was some little rich girl with a nanny haha.)
s)
I was young, and my family (being Trinidadian immigrants) didn't want me to immerse into the hip
hop culture, which at the time was very violent. I remember being at my grandmother's apartment, and
my older cousin visited. He pulled out a cassette tape and played something with an eerie piano
playing. This was my first hip-hop song. Notorious B.I.G. - Notorious Thugs ft. Bone Thugs n
Harmony
t)
Recording songs that played on the radio so I can constantly rewind them to learn all the words, and
lyrics.com or a2zlyrics.com -- my haven for song lyrics. The first hip-hop I heard was Eminem, it was
29
the 'The Way I Am' video, I was 5 or 6. The fact that he wasn't singing, there was no instruments being
played just put me in a trance. From then on to this day I've been an avid hip-hop head.
u) Not much exposure - when young was introduced to the Last Poets and listened to some of the
fusion stuff in the early 90's. I have listened quite a bit to Dancehall and a lot of those artists in the late
90's and 2000's, though not much lately.
v) I guess technically MC Hammer, Marky Mark and Vanilla Ice in elementary school - but first
meaningful would have to be Common Sense's Resurrection, Biggie's Ready to Die, and Fugees' The
Score.
w) My Pop buying the Newcleus Record "Jam On It"
x) Remembering when I heard Rakim and EPMD cassette tapes from my friends. Tupac's Brenda had a
baby song... the lyrics made me cry.
y) Grandmaster Flash & Run DMC
z)
Sugar hill gang original The messages
aa) Listening to Bone Thugs "Crossroads" followed by 2pac & Snoop "2 of amerikaz most wanted"
bb) New Orleans rap that I was exposed to mainly through sports and the radio
cc) Riding shotgun in my brothers red Dodge Daytona, the year was either 96' or 97'. "Mo Money Mo
problems" by Notorious B.I.G. was playing.
dd) In the 3rd grade, 1999 all I heard was the hook to Jay-Z's song Hard Knock Life everywhere, I didnt
even realize it had rap lyrics on it at that time and also my uncles were inspiring rappers.
ee) I used to hang out with my uncle a lot. When we would ride around in the car he would play hip hop
artists such as, A Tribe Called Quest, Talib Kweli, The Roots, Common Sense, Mos Def and many
more Growing up in Atlanta, I always listened to hip-hop on the radio. I do not have a specific first
memory of being exposed to it. But I remember always being aware of it and interested in it. I think
Outkast was my first MEMORABLE group, though. Being in 1st or 2nd grade and my friend playing
Nelly - King of This City. My parents and older siblings introduced me to Hip-Hop. I remember
getting in trouble as a kid for drawing all over my sister's autographed Slick Rick record and trying to
remember every word to Wu-Tang's "Triumph."
ff) BET
gg) I'm so out of it as it comes to hip-hop, so please excuse my novice answers :) I had some friends in
college who I met that 'did hip-hop' at a club once in a while, and I believe this was my first exposure
to it. It was mostly poetic and story-telling about politics, issues in their lives, and other interesting
stories about life that they would put to a beat and 'rap'? I don't think this is called rapping
though. Listening to hip-hop tapes with my brothers, tapes we weren't supposed to have. Ice Cube,
Naughty by Nature, Wu-tang.
hh) Jams in the parks in Brooklyn, much like those recreated for movie Brown Sugar. Listening to Jocko's
rap. Owning the 1st rappers delight single
ii) Hip-hop music when I was in middle school
jj) as a child my young (white, tho making no difference) mother's favorite artist was Mary J..she would
sing "Sweet Thing" to me repeatedly..i vividly remember car rides & her singing..that bein said "all i
need" by Meth feat Mary was a favorite of hers..thats the memory furthest back i can remember, about
3 years old.
kk) My father blasting NWA in the car. Watching music videos on Mtv and BET like Heavy D, Kid and
Play, Tupac, and Queen La Tifah.
6.
What aspects of Hip-Hop culture most attract you?
a) Graffiti and Beatmaking
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b) Uninhibited self-expression and the authencity of the African American experience
c)
The first thing that captures my attention is the actual beat of the song. The song has to have nice
beat that I can nod my head to. The second thing would be the actual lyrics (this should probably be
my number one but sadly, it's not). I like to hear meaningful words that I can relate to, learn from, or
both. I want to be able to expand my mind when I listen to a song.
d) Since I was really into writing, I was always interested in lyricism within HipHop. Compared to any
other form of music, it presents many more opportunities for a nuanced and more intricate storytelling
(such as for example the later albums of Masta Ace, that are like musical audiobooks). Being from an
entirely different cultural context, for me it was also a great way to gain insights into the "realities"
(with a grain of salt obviously) of a different population. Having had musical training since the age of
5, I was also always very interested in the music itself and the way it combined new and old, through
sampling and remixing. While I believe that Jazz, Blues, Rock'n'Roll and several other musical styles
that originated in the African American culture got absorbed into white mainstream, it also fascinates
me how, despite HipHop's popularity among white teenagers and young adults, it still remains a
culture that has closer ties to its cultural origin, without being truly exclusive.
e)
Clever lyrics, slick beats and matching swag
f)
I love to write. Whether it be an article, a poem, or an essay, I enjoy working with words. When a
rapper is good at what he/she does, they are the ultimate wizard with the way they manipulate words to
a beat. Nothing beats when a seasoned rapper masterfully flows on a smooth beat while spitting poetic
lyrics. The sound the beat and how its delivered.
g) The knowledge-sharing aspect. I like raw NY hip-hop about uplifting the community and ending
oppression (from government or otherwise).
h) All of it, the music, the fashion, the energy , the genesis
i)
the story-telling, the flow, the rhymes, the double entendres, the music and the variety of beats
especially over throwback music or use of other genres like reggae
j)
The danceability of songs attracts me to the Hip-Hop culture. The lyrical ability of some rappers and
the beat attracts me to Hip-Hop culture.
k) I like lyricism, punch lines, off the dome flow (free-styling) and originality For lyricism I enjoy
Kendrick Lamar and Nas. For originality I enjoy Jay-z and Young Jezzy. Free styling would be Loaded
Lux and Serious Jones and the old little Wayne for punch lines but I also like TI.
l)
The feeling it gives you. The heights it makes you take you mind to. The vivid images the words make
your mind form.
m) The expression- the release of creativity and the power of a strong voice. I don't want to make it sound
like I don't like music unless it's saying "something", because it doesn't have to, but Hip-Hop...is
expression. And I love that.
n) the underground scene, more meaningful lyrics than what you hear on the radio
o) It's an outlet for expression. Hip hop as i know it isn't about possessions, but life. your status, your
struggle, your goals, fears, motivation, and the people that are apart of that with you (or even against
you).
p) The storytelling aspect of the lyrics, the community, the art, the fashion. Its tie to American Black
culture in general, much like "soul food" it's something we've created for ourselves due to our
separation (better yet exclusion) from mainstream American culture, and I'm very proud of that.
q) The music. I like that sometimes people don't even need to know what the lyrics are, as long as there is
a good beat, it's fun! If the lyrics are more interesting or relatable, then it makes it even more fun.
r)
the creativity. the unbridled wordplay that some rappers possess. the conglomeration of skill. the
"modern black grassroots" history it had. the colorful uncensorship. it's universality. its
adolescence.Consciousness and wordplay on current/historical events
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s)
The beats, the rhymes, the skill and even the fashion. Just hip-hop in it's raw form in general.
t)
I really don't have much association with this culture at all. It is not because of any dislike
particularly, it just really has never been in my life.
u) I don't know what about the culture attracts me honestly. I'm attracted to the arrangement of language
and lyricists.
v) the art of the words... the art of the music... the graffiti... Originality, word play, content, beats The
lyrics.
w) I am not sure anything attracted me. It is more of who i grew up to be, it is an extension of self.
x) The messages yes, some just sit out words...others have a messagerelating to conditions and
overcoming struggle, especially from people who not only don't understand you but judge you for not
understanding you or your experiences
y) Dancing and the beats
z)
The ability to create something beautiful from nothing. The ability to have no monetary funds and
produce something life changing and powerful.
aa) The originality of an artist and how they can convey their struggle to mass audiences and give you a
sense of hope.
bb) I am most attracted to how relevant some of the aspects of Hip Hop are to my experience. Musically
speaking, I love the storytelling aspect of it. The linguistics within hip-hop are insanely impressive. I
think the culture as a whole is really interesting to me because it is such a strong identity. If hip-hop
were a person, it would be the most self-aware and secure person. They know exactly where they came
from, who they are, and don't care what anyone else thinks. DJing, Producing, lyricism
cc) The fashion, the art, the diversity. Pretty much everything. the various styles and expressions of it
dd) I guess the story-telling aspect, but I don't listen to much. The real grit of hip hop. The real life you can
feel in the words and the heart ache or happiness that can be evoked. The beats make me sway my
head, you know it's good beat when you get a 'stank face' going on. The lyrical genius of hip hop.
Some people put it down because words and saying are made up. But that's just pure creativity.
Shakespeare made up words too but you don't see anyone putting him down for it. Now? Or then?
Then it was the beats and lyrical prowess now nothing. I can't stomach the nonsense
ee) The confidence, boldness, heavy beats, the dancing
ff) the hope, creativity, honesty, vulnerability, creativity, poetry, vibe, creativity..the fact that hiphop was
built off recreating former music in its own way, making its own sound.
gg) The music and dances. Beats that make you dance and nod your head and lyrics that are fun and
relateable as well as simulate thought.
7.
Do you think there is a difference between Rap & Hip-Hop?
a) Hell yea. Rap, is merely the art of making words flow over beats, I do that all the time. Hip Hop...well
it takes more of a commitment to listen to it because you have invest your mind and soul into it to fully
enjoy it.
b) Yes - hip hop (real hip hop) to me is more conscious than rap
c)
I used to think here was no difference between rap and hip hop but as time progressed there is a
significant difference. Back in the early stages of rap and hip-hop (at this point these terms can be
interchangeable) they both delivered a positive message of some sort, whether it about clothes, cars, or
other artists in the industry. If you take a look at the more recent evolution of rap AND hip hop (no
longer used interchangeably), there is a clear distinction. Rap is mostly an artist talking about how
much money they have or how many "bitches" (excuse my language) they have been with. Whereas
hip hop (although very rare now-a-days), still delivers a message, even though most of the messages
are now to bring awareness to how current "rap artists" are portraying women, among other things.
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There are still a few hip hop artists (who I consider to be hip hop artists), I would say Kendrick Lamar,
Lupe Fiasco, Common, and Mos Def. I would also refer to these fellas as lyricists.
d) I have never perceived it to be a true difference. Musically, we would always argue that HipHop was
a bit more melodic and well-rounded, whereas rap was more content-oriented and musically rough. But
that was always more of a definition within my group of friends. If I had to discern between the two I'd
say rap is strictly a descriptive relevant to music and hip hop is a culture driven that shares a common
interest in rap music
e)
Personally, the term hip hop is more encompassing than the word rap. Hip hop can fit in some of the
more out-there genres that the internet age of music has created. To me, rap focuses more on the actual
lyrical content of the song rather than the instrumental. Yes, I feel there is a difference between rap and
hip hop, hip hop is a way of life. Rap is straight to the point, rough and tough...Hip hop was cool and
smooth. Rap is/ was stealing ang killing, to me...
f)
Yes. Hip-Hop is the culture. It encapsulates rap and other aspects of the culture.. The culture can be
interpreted in different ways. Rap is the verb. It is an act only. It can be attributed to different cultures.
g) Rap is the music and hip hop is the culture.
h) I think rap has evolved into hip-hop. I look at rap as what LL Cool J, Fresh Prince, Dougie Fresh and
Eminem are known for. But Hip Hop is all inclusive of rap and expands to what Lil Wayne, Chris
Brown, Kanye and TreySongz can do with their versatility of singing, rapping, dancing using fast beats
& slow beats and more. In short, rap is one aspect of hip hop, and hip hop is not solely made up of rap.
i)
Yes. When I think of Hip-Hop I think of rappers who have more substance in their an the earlier
pioneers of Hip-Hop music. When I think of Rap I thin of the gangster rap that mostly talks about
bitches, hoes, drugs, sex, violence, etc.
j)
Yes Hip Hop is the culture, it grew and emerged. It's break dancing, beat boxing, 3 stripes, Gold
chains, high top fades. Hip Hop merged racial lines with the perfect verse over a tight beat. While rap
is also entertaining, it lacks morals and originality. I will admit it has plenty style, but that's truly it.
Rap just tries to rhyme but makes no sense. Rap is what Lil Wayne currently does. Rap is Chief Keef,
Wacka Flocka, Trinidad James. I think rap is only a part of Hip-Hop. Hop-Hop is more of a culture, a
movement, a community, and rap is just one of the many was to express it.
k) There are so many opinions on this- some of my older heads would scold me on whatever answer I
gave. To me, Rap is a term used by people who don't really understand Hip-Hop, or want to demean it.
Ever notice how the Grammy categories are 'Best RAP album' or 'Best RAP song'? Hip-Hop is an
entire culture. Rap is just rap. Yes, but I tend to put them in the same broad category. Hip-hop has a
more dance beat I believe hip hop is more of a culture. Rap is a style of reciting lyrics. Yes. I would
consider hip-hop more of a culture and Rap to be a style of music. I think there's a lot of overlap in the
two and I can see how they could get confused.
l)
Yes. From what I understand, Rap is the musical expression of the Hip-Hop culture. Hip-Hop also
includes other common attributes of culture such as fashion, art, language, etc...
m) Yes. I think Rap is just music, or a style of singing. I think Hip-Hop is a culture... including music,
poetry, clothing, lifestyle. I think Hop-Hop is unavoidable because it is part of culture, whereas I feel
Rap can be ignored by simply choosing to not listen to that music. Although I feel like Rap is a part of
Hip-Hop, just not a major portion of it. Rap is what you do (or can do). Hip-hop is what you are (or
can be...or feel...or think). Hip Hop is more culturally aware; more historical influence and focuses on
roots -- rap is topically relevant; what's new and now. Yeah I do. Rap is what an MC or a rapper does.
Hip-Hop is the genre, the music they make and how they live. Don't know enough to comment. There
is a difference. I'm not sure my answer is the most accurate, but to me it is that rap is more centralized
around lyrics and may or may not have a hook, particularly one with vocals.
n) YES Rap.. Is a comercialized form of Hip Hop.. in my opinion the divide between the two has grown
even more in the past 10 years... Its all about the money.. Hip Hop.. The people who uphold the
original principals of hip hop, are fans themselves, they love the music the words and they wouldnt
shortstop the quality of an album to meet an industry deadline... I hate to sound so cliche but I do
believe Hip Hop is the culture and rap is just a form of hip hop YES! Hip Hop is expression,
motivation and story telling... Hip Hop is postive and inspiring... rap isnt. Yes, one is the act and the
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other is the culture. As KRS-One says "rap is something you do, hip-hop is something you live" and
that is the truth
o) Yes, I feel like rap represents a money making industry that took off after the golden era of hip hop.
It's almost like hip hop music was taken over by the rap industry. Even though when you spit it's
always been called rapping, something happened and shit aint been the same since. I identify rap with
the artist and lyrics, but hip hop is more all-encompassing
p) Of course. Rap is a specific element within hip hop. There are 4, some might argue 5 elements. "Rap is
what you do, Hip Hop is how you live your life" -KRS one
q) Yes, Hip Hop of course must have the 5 elements: B-boy, MC, Grafitti,DJing and the spread of
knowledge. Rap is just spitting over a beat.Rap is a sub-culture of hip hop. Yes. I connote rap more
with "money and hoes", more in the club music. I also think there are more negative connotations, as it
being "angrier" or more "abrasive". Hip-hop I see as the founding father, the more poetic genre of
music, concentrating more on meaning and lyric, than making a profit.
r)
Hip-Hop is the culture, while rap is just a part of the culture. Yes. I always felt like rap was more
hardcore than Hip-Hop. And that Hip-Hop was more about lyricist. I may be wrong.
s)
Yes; The day and age of them both has transended.
t)
really wouldn't know
u) Yes there is a difference. Hip hop is soul, it's about real connections. Rap can be about those things yes
but is also about the technical aspect of rapping. Rapping is a component of hip hop... like an
ingredient or a child of Hip hop.
v) There probably is but I'm not that engaged to opine
w) Hip-hip is a culture and includes music (including rap), dance, clothing, style and etc. Rap is a style of
music within hip-hop culture. no doubt about it. anyone can write a few bars & rap, hiphop is a culture
to say the least..its a lifestyle, something you feel & live not just rhymes over beats..hiphop is music &
conversation, rap is words.
x) Yes. Hip Hop is the culture. The main genre. Rap is the subgenre. Rap is the act. The rapper raps. Rap
now is super commercial and more focus on selling music and less than creating art and culture. Hip
Hop is an art form. A creative expression.
8.
List 3 people you think are essential to the growth of Hip-Hop culture.
a) Mos Def. Jay-Z, but he's not about that life. He has the most power when it comes to influence. Me,
I've got bars for days.
b) Public Enemy Wu Tang NWA In my opinion these were the forth -runners (some of them) who had
some of the first major hip hop hits that made the genre national/international1. Run DMC - They were
one of the pioneers of rap/hip-hop. They showed the world that you don't have to sing to a beat to
deliver a message, but that you could put a funky bass record on and tell a story as well. 2. Common He was able to tell a story in a mellow tone of voice and incorporate other artists from the genre of r&b
and expand his audience to not only hiphop/rap fans, but also to people who listened to r&b and were
not interested in hiphop/rap, until this merge. 3. Kendrick Lamar - He is the present "savior" for the
genre of hip hop. Before he became "main stream" there weren't many artists that were telling stories
and delivering messages through their rhymes. Kendrick gives you a nice mellow, west coast, sound to
rock to AND a good play on words to make you think about what he's really saying. you go
lucky...you're getting 4!!! 4. Lupe Fiasco - Lupe is a very controversial artist. He is not afraid to say
what he thinks about our nation and why he feels the way he does. His music ALWAYS has a message
as well as a story. He's spoken on issues about weapons, children with weapons, the effects of video
games, how to approach a female with confidence, the school systems in America, growing up on the
ghetto and making it out...these are just a FEW of the many topics he's covered in his career. He also
tries to bring awareness to our country about issues by using satire, which many people don't
understand, but I like his style a lot. I would like to put 5 but I don't want to overdo it, but if I could
pick 5...Jay-Z would be on the list!!!
c)
Despite his mainstream appeal, I would argue that Jay-Z has been a powerhouse in taking HipHop to
new levels. Through his connections to politics, business and traditional media (such as the publication
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of his book and the feature on Charlie Rose's 60 minutes, etc), I believe he establishes HipHop as a
culture and art forms that are taken serious (compare to Jay-Z's argument that HipHop lyrics are like
a modern form of poetry). Rick Rubin, for founding Def Jam with the help of Russell Simmons,
which became a critically influential institution as one of the most important labels in HipHop
culture. Also, his productions for many classic albums added to his influence. I also think that the work
and theories of Malcolm X have had a strong impact on HipHop culture through his focus on
afrocentricity and a feeling of emancipation. I believe that his separatist tendencies led to the
establishment of a strong culture as a counterpoint to the white mainstream culture. It laid the
foundation for a culture that really focuses on the life experience and cultural values of African
American people in a way that was not present in any other movement or culture that grew from that
community.
d) Russell Simmons, Jay-Z and Diddy - they offer generational balance, kind of a bridge from early
pioneers to new age hip hop. Also - try have mastered the ability to positively brand hip hop and use it
as leverage to achieve success on a cultural and personal level
e)
The Roots - incredibly underrated. I think they'll only be recognized for what they've really done way
into the future. If not, I'll be heartbroken. Kid Cudi - Definitely opened the floodgates for non-rap fans
to check out hip hop. Tyler, the Creator - Same as Cudi. Biggie Nas Lauryn Hill
f)
Lil B Jay Electronica Lupe Fiasco
g) Afrika bambataa Grandmaster Flash Kool herc
h) I think the growth of hip hop has grown each time it has become a strength in a new region. Hip hop
was in its infancy on the East Coast coming out of NY. When it migrated to the West Coast it changed
the whole face of what people expected from hip hop. They slowed the beats down, they brought more
to the table sharing the life of sunny Cali. and they gave East Coast rappers a challenge to step up their
game if they wanted to stay on top. When hip hop moved to the dirty south it again brought a whole
new dynamic to the culture. I think with each migration it brought more people from outside of the
African American culture. It became more mainstream and more accepted. Sugarhill Gang- made the
first hip-hop song ever N.W.A- brought attention to what was going on in the 'hood Missy Elliot- she's
always been ahead of the game and no one can match her talent The (3) pioneers Grand Master Flash
Afrika Bombatta Kurtis Blow The (3) innovators Sugar Hill Gang -rappers delight Russell Simmons
Rick Rubin Run DMC MC Lyte KRS-1
i)
?uestlove Kanye West J-Dilla. There are others I could list and deserve the spot, but I don't want to
break the rule of 3.
j)
Diddy, Michael Jackson, Jazz greats
k) This is hard. 3 people that stand out are biggie, mj, and their fans. u dont make em like them anymore,
so i think all of the people influenced by those Artists are carrying the baton now. Grandmaster Flash
and the Furious Five, The Sugarhill Gang, Basquiat, Run DMC. I'm also going to say today, Kanye,
because you know I love Kanye I can't identify any individuals that would be essential to the growth of
Hip-Hop culture, as it is a mass movement. Any single individual wouldn't be able to significantly
affect it's growth, or lack of growth.
l)
Ice-T - I watched a VH1 show about the history of Hip-Hop and he was one of the main commentators,
talking about his life when he was young and how he started to express himself through music. And
even now that he is a grown man and acts like a responsible adult, he is still very much connected to
his roots. Queen Latifah - She is important because she is an example of how women contribute to
Hip-Hop. And she became very main stream, like acting and singing in movies that aren't Hip-Hop
related, but I think it created a really strong connection between society (as a whole) and Hip-Hop.
Russel Simmons - He started Def Jam Records, which I believe gave a lot of credibility to the Hip-Hop
culture. I think it also contributed to the spread of Hip-Hop to people that may not identify with HipHop culture, but have learned to enjoy it. DJ Premier - The importance of connecting with historical
sounds and traditional genres Cornel West - Hip-Hop is not just Hot 97 Summer Jams and Ciroc. HipHop needs someone to recognize and continue to speak on the smarts of the culture. WILD CARD Either Macklemore, Oddisee, Phonte. Intense honesty is currently lacking, in my opinion. These fellas
bring it in a way to curb my hunger for that kind of creativity.
m) Spike Lee Russel Simmons Diddy Dre
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n) Nas: Raised the bar by creating arguably the best hip-hop album of all-time with 'Illmatic'. 'Ether'
raised the bar in diss tracks and became a term in the hip-hop community for when one MC destroys
another. Eminem: Broke the corny white rapper stereotype, brought a new style to the game. Kanye
West: In a time when all rappers were either Gangsta rappers or Mafioso rappers, Kanye came out of
the gate with a more soulful sound, and subject matter that was easier to relate to.
o) Papa San, Buju Banton, Beenie Man, Elephant Man...as you can see I don't really know anything about
Hip Hop culture other than the connection to the spoken word performances from Caribbean culture.
p) Russell Simmons & Rick Rubin Keith Haring I'm not sure about the third - I want to say Run DMC
and Jam Master Jay.
q) DJ Premier Russell Simmons Africa Bumbataa
r)
Kendrick Lamar Lupe Nas
s)
i read the question as about more recent individuals who can affect the growth of hip-hop... Talib
Kweli Eminem Dr DreCommon Jill Scott Frankie Beverly
t)
Big Daddy Kane, Rakim, 2pac. The first two were two very influential pioneers and the last one, 2pac,
took it to the next level. And in taking it to the next level I think he was used to transform it into what
it has become today. When he tried to push back against it, he was killed.
u) Michael Jackson- Though Michael wasn't himself a rapper he became an icon worldwide, his sound
indefinitely changed the game. James Brown-his music inspired a generation and without James there
would have been no breaking, no break and therefor no BBOY culture. Andre 3000- the best, period.
v) Jay-Z because of his longevity and how he treats his artwork with such care. 2pac- because he gave us
that sense of hope I was talking about Run DMC - Because they were one of the first main stream
artists to go on tour. Run DMC Notorious BIG JayZ A Tribe Called Quest Bone thugs n harmony Wu
Tang Clan Rakim The Notorious B.I.G. Tupac .....
w) Public Enemy Beasty Boys Grandmaster Flash - Funky sounds Public Enemy/KRS One consciousness
Rakim/Big Daddy Kane/JayZ thought provoking lyrical content Biggie Smalls storytelling
x) Sugar Hill and the Gang - They created "Rapper's Delight" which produced a definition for rap. Run
DMC- They were the first to earn a platinum record (King of Rock, 1985), the first to earn a
multiplatinum certification (Raising Hell, 1986) the first to have videos on MTV, the first to appear on
American Bandstand and the cover of Rolling Stone.[2] Run-D.M.C was the only hip hop act to
perform at Live Aid in 1985. (taken from wikipedia) Jay-Z- Crossed musical boundaries with diverse
collaborations across genres. Taken hip-hop culture and capitalized on it commercially with a clothing
line, and other products. He's the 21st century hip-hop businessman. It's not just enough to make
music, but you must be involved in industry, have your hands on alot of thing. Hip-hop has gone
beyond the streets and into the board room.
y) J Dilla first and foremost, a true inspiration to many..even those who were there before him..that man
was not from this planet..let his music tell you why cuz i damn sure cant find words to explain. Talib
Kweli for exposin & preachin without preachin. Biggie..started off gully & trapped in the trap, but
found a way out & appreciated the opportunities that presented themselves to better his situation..givin
hope to niggas listenin if they were listenin.
9.
What aspects of Hip-Hop do you feel are strongest?
a) the rythmic expression of thought poppin' beats
b) The words --- that's about it! There are power in words and when these artists use the aspect of
"making a play on words" they really touch on several issues in one line of a song. Having the ability
to create these "play on words" is a gift, in my opinion. To be able to say something that obviously
means one thing, but if you listen to it on a different day, under different circumstances, if can mean a
totally different thing, is AMAZING! You have to be educated on facts to be able to do something like
this and make references to topics that make people rush to the internet and look it up to find out what
you're really trying to say to them through your song (LUPE FIASCO).
c)
I believe that HipHop is still mainly perceived through music, so that this part is probably the most
influential part, if that's what you would consider the "strongest". In that sense, I think giving voice
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through song lyrics, exposing others to personal experiences, or those of an entire community even, is
the strongest asset of the culture. While I personally appreciate graffiti and b-boying as art forms
within HipHop culture, I do not think they have the same impact, because dancing seemed to focus
more on aspects of competitiveness — which did not differentiate it enough from existing forms of
sport — and graffiti, while certainly carrying important statements, was too codified to reach many
people outside of the culture. Not sure - feel like the quality is declining The diversity and the deep
love artists/real fans have for the art. Sex money drugsClothing / style and apparel.
d) The aspect of something from nothing. The rose growing through the crak in the concrete. that is hip
hop to me.
e)
The consistency of hip hop has been rap. The urban lifestyle of dressing in name brand street clothes.
Hairstyles and the way people talk are even dictated by the hip hop culture. Ebonics is alive & well!
f)
The influences on the youth and those who want to be a thug. Underground hip hop! And original
lyricism
g) The style. Its just so expressive.
h) The brashness of Hip-Hop is always strong, which gets it in trouble a lot...but it comes with the
territory. Creativity is always strong as well.
i)
the beat (easy to get stuck in head)
j)
lyrics in hip hop music--the message is critical fashion--it's not the most important, but it's noticeable.
ppl with taste for hip hop and rap have distinct taste in contemporary fashion. Money--sad, but true. a
big theme in modern hip hop is overcoming struggle and showing off power (usually illustrated as
money and luxury posessions)
k) In pop culture? Probably the fashion and music. I feel like almost EVERYONE, no matter if they listen
to hip-hop or not is influenced by hip-hop culture when it comes to fashion. Fuckin' high tops
mannnnnn.
l)
Definitely the music. It has been received globally, and has even been incorporated with other
previously established musical genres. Some of Hip-Hop's biggest stars have been able to make their
marks in other areas such as business, fashion, sports, etc due to that influence.
m) (Same as my earlier answer): The music. I like that sometimes people don't even need to know what
the lyrics are, as long as there is a good beat, it's fun! If the lyrics are more interesting or relatable, then
it makes it even more fun.
n) the capability for artistic and aesthetic honesty.
o) Our connection with the past will always be our strongest aspect. As much as I want to say the music
(not the Future, Rick Ross, Meek Mill music, but the Rakim, Tribe, Wu-Tang, Nas, Eminem,
Kendrick, Joey Bada$$ hip-hop) the fashion touches people that don't even like the music, so that's
pretty strong.
p) Tribal associations possibly. By tribal I mean an understanding that contributes to a shared known that
unites a group while separating it from others.
q) Message is #1 - this is what hip hop is all about, to me. Hip hop can also be a powerful platform for
storytelling. I think both message-making and storytelling can and are frequently attached to both
visual and aural delivery.
r)
The Beat .. and an MCee who has the words and the flow to maintain my attention.
s)
Emceeing and production
t)
The lyrics, when you listen to Kendrick's or Lupe's albums you feel something, you are moved in a
way. The lyrics either push you to change by exciting you or upsetting you. I also love the art... the
music and the attitude
37
u) The pain and persevere All of the elements of Hip Hop culture are strong Breaking MC Graffiti DJing
I think the MC or the "rap" part of Hip Hop is just the most commercial today
v) Right Now, its the look. As soon as a rapper wear snapbacks, they come in style. A rapper says
'Molly" and its the new party drug. So I guess the image is the strongest. importance of wealth telling
your story being real
w) Hip hop is like urban folk art.
x) The whole story of hip hop is strong and thriving.
y) The story of people coming from nothing. It serves almost as a documenter for what is going on in the
world. Because of their honesty and ability to lyrically represent what is happening around them, we
can always gather what is happening to the culture at various times.
z)
The culture, the lyrics.
aa) The lyrics - strong, real, about real life situations. No sugar coating. It is what is and they say what it is.
The beats/noises - Gets your body into the music, Innovative, eccentric and fun. the lyrics take your
mind, while the beat takes your body. The beats are also very linked to history. African culture,
dancing, ancestry, ect. Unfortunately now it all seems to be pulling us in the wrong direction
everything is about clubbin smokin drinking and skrippers twerkin The way west coast rap killed hip
hop with their glorification of violence
bb) Rap music is and dance are the strongest. the ability to make you think & do the knowledge, if i hear a
metaphor or simile that doesnt make sense but makes sense..ill look it up, same with words. the pride
in lovin who you are & appreciatin life for what it is. & the Rebel in it..showin the facts
cc) they clothing styles, the jargon, the beats
10. Do you think Hip-Hop culture has had influence over the way companies brand themselves?
Who/What are some examples?
a) Yes - McDonalds "ba da ba...I'm Lovin It", they have also made some "hip hop" and even r and b
songs with this branding and marketing to African Americans
b) Sadly, yes. The one commercial that comes to my mind, immediately is the Mountain Dew commercial
with Lil Wayne (I'm on the fence about him being a rapper vs. hip hop artist - but for the sake of this
example we'll consider him to be a hip hop artist). This particular commercial show Wayne
skateboarding and rapping and "doing him" which is phrase from the culture of African American
culture -- "do you", this simply means don't try to be someone you're not, or someone else...just do
what you like, what makes you happy, what makes you unique...DO YOU! So I think Mountain Dew
realized that the majority of African Americans in our country listen to hip hop (Lil Wayne's music),
therefore they could relate to the saying as well as the person delivering the message. This wasn't a
great example I know (sorry), but it's what came to my mind first.
c)
I think HipHop had a significant impact on brands in many ways. I believe that all major sports brands
associate themselves to HipHop in a certain way — Reebok, Adidas with its classics series that
connects back to the Run DMC era, Nike with its entire brand language, AND1 (which basically grew
out of streetball culture that was close to the HipHop culture), several brands in the realm of skating
even. Also brands in the entertainment industry, such as video games, movies (think of Gangster Squad
using a beat from a Jay-Z song in its trailer, or specific movies such as 8 Mile), or advertising (think of
the use of Eminem for the Chrysler commercial for the Super Bowl). Additional examples would be
Ciroc, which employs Diddy as a spokesperson, or Coors Light using Ice Cube in its commercials.
d) Yes
e)
Yes, I think a lot of companies exploit the sometimes ghetto nature of hip hop. Example is the Ecko or
Exco clothing brands which were targeted towards young kids in suburbia back when I was younger.
f)
Yes. Hip-Hop culture has an extremely significant influence on urban culture, which a lot of
companies have as a target-market. ITT Tech ICDC College MTV (then and now) McDonalds Any
commercial with a paid artist rapping or singing
38
g) Yes you name it hip hop has influenced. Perfect example look at the new microsoft surface
commercial. They are break dancing and pop locking in the board room.
h) absolutely.. companies brand based on their audience. Sean John is after the ghetto-fabulous
boughetto folks that "think" they have money and are willing to waste it on his products. Hip hop
culture heavily relies on trends and fashion which is always evolving..but is not high quality to the
level of last for years like Polo or Yves St Lauren. They absolutely market their products to people that
don't put longevity into the thought behind their products and services
i)
Yes. Shows such as Love an Hip-Hop, Burger King's commercial with Mary J. Blige, McDonald's 365
Black Campaign commercials that only airs during February. Of course it does, the first relationship
with a brand and hip hop started with Adidas and Run DMC. The 1st collaboration with a sports brand
that didn't involve an athlete. Onto Jay-Z being the 1st hip hop artist with his own shoe (s.carters). To
most recently the collaboration with Rick Ross, Swiss Beats and Reebok.
j)
Mos def. These cereal and JC Penny commercials have no choice but to be 'yo yo yo'-ing in the place.
Haha. Hip-Hop has become so popular that it would be irrational not to market towards it.
k) Yes, almost all commercials you see on the TV have a hiphop backing song. Yes, particularly the
fashion industry (clothes, shoes, accessories). One word. OBEY. Yes. Hip-Hop has really attached
itself with American youth culture in general, and companies have noticed that and used Hip-Hop stars
to market themselves to young Americans. Examples of that would be the featuring of artists such as
Lil Wayne, Drake, and B.o.B. in commercials, Nicki Minaj signing on with American Idol, and even
Jay-Z partnering with Creative Arts Agency to launch a sports agency.
l)
Car companies! I guess going fast in a cool car means Hip-Hop. I think Hip-Hop has become so
popular that people recognize it. And if you recognize a certain song or graphic, then you will
remember the car or product that goes with it. Good marketing!
m) Somehow, I feel that Hip-Hop has become synonymous with many things, few of which are
positive/diverse, but most of which are profitable. Sneakers/Athletic wear. Basketball teams. Alcohol. I
think that once hip-hop became profitable, a lot of its soul got compromised. Companies can slap on a
"hip-hop" template, without really understanding it. Thus the cycle of "does art imitate life or life
imitate art" begins...
n) Yes -- in regards to the total culture -- rap included, more slang/improper English is used to attract a
hip/trending crowd. Companies such as McDonald's (I'm lovin' it), or the beloved frog commercials
presented by Budweiser (wasssaaaaaaaaaapp!)
o) Yeah definitely. They play Macklemore's "Can't Hold Us" in a Windows 8 commercial. They also
useYes.
p) Yes. So many companies have been built from an artists' empire: Russell and his ex wife and daughters
(Baby Phat, KLS, Phat Farm, Pastry Princess); Jay-Z (Rocawear); Sean Combs (Ciroc, Sean Jean), etc.
Then there are others like Adidas and Timberland that have been given this cultural connection. All
have an urban, playful and/or sophisticated sensibility that appeal to consumers of the hip hop
culture. many shoe companies, even down to insurance commercials incorporate Hip Hop beats and
feelings, and cultural dress etc to draw in an audience.
q) Yes, companies like Sean Jean, Gucci, Louis Voton, Besides clothing wise, I cant think of companies
or brands that have been influenced by Hip Hop... i can name things that have been influenced by
Rap... which isnt the same.OF COURSE! Sprite, Kia Soul, McDonlads...
r)
Yes, they brand themselves to what ever s popular at be time
s)
Of course, it's seen as the best way to get messages to "urban" communities and to youth of all races.
They either infuse some phoney rap lines to come off as edgy or corny but funny just like all the other
white folks who pretend like they can rap to jokingly be cool or they go after artist to endorse them to
sell their products. Beyonce is not a rapper but I feel like shes infused into hip hop culture and just got
some $50 million endorsement from Pepsi.
t)
Yes, take a look at everything from Disney Channel to Nike commercials to car advertisements. I think
there is a long standing connection between what is considered "hip hop" and what is considered
"cool." Yes, the ones that cater to young audiences may use a Hip Hop song or spokesperson in their
39
ad to seem more hip like Lil Wayne and Mountain Dew. Others may totally disconnect theirselves like
the champagne company Cristal. Yes Ex. JayZ- he associates himself with power/wealth. He puts
emphasis on money, expensive cars, clothes, etc. and refers to himself as "Hov" short for Jehovah Its
had an influence in language, fashion, attitudes, arts, etc. I think they have had a strong influence on
industries in music, specifically record labels, sports, music, media and fashion more specifically.
Companies or corporations like MTV, the NFL, Vitamin Water, Def Jam Records, Baby Phat.
u) Of course. Especially sneaker companies such as Nike, Adidas and Reebok. They've focused their
brand toward the Hip Hop culture since it existed.
v) Yes
w) I think most cultural phenomena end up having some influence over brands, if they work their way into
their advertising concept, but I don't know if hip hop influences the way companies brand themselves.
If the brand is something that lives within the hip hop culture, then they probably go hand-in-hand.
Again, I don't know much about this.
x) Most def. Companies have picked up on hip hop culture and the demographics that listen to hip hop.
Therefore they have tried to appeal to those communities. If a company needs to seem a certain way,
they will do whatever means to do so. Also, before hip hop there really was no specific brand for the
communities who listen mostly to hip hop, now some have been created. Bright colors, strong
typography. Puma Fubu Fat Farm Rebok Nike Footlocker Ecko
y) It can and has. I'm not move by most but I can see how it does. Before product placement became the
norm you had Run DMC with my Adidas yes
z)
companies try to do whatever's in, commercial music slogans dances etc.. tho these days its
different..companies are controllin what the audiences are doing/wearing/drinking rather than the
reverse like back in the 90s..
aa) yeah. like mcdolnad commercials. folks rapping and break dancing about burgers and fries.
11. What (visual) artists, dead or alive, do you think have been influenced by Hip-Hop?
a)
Kaws
b) Keith Haring & Banksy
c)
BASQUIAT, hands down.
d) Visual artist? like someone who paints/draws/sculpts? Not sure
e)
I'm not to familiar with any visual artists in general, so I don't think I can properly answer this
question.
f)
Weirdly drawing a blank here right now. Not sure how you are defining visual artist Not sure, don't
really know anything about visual art. KAWS Keith Haring not sure Banksy Keith Haring Manny
Vega
g) Tupac, Biggie, Eazy E, Jay z, Dougie Fresh, slick Rick, run DMC and LL cool J.
h) I don't think I have enough knowledge of visual artists to give a sufficient answer. Mr. Brainwash, his
art and style depicts how hip-hop can take over Basquiat I'm not familiar with individual visual artists.
i)
I don't really know many visual artists so I can't answer this question sorry! Unclear on this question.
j)
Spike Lee
k) A HUGE list of Graffiti artists, including Banksy and street artist Jay Shells.
l) The early collaborations of Fab 5 Freddy, Keith Haring and Basquiat as well as the musical and
performances at the Mud Club in NYC in the 80's. Current graffiti artists whose names I am not aware
of but whose expressions in image and typography are apparent.
m) Cey Adams
40
n) Cey Adams, Sheppard Fairey, Kaws
o) Keith Haring Mark Ecko Basquiat Cey Adams Hmm, I'm bad at this. Quentin Tarrantino Frank
Morrison Spike Lee Cey Adams
p) Big L, Kool G Rap, M.K Assante Jr.Basquiat & Keith Harring are hip-hop. Kaws, Shepard Faiery,
Kehinde Wiley...
q) Mr. Brainwash
r)
Bob marley Lauren hill IAll graffiti are the products of hip hop Jean Michael Basquiat Keith Haring
Everyone who ever made it in Juxtapoze ever. Jean-Michel Basquiat was in one of the first Hip Hop
Videos. Lupe Fiasco Common Jill Scott Mary J. Blige Erykah Badu Banksy?
s)
Kehinde Wiley.
t)
Banksy Federico Archuleta Shepard Fairey
u) Keith Haring
v) Keith Haring's popular was/is very recognizable for its simplicity, yet cause for the streets. Spike
Lee..his body of work speaks for itself.
w) Keith haring
x) Banksy
y) Samo
z)
Any Warhol & Basquiat
12. How do you think Hip-Hop evolved into something bigger than just music?
a) Yes - its a culture involving style of dress, language, and even beliefs
b) I think it became a movement so to speak back in the early stages of it's evolution. A movement where
people wanted to be heard and known for something good, not just making money, or doing drugs.
This movement was able to reach out to the shy girl that had a hard time interacting with people in a
normal setting, but when this beat came on and the words of the song were her inner thoughts, she was
able to convey her message to others, she felt like she was "apart" of something, like she "belonged"
somewhere. Hip hop ""spread it's wings" into the movie industry through movies like, Love &
Basketball, and Brown Sugar. These movies showed the viewers that people can be connected through
this type of music and that there's nothing wrong with delivering a message over a funky beat.
c)
To begin, I think the connection between graffiti (though I would personally not agree that it is an art
form that is exclusively connected to HipHop, but it certainly plays an important role in it), b-boying
and the musical forms established HipHop as a total package that needs to be regarded as a culture that
goes beyond music. But more importantly, as described earlier, I believe HipHop has always been
more holistic as a culture, establishing itself as a counterpoint to white mainstream. The omnipresent
"keep it real" can be seen as a reminder to remain true to its origins, without being co-opted in a way
similar to earlier mainly musical cultural phenomena — such as rock'n'roll or maybe Jazz. And musical
artists like NWA, Public Enemy, Dead Prez, Mos Def, Talib Kweli, Pharoahe Monch, have taken to
express political views through their own means that were closer to the realities and experiences of the
African American community, taking even the music beyond the realm of mere entertainment. It added
an educational component to it, unlike any other form of music before. It could even be said that the
music served as a channel to express a cultural, political agenda.
d) I was fortunate enough to be in a course taught by 9th Wonder when I went to school in North Carolina.
When you think of how small Hip-Hop was compared to what it is today, I think it’s worth recognizing
that this thing is bigger than just music. Hip-Hop is global a phenomenon in my eyes. I’m being taught
Hip-Hop, in a classroom. That’s mind-blowing.”
e)
Timing - there were limited forms of entertainment when hip hop emerged
41
f)
It's become a culture, not just a music genre. Hip-Hop went from being an avenue for expression into a
culture that reflected the conditions of the urban community, good or bad.
g) because it is the voice of the youth. not just the the black and brown hoods, it is the everywhere.
h) it's an entire lifestyle and many of our youth think they live in VH1 videos from the way they dress,
talk, and raise their children. I think hop hop unfortunately encourages our youth to think being a babymama or baby-daddy is cool. Marriage is not embraced due to the fantasy world hip hop creates.
Although I love hip hop, I keep it separated from real life. It's more like an opportunity to relax, chill
and enjoy being around people that have the same vibe. It went from being about just music to a way
of life for some people. Hip-Hop has influence everything from fashion to television.
i)
Of course the spending power surround hip hop is insane. If an athlete wears a shoe it will be noticed.
If a hip hop artist endorses any product it sells million. Jay Z once mentioned Cristal in almost every
song, he had a nation "poppin gold bottles" until he found out they were racist. So he stopped
mentioning them and I they went exitenic. Nicki Minaj mentioned Michael Kors and there sales in
2011 were almost triple 2010
j)
It just brought so many people together and other things just came from it.
k) The bubbling passion and anger and distaste and longing and creative expression looking for the
perfect outlet to shout from.
l)
People tend to latch onto things and ideas that interest them, so when people hear hip-hop and it really
makes an impact then they will try to be what they see these artists are like.
m) Yes
n) It's a culture.
o) Hip-Hop as a culture, has always been bigger than just music, even though the music has been its most
outstanding aspect. But as I've previously mentioned, American youth is probably the most influential,
and numerous, part of the Hip-Hop fan-base. And since the youth are the future Hip-Hop will continue
to integrate itself with American culture in general.
p) I think the clothing had an influence. All of the sudden, a lot of people were starting to wear slightly
larger clothing, like Hip-Hop artists of the 80s and 90s. I think it also helped with voicing your opinion
or story and through Hip-Hop, your story was heard by a wide audience.
q) At the root, hip-hop started as struggling voices wanting to be heard in their own way, using what they
had: their voices. On a very basic level, that is something that many people can connect with.
r)
It evolved because of the connection to our past. We are not so focused on staying relevant by future
focus but by amplifying something that already has worked.
s)
It was never just the music. Rapping, DJing, Break dancing and Graffiti have always been part of the
culture, but other than that, slang is more hip-hop, apparel is more hip-hop a bunch of stuff is more
hip-hop.
t)
Through the visual expressions of the culture and its appropriation by commercial interests, whether it
is clothing, art, concert and group identities, lettering, palettes, political expressions, etc.
u) It has evolved into everything from fashion and transportation to beverage and food, studio art, street
art and graphic design, branding and product design, even toy design now has an urban edge (think Kid
Robot, Huck Gee, Jesse Hernandez).
v) Its not the moving force that it could be due to the existence of the greedy system, but it is definitely a
much bigger force than most people would think at first... most people thaough it was a fad at first..
now look at it
w) Yeah it's become a billion dollar industry now
x) It grew bigger than just the black community... it became a way for people to identify themselves...
before Rap took over.
42
y) Yes, it is now a facet of contemporary life. It is the attitude, the dress, the swagger and the
mannerisms of a generation.
z)
I don't think so
aa) Yes it became an avenue to provide a voice for the voiceless and then became a money making
machine and a marketing scheme. By providing a space for expression and a voice o the voiceless is
why you see the rapid adoption of rap into almost every culture and language on the planet. Like I
stated before hip hop is not a genre of music, Hip Hop is a sub culture, it is worldwide. Hip hop is in
every city in every town in every state. Hip Hop comprises a wold of information, styles and
knowledge.
bb) Because a rapper can go from a mixtape to an album to a world tour to starring in a movie, to
creating/owning his own business to giving back to his community. And yes, even the President was
influenced by Hip-Hop so it shows that this is the music of the last 30-40 years.
cc) not sure
dd) I think I did in a previous answer, about how they are documenters for a group of people. Hip hop is
like a timeline. And hip-hop artists are brilliant storytellers, and are delivering stories
extraordinarily. Of course, it's really beyond music. It has evolved to how we live, talk, and dress.
ee) Because of the freedom of the lyrics and the diverse ways of its expressions
ff) It's a style, a way of life. It's an art. It is in itself a culture.
gg) It's a culture that is accepting of those who want to know about it. It embraces what has been given to
it.
hh) Absolutely it is a business MAN
ii) Yes
jj) musicians took pride in it, and fans followed..
kk) it became marketable and trendy.it has become a product.
13. Who are your favorite Hip-Hop Artists?
a) Lauryn Hill
b) I stated this young man before, but Kendrick Lamar really has become my favorite. This is because
when I was younger, I listened to al kinds of music, and knew all of the words to every song, but my
problem was I never stopped to actually listen to what the artists were saying in the song, and when I
did, I couldn't relate or I just didn't care. But Kendrick, being that we are relatively the same age,
captured my attention with his mixtape "Section 80", with the song "No Make Up". This song really
spoke to me because I was just starting to really get into wearing make up and buying different brands.
To hear what a young, African American, attractive, male thought about a pretty girl wearing make up
made me become conscious of the amount of make up I would put on, if I did it at all. That song
sparked my interest in what Kendrick had to say and from there I listened to other songs on his
mixtape and became captivated with his style and everything he had to say. This also made me think
"dang, dude is in his 20's and sounds so mature, what the hell am I doing?" I didn't believe I was as
mature has he was for his age and this made me want to be able to start thinking of a higher level and
learning to communicate on that higher level with other individuals. I would say he really inspired me
to literally BE a better person...and that was all through hip hop.
c)
I have never really explored the visual art within HipHop as much as other forms. Of course I could
say that I truly like Banksy's work, but that really goes as far as I have looked into it. Musically, there
are a few artists that stand out to me, such as Masta Ace, Common, Jedi Mind Tricks, Jay-Z, Talib
Kweli, Jadakiss and Styles P, 9th Wonder, Just Blaze, Kanye West (as far as music goes art least), and
of course a few German artists.
d) Public Enemy, Run DMC, Beastie Boys, DMX, Erik B & Rakim
e)
The Roots, Kid Cudi, Jay-Z, Kendrick Lamar, A Tribe Called Quest
43
f)
Biggie Nas Lauryn Hill Erykah Badu Outkast Anita Baker Mint Condition Kanye Mos Def Twali
Kalib
g) Big L Jay Electronica Nas Ras Terms BDS crew (graffiti) Mike Schreiber
h) Jay Z, Rakim, Nas, PE, Uncle LL, BDP
i)
Tupac, Nas, Digital Underground, LL Cool J, Biggie, Lil Wayne, JayZ (his 80's & 90's music), R
Kelly, TreySongz, Chris Brown, Eminem, Kanye, Yoyo, TLC, Public Enemy, Slick Rick, WuTang,
RedMan, Method Man, Too Short, G-Unit, Dana Dane, AZ, Rick Ross, T-Pain, Q-Tip, Missy Elliott,
Busta Rhyme, Rah Digga, Lil Kim
j)
Common, Wale, Mos Def, Missy Elliot, Lauryn Hill, Biggie, Jay-Z, Big Freedia, Sissy Nobby, Kanye
West, OutKast
k) Jay Z, Kendrick Lamar, common, mos Def
l)
Eminem Ok, one take, no re-reads or stoping... ATCQ De La Soul The Roots ?uestlove Kanye Jay-Z
Nas Frank Ocean (hip hop? Fuck it) Wu-Tang J-Dilla Madlib Kendrick Lamar and so many more don't
really have any
m) The Sugarhill Gang, Doomtree (mainly Cecil Otter and Dessa), Lupe Fiasco, Kanye DUH, Blue
Scholars, Abdominal, Typical Cats Jay-Z, Outkast, Common, Eminem, TI, Ludacris, and more
recently Kendrick Lamar & J. Cole. Eh... I'm not sure if these are Hip-Hop artists but: Salt n' Pepa
Snoop Black Eyed Peas Pitbull TI Nelly Eve Jay Z
n) ATCQ. Little Brother. 4th Avenue Jones. Trip Lee. Phonte. Macklemore. Big Boi. Andre 3000.
OutKast. Method Man. Common. Mos Def/Yaasim Bey. Andy Mineo. The Roots. Oddisee. Shad.
Black Eyed Peas (pre-Fergie). I'm a fan of graffiti, but I don't know many names, outside of K. Haring,
Banksy and Shepard Fairey.
o) Mos Def - Yasiin Bey, Common, Lauryn Hill, Erykah Badu, Spike Lee
p) Nas, Big L, Tribe Called Quest, Wu-Tang Clan, Snoop Dogg, Biggie, Big Pun, OutKast, Pharcyde,
Onyx, Kanye West, Eminem, Rakim, Company Flow, El-P, Ice Cube, Dr. Dre, Gang Starr, Smif-NWessun, Crooklyn Dodgers, Cypress Hill, Souls of Mischief, J. Cole, Kendrick Lamar, ScHoolBoy Q,
Ab-Soul, Jay Rock, A$AP Rocky, Joey Bada$$, Capital STEEZ and the rest of Pro Era, Danny Brown,
Childish Gambino, Tyler, the Creator, Kid Cudi, Common, 2Pac, Mos Def and Action Bronson.
q) While not a Hip Hop artists Basquiat, Haring, etc., Fairey, Banksey, etc., and the general street art in
urban environments are expressions of culture that entertains and communicates with contact as well as
impact.
r)
Hip-Hop: Common Sense Mos Def Talib Tribe Gang Starr Cise Star, CYNE Biggie Not Hip Hop but
related: Bonobo Emancipator Nujabes Concept Nomak Graffiti: Banksy Retna Elmac Dondi
s)
Nas Rakim DJ Premier Frank Morrison Dilla, Elzhi, Tribe Called Quest, Wu-Tang, The Roots, Mos
Def, Ice Cube, DJ Premier, One Be Lo, EL-P, Blu Lupe, Nas, Kendrick, Tupac
t)
Haze, Enimem, Biggie, Run-DMC, Cope, Rakim, Tribe called quest, Common James Brown DJ
Leanrock Bboy Free Jay-Z, Tupac, Biggie, Naughty By Nature, T.I. Common Qtip Lauryn Hill Kanye
West Missy Elliot Drake Biggie Smalls Outkast, Dizzee Rascal, Kanye, Notorious B.I.G.
u) Jay-Z Biggie Kehinde Wiley Swoon Shepard Fairey Young Jeezy Females, Old school and most new
school
v) Banksy Mos Def Beasty Boys Kanye West
w) Spike Lee, Common, Blackstar, ATCQ, Digable Planets, De La Soul, Blu, Homeboy Sandman, J Dilla,
Wu-Tang, the LOX, DMX, Nas, Big Pun, Biggie, Outkast, Ice Cube, Kendrick, Cole, Curren$y, The
Roots, Madlib, i could go onfor days
x) common, afta-1, erykah badu,
44
Word Association
1.
Keith Haring
What
Who
who?
Figures
A Tribe Called
Quest
Activist
Graffiti
Art
Boss
who?
Color
Who?
2.
3.
4.
not sure
Cosby Show
Clean
Art
Wit
Expressive
Bold
Movement
Social Activism
80s
New York
poppin
music
characters
new york
radiant
Sweat
not familiar
bird
graffiti
Gay
what
shakes
Crack
mural
Baby
Bronx
Southside
New York
New York
New York
Bomber
Boogie Down
Big Pun
J. Lo
BDP
BDP
Boogie down
Boogie Down
Streets South NY
NY NY
j lo
South, South, Bronx
Nijah
KRS-One
Yankees
Borough
Birthplace Beginning
new york
the BX
boogie down
south south
Remy
break dancing
new york
hip-hop
NY
New York
NYC
rocks
Boogie down
Streets
HipHop
new york
BDP
Flava
Flave
Flav
Flaaaaaaav
Flav
Flave
Flav
Flave
Flav
Flave
Flav
In ya ear
Style
Flav
flaaaaaaave
Flavvvvvvvvv
Flav
flaaaaav
Coon
Flav
In Ya Ear
80'sFlav
Flav
Clock
style
UNit
???
flavor
in ya ear
Flav
flava
flave
flave
flaavveee
Flav
Yuck
flav
citrus
In ya ear
Style
CraigMac
flav
Subway
Train
6 train
Station
tracks
MC Lyte
Meatball
New York
graffithi
graffiti
Rats
Sandwiched
train
1 Train
Jared
Eat Fresh
Sandwiches
new york
Sandwich
Dark/Dirty
Eat Fresh
Graffiti
System
New York City
Fresh
train
Train
???
graffiti
stop
Grafitti
graffiti
L train
eat fresh
Train
sandwich
tunnel
Graffiti
dirt
NYC
Train
hiphop
45
5.
6.
7.
8.
Boom-bap
FromDaTomb
ba-dam
boom-cat
classic
Reks
hip-hop
box
boombastic
Drumsbeat
Rap
indian
drum
Drums
Beatbox
music
krs-one
Nostalgia
Return of the Boom-Bap
?
Beat
Beats
9th Wonder
Dope
Jazz
Original-Rap
????
pe-pop
bop
drumsbeat
jazz
dj premier
Rap
knock out
Dope
beat
dance
Dilla
clap
Rapper
Joey Bada$$
Mc lyte
Choppa Cty
MC
Run DMC
Flow
New York
Nas
Tupac
Jay-Z
Vanilla ice
words
Jay-Z
Shad
Eminem
Music
eminem
Lil Wayne
Mos Def
MC
Attitude
Emcee
2 Chains
MC
trash
McHammer
Tapachula
Rapper's delight
Rapper's delight
Jay-Z
Kanye West
Lil Wayne
lyrics
Hov
Lil Wayne
mic
mic
delight
run dmc
LOX
Mc
Mos Def
Afrocentricity
Common
Beauty and me
Afros
big jewlery
Malcom X
Black
Power
Common
Blackness
Public Enemy
Ankh
Erykah Badu
black
Baduizm
Andre 3000
Black Panther
Blackness
not sure
Common
Regality
Pride
Steel Pulse
Common Sense
Pride
DeLaSoul
knowledge
Power
Common
Zulu Nation
woman
Nas
knowing self
rhythm
Big afro
Erykah Badu
Neo Soul
protect
Afrikka Bambata
Afro
Common
Black
Marcus Garvey
Liberation
Public Enemy
Public Enemy
Niggas
Number 1
fight the power
Chuck D
Chuck D
Political
Performance
Legendary
militant
Chuck D
Fight the power
YO!
Bum Rush the
Show
bring the noise
No. 1
Political
no 1
#1
Chuck D
?
Chuck D
Fight The Power
Revolutionary
dope
Blunt
Love
Fight the Power
Flava Flav
Powerful
New York
number one
#1
Flava Flav
legends
sweater
Fight the power
flava flav
revolution
flav
46
9.
NWA
Niggas
Eazy E
eff the police
F the Police
Eazy E
Gangsta
Eazy E
Los Angeles
gangsta
jerri curls
Dopeman
Niggas
attitude
Compton
express yourself
Straight Outta Compton
Gangsta
old school
LA
Compton
?
Compton
Ruthless
Gangsta
mean
cube
No
Fuck the police
Dre
Fierce
LA
fuck da police
Dr. Dre
Straight Outta Compton
Cali
legend
Straight outta Compton
national
Eazy
Cube
gangsta
10. Compton
Gangsta
snoop
Califonia Love
Jerry curls
NWA
TDE
Kendrick Lamar
west side
gangs
California
Buster
NWA
NWA
California
california
NWA
Ice Cube
NWA
LA
Long Beach
Inglewood
L.A.
West
LA
west coast
No
Eazy E
Dre
NWA
hood
east
Kendrick Lamar
LA
Hood
raised
Swap meet
Crenshaw
gangs
NWA
california
bad part of town
11. LA Riots
Rodney
Death
looting
tragic
clash
Thurz
Rodney King
burn
Justice
Rodney king
Ice Cube
unnecessary
Rodney King
Necessary
prejudice
Confusion
Watts
Fire
Rodney King
Confusion
Monumental
Rodney King
Unfortunate
No
Latasha Harlins
dogs
Rodney King
down fall
violence
Thurz
Rodney King
tragedy
Police
Rodney
Reginald
the acquittals
rodney king
REVOLT
Police
Fuck police
12. Basquiat
NY
tag
paint
eccentricity
Jay-z
Art
Graffiti
Artist
Jay Z
Jean-Michael
crazy
hair
dude
1st
Graffiti-fine artist
Artist
Lost
Geometric
Abstract
Freedom
Graffiti
Painter
nothing
warhol
Jean-Michael
Jean Michael
Originality
Artist
graffiti
Warhol
painting
stop
Graphics
Life
Overdose
hipster
47
13. Dilla
Greatest
dolla
Samples
Vinyl
scrilla
raw
Amazing
Donuts
detroit
J
Sample King
Samples
GREATEST
J
J.
Producer
Dope
Best
Legend
Samples
Vinyl
Beats
?
Producer
Producer
Greatest
Damn
Roots
Legend
J
Thrilla
not familiar
J
greatest
Donuts
Vinyl Records
Detriot
Who?
Slumvillage
Electronic
detroit
14. Best Producer
Pharrell
DJ Premier
DJ Premier
Dr. Dre
hype williams
Timberland
Kanye
DJ Premier
9th wonder
buttons
Dr Dre
DJ Premier
Dr. Dre
Kanye/JayZ
DILLA
timbaland
J DIlla
Dre
Dr. Dre
???
Just Blaze
Premier
marley marl
Dilla
Dilla
NUJABES
Timbaland
Pharrell
?
DJ Premier
DJ Premier
School Boy
Dilla
Premier
Clams Casino
Pharrell
pharrell
spielberg
15. Best Coast
West Coast
East Siiiide
east coast
East
West Coast
east
East
East!
East
northcoast
free
East
East
East
EASTTT SIIIDE
West
midwest
west
East
East
East
EastCoast
california
East
East
ProEra
West
East
East
East
East
all
West
West
Left
West
Nas
South?
south
coast
East Coast
16. Andre 3000
we like to party
LOVE
Prototype
ATLiens
lyricist
hey ya
Genius
slamming
cadillac
door
stylish
Outkast
Style
Atlanta
OutKast
Big Boi
Outkast
dope
legendary
Jimi Hendrix
genius
Love
him
Outkast
polaroid
CreaTive
outkast
Amazing
Outkast
different
Love Below
?
Lyrics
Lyrics
artist
outkast
himself
Outkast
Genius
Features
outkast
Outkast
Git up Git Out n Git Sum
Needs an Album
Who else wanna f&^$ with...
48
17. OFWGKTA
wtf
wtf
Idk
Fuck
Punk
??
HUH?
roaches
funk
Tyler
Tyler
Odd Future
The new wave
internet
GOLF WANG
what?
nothing
Love
him
Weird
Afro Punk
future
Wild
Bad Brains
Rella
Rebellion
Punk
Odd
???
?
Negative
rough
Misunderstood
Tyler
group
not a clue
Madness with a method
ODD FUTURE
Afro-Punk
Hip-hop/Punk
18. 106
and park
& Park
and Park
and Park
Park
& park
and park
And park
& Park
&Park
and park
park
Park
and Park
AJ and Free
whatever
park
Park
degrees
and Park
??????
and Park
...
& park
bet
Corny
kmel
& Park
has changed
&Park
?
and Park
Park
Trash
Bubblegum
and park
Free
Park
hip hop
19. Real
niggas
black
Music
Truth
Niggas
rap
deal
Deal
World
authentic
keeping it
Niggas
Hip-Hop
Alicia Keys
Really
really
real
truth
Niggas
Madrid
World
?????
World
Talk
Honesty
Authentic
Unerground
Pure
Rap raw
PE
90s
100
Myself
music
Thing
rap
Niggas
?
Factual
Kendrick Lamar
Life
fake
rhyme sayers
Rap
Love
deal
legitimate
20. ______________ is beautiful.
black
Hip-Hop
God
beyonce
Black
You [are]
Black
Life
Love
blackArt
black
Black
black
Black
Art
Black
Black
Black
black
life
Culture
black
Life
life
Black
I am
Life
Your whole
Black
Black
Black
Black
Black
Life
movement
Poetry
Expression
love
Life
49
21. Oakland
raider
Terrace
Cali
E-40
Jheri curls
Raiders
Too $HORT
california
Raiders
A's
Raiders
The bay
booty
Raiders
Raiders
California
Raiders
california
raiders
California
????
California
california
Ebonics
too short
e-40
TooShort
Too $Short
E40
Hustle
Cali
West coast
Digital
Florida
E40
Too$short
E40
E40
California
Keak Da Sneak
Cali
Cali
E40
Raiders
Raiders
california
California
digital underground
22. Fela
felt marker
Kuti
kuti
hmmm
broadway
afrobeat
Africa
Tribes
afrobeat
play
Marcus
man
Soccer
sneakers
Kuti
kuti
cigar
Instruments
Selina
Culture
Chives
nothing
????
!
...
Broadway
play
music
Corny
Kuti
Afrobeat
dance
Michelle
Ed?
Kuti
Afrocentric
Jay Z Free
DeLaSoul
delasoul
Fel
Afrobeat
Music
Congo
drum
Africa
ed
fella
guy
23. LGBT
gay
pride
Fight
Community
lesbian
Love
gay ppl
Haring
roommate
community
Gay
Equal
Equality
gay
Legend
community
Subculture
????
Rainbow
pride
All the rage
legalized
?
Q
Equality
more accepted
Undercover
About Time
?
Gay
equality
?
words
?
Rights
lesbian
gay
bi
transgender
rights
civil right
radical
I'm White
Islam
NOI
Shabazz
Qu’ran
Knowledge
Mathematics
Jill scott
Wutang
measurements
????
Muslims
...
mathematics
grand puba
rakim
WuTang
Mathmatics
badu
Nation ?
Islam
24. 5 Percenters
edgy
bean pies
poor
Crazy
Muslim
NOI
Islam
White people
LL Cool J
Preach
50
New York
Talkers
Preaching
none
?
Strange
malcolm x
not sure
25. Philly
born and raised
Freeway
cheese steak
King
Freeway
steak
Hood
Fresh Prince
Roots
Cheesesteak
The roots
The roots
Jill
okayplayer
cheese-stake
Eve
The Roots
Okay player
?uestlove
Eve
Will Smith
The Roots
motown
skateboarding
Cheese Steak
??????
Roots
The Roots
Jill scott
Jillllllly
The roots
Festival
Crim
The roots
Cheesesteak
always sunny
3x dope
freeway
BlackThought
Freeway
Art
The Roots
Jill
My Mandolin
Roots
streets
Cheestake
Cheesesteak
The Roots
cheese
The Roots
Dirty
pennsylvania
philadelphia
26. Africa
the motherland
Bambaataa
home
Roots
Bambata
my people
Home
Continent
Source
Life
Pride
Love
Bambatta
egypt
beautiful
Bambahta
The Motherland
Home
Safari
D'angelo
bambata
rich culture
heritage
?????
Baambaataa
toto
slavery
Motherland
Bambaataa
Bambaataa
Homeland
Motherland
Dark
Foreign
Motherland
Land
Home
Home
Roots
Bambatta
Black
Motherland
American
Lions
Marcus Garvey
BLA
27. Color
code
Purple
red
Black
Change
red
black
Colorless
red
Blind
green
life
Black
Blind
Black
PURPLE
Red
rbg
green
yellow
?????
Black
red
Always present
black
Blue
red
black
Neutral
Black/white
Black
Spectral
Black
Red
race
Brown
Black
beauty
blue
Blue
Black
purple
28. RBG
colors
no clue.
bullets?
Computer
red
Hug
??
dead prez
color
Red Blue Green
Rasta...
Africa
Dead prez
???
colors
51
revolution
Dead Prez
?
not familiar
Revolutionary
?
West
Africa
Colors
Life
web
?
Flag
cmyk
rgb colors
Africa
revolution
29. Revolution
Televised
Past time
Huey
Industrial
will not be televised
Will be televised
??
freedom
French
uproar
PE
Che Guevera
Tupac
No. 9
Malcolm X
change
EVOL
?????
war
tv show
Change
elevised
FabFive
never dies
Cause
consciousness
Needed
Che
Fight
Immortal Technique
Love
Televised
power
Nas
Necessary
progress
fight
30. Banksy
?
ill
huh
Stencil
conceptual
controversy
UK
stencil
street
Street Art
Bank
Ill
Street
Art
Mr Brainwash
????
Conceptual
spray paint
activist
?
magic
YES
not familiar
Art
Che ?
art
nothing
?
street
?
Graffiti
art
not sure
31. Women
love
love
power
Queen
Men
equal
sexy
Men
Queen Latifah
beauty
difficult
hard-working
Latifah
Love
Mom
objectified
Power
first
art
????
Power
Girls
object
origin
Beautiful
queens
Strong
powerful
Underrepresented
Mysterious
Queen
mother
Me
Gift
Queens
Goddesses
hustle
Empower
Beautiful
Boobs
rule
32. Islam
nation
salaam
coofie
Unit
Allah
structure
Bean pie
Nas
nation
Turkey
Faith
Rakim
Qu'ran
Peace
Middle
East
Malcolm X
religion
misunderstood
????
Religion
middle east
NOI
Muslim
womp
Violence
Malcolm x
roy
crazy
????
Dead Prez
printing
Primary
xclan
?
dead prez
52
Strength
Religion
zulu
Lupe
Religion
muslim
misunderstood
33. Hip-Hop
resurection
ours.
grafiti
Common
Changing
forever
self-expression
Music
Videos
culture
Hamburg
culture
RUN DMC
Love
Life
love
Music
everything
music
falling off
????
style
Love
music
lifestyle
Life
Alive
Global
communication
brown sugar
Culture
home
Culture
Hooray
Mine
streets
Love
Self expression
Love
nation
Love
Culture
nation
lively
34. Love
beautiful
Christ
Selfless
Pure
Family
home
peace
God
Basketball
beautiful
self
War
oneself
Shakespeare
it
Peace
Hip-Hop
God
You!
God is
life
life
?????
Hate
desire
Jordan
Beautiful
hip hop
Not War
connection
More
Essential
adore
express
Peace
God
Peace
lost
Misrepresented
Life
beautiful
true
35. Culture
Movement
Change
black
History
Buttermilk
change
Kulture
Everything
black
new york
diversity
embrace
Hip Hop
HipHop
Disconnected
Art
Beautiful
art
roots
???????
Everything
centric
blackness
Living
vultures
Permeates
mimic
Roots
Our Way
DNA
freedom
Black
Family
Life
sub culture
Rap
Mine
hip hop
society
Misunderstood
Misunderstood
Muslim
Star
53
Appendix B:
Key Terms/ Hip-Hop Vernacular Explained In Context To This Thesis
Afrocentricity: Cultural, political, and ideological movement. Most Afrocentrists are African Americans
who regard all blacks as syncretic Africans and who believe that their worldview should positively reflect
traditional African values. Afrocentrists argue that for centuries blacks and other nonwhites have been
dominated, through slavery and colonization, by Europeans and that European culture is either irrelevant or
hostile to efforts by non-Europeans to achieve self-determination. Rooted in historical black nationalist
movements such as Ethiopianism, Pan-Africanism, and Negritude, Afrocentrism asserts the cultural
primacy of ancient Egypt and is seen as a spur to political activism. In addition to emphasizing cooperation
and spirituality, it champions contemporary African American expressive culture (language, cuisine, music,
dance, and clothing). Coined by Molefi Asante in the 1980s, the term Afrocentrism was popularized by
such books as Black Athena: The Afroasiatic Roots of Classical Civilization, 2 vol. (1987–91), by Martin
Bernal. The book remains controversial among mainstream scholars who charge it with historical
inaccuracy, scholarly ineptitude, and racism—prompting countercharges of racism from some of its
defenders.
Black Panther Party: U.S. African American revolutionary party founded in 1966 by Huey Newton and
Bobby Seale (b. 1936) in Oakland, Calif. Its original purpose was to protect African Americans from acts
of police brutality. Eventually the Panthers developed into a Marxist revolutionary group that called for the
arming of African Americans, their exemption from the draft, the release of all African American prisoners,
and payment of compensation to African Americans for centuries of exploitation by white Americans. By
the late 1960s it had more than 2,000 members, with chapters in several major cities; an early spokesman
was Eldridge Cleaver (1935–98). Conflicts with police in the late 1960s and early '70s led to shoot-outs in
California, New York, and Chicago, one of which resulted in Newton's imprisonment for the murder of a
police officer. Though some members of the party were guilty of criminal acts, the entire group was
subjected to violent attacks by police and harassment by other government agencies, including the Federal
Bureau of Investigation. Police activities in dealing with the Panthers were later the subject of
congressional investigations. By the mid-1970s, having lost many members and having fallen out of favour
with African American leaders, the party turned to providing social services in African American
neighbourhoods. By the early 1980s it had effectively disbanded.
Breaking (B-Boying/B-Girling): A form of urban dance involving styles such as rocking, popping, and bboying, usually performed to funk. Also called break dancing.
DJ: The acting Disc Jockey, usually at a party/event or radio station, also referred to as a turntablist.
Emcee/MC: a person who acts as host at formal occasions (makes an introductory speech and introduces
other speakers)/ master of ceremonies. In dialogue regarding Hip-Hop emcee/mc and rapper can be used
interchangeably when referring to someone who rhymes over beats.
Globalism: related to the interconnectivity and interdependence of cultures around the world and focused
largely on economic flows.
Griot: Rap's common designation as "CNN for black people" may result from the descendence of rappers
from griots, respected African oral historians and praise-singers. Griots were the keepers and purveyors of
knowledge, including tribal history, family lineage, and news of births, deaths, and wars.
Travelling griots spread knowledge in an accessible form--the spoken word--to members of tribal villages.
Similarly, in the United States, many rappers create songs that, through performances and records, spread
news of their daily lives, dreams, and discontents outside of their immediate neighborhoods. Rappers are
viewed as the voice of poor, urban African-American youth, whose lives are generally dismissed or
misrepresented by the mainstream media. They are the keepers of contemporary African-American
working-class history and concerns
“Overstand”: Derivative of Jamaican culture, the term “Overstand” is level high of understanding. The
Distinction between Overstanding and Understanding is a matter of "authority". If you can use something
or do a job, you understand and memorize enough to act. In order to innovate or redesign, you must
overstand. Understanding can Drive the car, but Overstanding Builds it, (or replaces it with something
better). The difference between Under and Over standing is the difference between Oper-ating and Creating. Understanding does the Job, Overstanding wrote the Business Plan. It is similar to the distinction
54
between Academic "Knowledge" and Experiential "Wisdom". Overstanding emerged as a word from the
global hip hop culture, to help portray an ethic of entrepeneurialism , self sufficiency, and sustainability.20
Pan-Africanism: the doctrine or advocacy of alliance or cooperation among all African states.
Polyculturalism: a term coined by Robin D. G. Kelley and advanced also by Vijay Prashad to describe the
process of cultural exchange. Polyculturalism, unlike mire recent forms of multiculturalism, is not merely
about “diversity,” which tends in practice to fix and essentialize cultures. Instead, polyculturalism describes
the way cultures influence each other. It functions like a jazz quartet (blending, inspiring, and changing
together) or a DJ mixing records (matching rhythms and keeping it moving.)21
Post-Blackness: coined by Thelma Golden—curator of the Studio Museum of Harlem—to describe
African American visual arts at the turn of the millennium. She wanted to emphasize that
postmulticulturalist African American artists had both benefited from and wanted to move on from the
narrow focus on racial content over formal quality. She didn’t intend to suggest that race was no longer a
concern to these artists. Multiculturalist had freed “post-Black” artists to be perceived on many levels of
interpretation. 22
Rapping – the rhythmic use of spoken or semi-sung lyrics.23
RBG: the three colors of Pan-Africanism, often associated with African-American Culture. The three PanAfrican colors on the flag represent:
• red: the blood that unites all people of Black African ancestry, and shed for liberation;
• black: black people whose existence as a nation, though not a nation-state, is affirmed by the
existence of the flag; and
• green: the abundant natural wealth of Africa.
These colors are also often associated with the teachings of Marcus Garvey and the Black Liberation Army.
Spit: See Rapping
Swag: A word associated with a high level of personal style.
Turnablist: See DJ
Vulnerability: (personal definition) purist form of reality one can convey
20
21
22
23
Picaza, Julian . "Urban Dictionary: Author Julian Picaza." Urban Dictionary, May
15: Social Bully. N.p., n.d. Web. 15 May 2013. <http://www.urbandictionary.com/author.php?author=Julian+Picaza>.
"The Roots Of Hip-Hop." RM Hip Hop Magazine Apr. 1986: 2. Print.
55
Appendix C:
Conversations Conducive to Research
This section serves as documentation of some primary research I was able to
attain through interviewing professionals who are actively involved in Hip-Hop culture as
a tool of communication and as an art-form, as well as key moments in conversation held
with my committee members. Most of the discussions were organic in nature, but what
will be noted here are the more formal conversations.
1) John Jennings, Associate Professor - Visual Studies SUNY Buffalo
Type: E-Mails & Facebook Messages
When: Apr 3, 2013 – May 15, 2013
Jordan Powell:
Hey John,
Scott mentioned that he knew you when I was talking about my thesis the other day in class. What
a small world. We know so many of the same people. Is this the best way to reach you? I'd love to
discuss my ideas with you.
John Jennings:
Hey Jordan.
Yeah. Scott is a friend and colleague of mine. You will find that as you move through your career
that it DOES get smaller and smaller. Almost incestuous. But I digress.Scott actually brought me
to campus once for a symposium he put together a few years back and I am good friends with
Maya Smith, the counselor for illustration and sequential art at SCAD. Also, Fish, the head of
sequential art is a good friend.
Anyway, I'd love to talk to you about your work.
I have done A LOT of research in the area. This includes publishing pieces on it and teaching four
courses called THE VISUAL CULTURE OF HIP HOP. I even think of myself as a "SEE JAY"
someone who actively samples visual culture for their work.
Recently, I had become an affiliate with NYU's Hip Hop Education Center and I am working on
codify my class into a collection of student projects, writing, and pedagogical assignments.
Jordan Powell:
Yes, Scott is awesome.
Brilliant writer, and so insightful. He mentioned bringing you to Design Ethos, but at that point I
was still in undergrad at VSU, so I didn't get to come. A lot of people from SCAD refer back to
your presence at Design Ethos Conference, so whatever role you had there has definitely made a
lasting impression.
"SEE JAY" that is awesome. I think you've given my dream job the perfect title.
I included you on my "Dream Team" of potential people I'd like to talk to regarding my thesis. I
knew you taught courses regarding hip-hop but weren't sure all that they entail, but it sounds like it
directly corresponds to my thesis.
John Jennings:
Oh yeah, I love Scott.
I am glad I left a good impression. There's a piece on my work coming out in an anthology from
Duke University on Black Performance Theory It's called "rise of the see-jay". It focuses on my
cyborg work a lot but, it's a great analysis of my work. Who else are on your dream team? I am
just curious. Send me any writing you may have done on your thesis too.
56
By the way, have you read the article I wrote for DESIGN STUDIES on my class?
Jordan Powell:
Hey John,
I'd just like to move the conversation we were having earlier via facebook to e-mail, just to better
manage conversations regarding my research.
You asked who the other people on the "dream team" are; they include:
• Jeff Johnson
• Cey Adams
• dream hampton
• Marc Lamont Hill
• Amanda Seales/Amanda Diva
• Jeff Chang
• MC Lyte
• Cornel West
• Michael Eric Dyson
• Dr. Chris Emdin
• Emek
• Erykah Badu
• Bobbito García
• 9th Wonder
• John Jennings ;)
• Aaron McGruder
I have read your article in Design Studies. What I'm trying to do is credit hip-hop's ability to stay
relevant with the visual culture it has created through design. When you have time, what I need
from you is to answer the following questions in as much detail as possible:
1.
2.
3.
4.
5.
6.
7.
You have been exposed to Hip-Hop on such a huge level, What aspects of the culture do you
think are responsible for it’s ability to stay relevant for so long?
How did your personal affinity for hip-hop develop?
How has hip-hop informed your art/writing/teaching/etc.?
What moments in history do you think Hip-Hop played a major role in as far as conveying the
story to the people? And how was it done?
What role did visual communication have in the growth of Hip-Hop culture?
Do you see connections with hip-hop and current trends in art/design? If so what are they?
What role do you think you have played in the relationship established between Hip-Hop and
design?
Here I am trying to develop an understanding from people who are actively participating in hip-hop
as an art form. I am wondering with these questions as a basis, will I be able to get what I need for
my research.
I also included you in an e-mail from my school address with a link to a survey that I'd love for you
to administer to your students/colleagues/art friends/ etc. It's just me trying to find what aspects of
hip-hop the people find most relevant, and if my claim that the visual culture of hip-hop is what
keeps it relevant is actually apparent through there responses. It takes about five minutes, so it wont
take much time. Here is the link again, in case you didn't see it:
https://docs.google.com/forms/d/1joNEV6E1sclc-n63_q7uQpEq1hmHxz9shP0yog84DM/viewform
I realize this is a lot, so if you don't have time to respond right away. I completely understand.
Just text me to let me know you got it so I don't freak out please. ;)
57
John Jennings:
I apologize for the delay, here are m answers:
1.
You have been exposed to Hip-Hop on such a huge level, What aspects of the culture do you
think are responsible for it’s ability to stay relevant for so long?
I think that Hip Hop isn’t static. Whenever you think you understand it, it Morphs into something
else; something new. It wants to be sampled. It wants to get into things. It’s not tied to a place, or
thing, or box. It is an idea…and an idea cannot be destroyed. It’s pure energy. That’s why we are
still talking about Hip Hop. It’s the last great American youth culture.
2.
I am from the Hip Hop generation but, being from the Mid-South (Mississippi), I really didn’t
appreciate the culture wholeheartedly until my early 20s. I started to realize just how brilliant the
culture is. It made me go back and listen with more clarity and intent. It made me want to be a
part of it. Once that happened. There was no turning back.
3.
I am a Hip Hop scholar/artist. I think, teach, and make art through a Hip Hop lens. It informs all
aspects of my life. The tenets of Hip Hop as a cultural expression feels right to me. I call myself a
“see-jay” because I sample and remix what I see. A anthropologist may call what I do
“bricolage” but, my lens, my perspective sees it as “sampling”. When you write a research paper;
aren’t you just sampling and remixing ideas? It’s the basis of how we build knowledge. The fact
that some poor kids from the NY inner city figured all of this out…is nothing short of miraculous.
4.
What moments in history do you think Hip-Hop played a major role in as far as conveying
the story to the people? And how was it done?
Honestly. MTV. MTV helped make Hip Hop what it is. It also helped to take out the soul of Hip
Hop..but, it did give us a glimpse into the culture like never before. Yo’ MTV Raps was a pipeline
to pure Hip Hop culture as it was going down. I think a lot of the “moments” deal with the
documentation of the culture. For instance “Style Wars” was a huge part of that. “Wild Style”
etc. It was a way to show the culture to a totally different audience from the perspective of the
people who made the culture.
5.
I think that magazines like VIBE, the Source, and later XXL began to showcase the inner workings
of the Hip Hop culture. These publications in tandem with more sophisticated music videos began
to shape the formal economy of what we would begin to see as Hip Hop aesthetics.
6.
Currently, there seems to be a rise in “Black Pop Art”. The recent issue of the International
Review of African American Art devoted all of its articles to this phenomenon. It looked at how
popular culture (and not so popular culture) has been informing a great deal fo the new work
being done by black artists and designers. This included music, science fiction, video game
culture, comics and superheroes, and yes..hip hop and graff.
7.
What role do you think you have played in the relationship established between Hip-Hop
and design?
I think that you can’t avoid Hip Hop in today’s society. It’s a global culture and because that is
true…you can see how some of the formal applications of Hip Hop style have been sampled by
mainstream design and marketing. This is just how it works in the marketplace. However, I am
always worried about how the signification of particular visual symbols in Hip Hop culture get reappropriated without proper context. This happens constantly in the media-sphere. As my
Professor Doyle Moore used to say “Insiders see content. Outsiders see form.” So, it’s the empty
58
form devoid of context that gets marketed. It’s the eye candy that hides the fact that it’s just empty
calories.
2) Cey Adams, Senior Designer – Def Jam Records
Type: E-Mail
When: Mar 31, 2013 – Apr 9, 2013
Jordan Powell:
Hello Mr. Adams,
I am reaching out to you, in hopes of getting any feedback you can offer. I am a huge follower of
you work, and as someone who loves hip hop and art both equally, you are one of my biggest
inspirations. I sent you a tweet maybe an hour ago asking if you can offer any advice for my
current research for my MFA Thesis. I also wanted to take the time to email you just to give you a
brief overview of my ideas so far.
I am currently a graduate student at Savannah College of Art and Design getting my MFA in
Graphic Design. I will be finished upon the completion of my thesis (June 1) which consists of a
writing and visual component. Since I have an equal love for Hip-Hop and Design, I wanted my
research to reflect that passion, so as it stands, my current thesis statement is:
Hip-Hop's lasting effect is partly due to the immersive experience it creates through the use of art
and design elements as a means of communication. This thesis will explore how it has been able to
do that for such a large demographic, by dissecting the universal messages of the culture and how
it is communicated to it's audience through a multi-media platform.
While I love my idea, I haven't been able to have much dialogue about it. My peers don’t really
understand the culture of hip-hop, so I am sort of stuck when it comes to having any physical
conversation about my idea. My hope is to just hear what you have to say and dive into any
discussion you have to offer me. Do you think my idea is valid? Any feedback would be great.
Since this is a design-based thesis, along with a 50-150 page document, I will be expected to do a
visual component. This will result in an art exhibit/installment that will be featured with the other
scholars in my program. If you would like to see some of my work, my personal site
is http://jorpowdesign.com
Again, thank you so much Mr. Adams for your time. I don't know how busy you are, or if you
would be willing, but I am eager to learn from those doing something I admire; if you have the
time, I'd do anything to have a discussion with you for primary research for my thesis. You
wouldn't have to do anything that requires your presence here, just agree to talk with me, in the
form of interview or light conversation that I could cite. I'm sorry if this is an outrageous request,
but I'd regret not asking you while I have the opportunity to.
I really appreciate your time, and hope to hear from you soon.
Thank you so much!
Cey Adams:
Hey Jordan,
After reading your wonderful email and checking out your work, I can say I would be happy to
help you with your Thesis.
I'm a true believer in educating the next generation of creative leaders of Hip Hop culture. Thank
you for the kind words.
I look forward to talking with you. I'm in LA right now, so early mornings are best.
My contact info is below.
Jordan Powell:
59
Wow,
I am so honored that you've agreed to help. Thank you so much Mr. Adams. You have no idea
how much this means to me!
Here is an overview of what kind of help I'd need from you:
Currently I am trying to build this “dream team” of thinkers, artists, political figures, writers, and
just lovers of the culture of hip-hop. I think it will be important to talk with people actually
immersed in this culture who actually live, breathe, eat and in a sense, are hip-hop. The reason you
are at the top of this list is because, like i've stated previously, I'm deeply inspired by your work,
but also the contribution you have made to hip-hop as a visual artform has been so substantial. All
I want from you is conversation that can further my understanding/insight of hip-hop's relationship
to design and any other nuggets you have to offer. I have developed a list of questions that I'd like
to ask you at your earliest convenience that will help me with primary research. I will document
your answers with your permission, to be included in my thesis paper, and also include you in my
acknowledgements. Since you are in LA, I think correspondence via e-mail will be best, because
I'd need your answers documented in writing anyway. This way, you can respond whenever you
have the time.
If this works for you, we can begin our discussion right a way!
Talk to you soon!
Cey Adams:
Hey Jordan,
You have any time to talk today?
I just moved into new offices and things are getting busy nuts over here at REVOLT.
I don't want too much time to pass.
Hope all is well,
Cey
Jordan Powell:
Hi Mr. Adams,
I apologize for the tardy response, I had a death in the family this past weekend that was very
unexpected.
What I'm trying to do is credit hip-hop's ability to stay relevant with the visual culture it has
created through design.
1.
2.
3.
4.
5.
6.
7.
8.
When you have time, what I need from you is to answer the following questions in as much detail
as possible:
You have been exposed to Hip-Hop on such a huge level, What aspects of the culture do you think
are responsible for it’s ability to stay relevant for so long?
What moments in history do you think Hip-Hop played a major role in as far as conveying the
story to the people? And how was it done?
What role do you think you have played in the relationship established between Hip-Hop and
design?
Here I am trying to develop an understanding from people who are actively participating in hiphop as an art form.
I also am including a link to a survey that I'd love for you to administer to your colleagues/art
friends/ etc. It's just me trying to find what aspects of hip-hop the people find most relevant, and if
60
my claim that the visual culture of hip-hop is what keeps it relevant is actually apparent through
their responses. It takes about five minutes, so if you wouldn't mind sending it out (or even taking
it yourself) I'd greatly appreciate it.
https://docs.google.com/forms/d/1joNEV6E1sclc-n63_q7uQpEq1hmHxz9shP0yog84DM/viewform
I realize this is a lot, so if you don't have time to respond right away. I completely understand.
Just get it to me when you can.
61
Appendix D:
Figures
Figure 1- Fight The Power; Public Enemy, YouTube.com. – Image shows signs with images of civil
rights activist, Jesse Jackson and African-American abolitionist Harriet Tubman.
Figure 2.- Fight The Power; Public Enemy, YouTube.com – Image shows protest signs.
62
Figure 3- Fight The Power; Public Enemy, YouTube.com. From the video for “Fight The Power” by
Public Enemy – Image shows crowd holding different signs associated with themes of the song.
Figure 4- Fight The Power; Public Enemy, YouTube.com. From the video for “Fight The Power” by
Public Enemy – Participants are shown wearing uniforms similar to those of the Black Panther Party.
63
Figure 5 – Do The Right Thing; Spike Lee, Google.com.
64
Figure 6. – Public Enemy Logo; Public Enemy, PublicEnemy.com.
65
Figure 7 – NBA Street; PlayStation – EA Sports, Google.com. http://r-galaxy.com/store/images/ps2nbastreet.jpg
66
Figure 8 – Jordan Powell Thesis Exhibit; Jordan Powell
67
68

Thesis - souljor.com

Transcription

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