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-Nara Shikamaru
There are those who fall in the former category (musical purist) who claim that hip-hop is "not music" simply because it is not based around original compositions, or because several record producers utilise the technique of sampling, wherein an already-recorded sample of music is looped, with additional beats, and used as the basis of a song. This is what I refer to as the argument decrying rap as "recycled music." And, I must admit, there is some validity to the argument. However, even with heavy sampling, there is still a unique flavour and sound to a hip-hop song, as opposed to the original; for instance, one need only turn on the radio and listen to the latest Kanye West single. He is a producer whose utilisation of sampling has been ubiquitous, yet one would be stretching to make a connection if one proclaimed his works as identical, or indeed even reminiscent of, the original artist. Madlib's work as Yesterday's New Quintet exemplifies this; his latest release is a studio album of a jazz "quintet," all recorded by a single man, and mixed later on to give the impression of an entire jazz 5-man ensemble; even after many listens, the album is as seamless and perfect as the first impression. I would also ask the detractors of hip-hop whether they would label it "stealing" or "copy-catting" when a philharmonic orchestra uses the work of a famous composer at their latest summer concert. Or what about when a famous soloist (such as Yo-Yo Ma, or the latest piano/violin prodigy du jour) plays a famous composer's work in their unique style and with their own emotions? Even if a hip-hop producer blatantly steals the style, melody, or theme of his music from another genre, it is infused with the emotions and passion of that composer and of hip-hop culture. And certainly hip-hop is no stranger to a live accompaniment, either; we may take as examples The Roots, Jay-Z's fabulous and successful Unplugged recording, and AOI, the live band with whom Sage Francis records and tours.
There is a second argument, wherein the detractors of hip-hop claim that "anyone can do it," speaking specifically of the role of the emcee in hip-hop music. Again, several people have told me that "anyone can speak. We were born, and we could speak." However, I must by all means disagree vehemently with such a position, and I would tell such high-minded theorists to analyse their own speaking abilities. There are many people in this world who have a paralysing fear of public speaking, much fewer those whose public speaking is actually praised and admired instead of being a soporific, much fewer those whose public speaking has the quality of exciting others to action and "spark[ing] the brain who will lead the revolution" (Tupac A. Shakur, 1994). Not only that, but there is also the subject of an emcee's unique style, including his cadence, flow, breathing, and lyrical ability.
It is generally agreed-upon that each voice is distinct; this is both physiologically true and psychologically imperative. As a physiological truth, each voice must be somewhat distinct, for the larynx, the voice-box, is structurally different in each person's body. As a psychological dictate, in order that children be able to imprint upon their parents, it is essential that each voice be somewhat unique. An emcee must take this vocal quality and make it not only unique, but mellifluous. I have yet to meet the average, untrained, unpracticed hip-hop layperson who is able to match the power of KRS-ONE, the smooth flow of Rakim, the excited utterances of Busta Rhymes, or Eminem's nearly melodic delivery. In addition, rap is not simply spoken word art (though I view it as an outgrowth of such); there is a beat, a rhythm, to which one must adhere when performing or recording. This ability to "ride a beat" is known as cadence, and there are few (even among those who claim to rap) who are able to speak in cadence. Breath control and lyrical ability also play a part in the art of writing hip-hop music, as an emcee must know what he is able to pull off, and what rhymes he may utter (or contrive) and not sound like a neophyte. For this reason, Jay-Z may create a half-rhyme out of two words that sound nothing alike, while Eminem make utter a sentence in which every other syllable rhymes; simply because they know what they are capable of doing in the studio, and they are confident of those abilities.
In fact, I challenge any man or woman who claims that rappers do not have to develop their skill to take the lyrics to any rap song, record over the instrumentals to that song, and see exactly how foolish they sound. Regardless of one's appreciation for hip-hop, one must admit that "flowing" over a beat is an acquired skill, much less the acquisition of the breath and tone control required for a live performance or, especially, a studio recording.
Thus, in summation: rap is an art form and conforms to the traditional definition of music in that hip-hop producers create new melodies while emcees perform using abilities that the unpracticed layperson would not be able to utilise. At first glance, one may despise the music because the rapper does not "play his own instruments," nor does the producer, but look at the tradition of music: Did Bach play his own instruments? Did Mozart sing his own arias? Did Wagner personally perform Ride of the Valkyries for his audiences? No. In traditional music - even traditional western music, not to speak of traditional African music, from which the culture of hip-hop springs - there is a composer, a (sometimes multiple) performer(s), and a vocalist. I would set forth that this arrangement parallels the hip-hop producer or DJ (who combines the functions of composer and performer, though in some cases there may be separate performers), and the emcee who acts as the vocalist.
Secondly, we find outselves in the area of Lyrical Content, an arena in which hip-hop has suffered undue discrimination. Suffice it to say that the basis of my arguments over this subject will focus on the fact that the general public (both urban and suburban) has a flawed understanding of the breadth and depth of rap, and that they are thus passing judgement without consideration of the entire situation.
So, where does the general public discover hip-hop? I would be so presumptuous as to generalise that the majority of the public knows of rap music through the auspices of either MTV or an MTV-affiliated television station (including MTV2 or VH1) or a ClearChannel-affiliated radio station. What you must understand is that neither Viacom nor ClearChannel has any understanding of or respect for hip-hop in any form, save for the earning potential that the critical urban markets (and now, with rap's growing influence, the suburban market) bring in to their coffers. Therefore, they are simply promoting rap and hip-hop music, not to bring about political consciousness, social awareness, or even the furthering of the art form, but simply to sell what will sell. And in general, what sells? Violence, sex, and overarching gratuitous titillation. And not just to the average audience of hip-hop consumers, but to every consumer market. Just as that silly, over-the-top summer action flick will out-sell the deep, well-shot art flick, so will over-the-top gangster posturing, liquor-drinking, and misogyny of commercialised artists out-sell the conscious, aware, and informed rhymes of truer hip-hoppers. But one must not make the mistake of blaming hip-hop culture for this; for hip-hop culture actually arises from a movement of anti-violence, anti-gang awareness (addressed below). However, the (white-owned, may I add) industries of radio (ClearChannel), music distribution (RIAA), and television (MTV/Viacom) have taken the original awareness of hip-hop and turned it into a disgusting parody of itself, in order that they might make profits off the uninformed, as well as keeping true hip-hop underground and unprofitable, thus driving anything but their corporate image of rap (as a hard-drinking, women-pimping, gun-toting, child-fathering, jewelry-wearing, pants-sagging gangsterism) into the gutter.
Subsequently, we must answer the claims of those who say that rap is overly misogynistic, homophobic, and violent. I would answer this by claiming that those who criticise rap as such are not only misinformed (as they have not heard the conscious lyrics of Common, Talib Kweli, Mos Def, or Tribe Called Quest, or the poetic lyrics of Del tha Funkee Homosapien, Aesop Rock, or Sole), but also guilty of applying a double standard. Any form of artistic expression has elements of the sublime as well as the trashy. One must compare the artistry of the GZA, Aesop Rock, Atmosphere, Eyedea, and Public Enemy with artists such as Snoop Dogg, Chingy, J-Kwon, Ludacris, Nelly, and D-12 in the same light as one would compare Norah Jones to Britney Spears. Even though a rapper may have skills, the lyrical side of rap exposes the internal thought processes of its practitioner. Unfortunately, talent is distributed among those who are both moral and immoral, and one should not judge the moral practitioners of the art based on the foul reputation of the immoral. Just as one would not consider all basketball players as alleged rapists simply because Kobe Bryant is undergoing litigation, so one should not judge all hip-hop artists simply because some choose to rap about immoral subjects. Take, for instance, Eminem. He is one of my favourite rappers of all time simply for his amazing skills; however, there is much of his music that I do not listen to simply because of the lyrical content. The fact that he occasionally assumes a persona of misogyny and violence, however, does not mask the fact that he is astoundingly skilled, and does have material released that is worth listening to (take for example the introspective Hailie's Song, Lose Yourself, Cleaning Out My Closet, or Sing for the Moment), nor does it mask the fact that there are other skilled rappers out there who do not assume such personae. (Editor's note: In fact, there are several homosexual rappers in the underground scene, specifically doseone of Anticon among many others).
I know that many would be surprised to know that hip-hop has its roots in an anti-gang culture. The history of hip-hop begins in the early 1970s, with the Universal Zulu Nation, founded by Afrika Bambaataa (a former gang member) as a way to bring urban African-Americans together in peace and unity. Throughout the early years of hip-hop, the Rock Steady Crew and the UZN held together the reputation of hip-hop as a unifier, not a divider, of cultures and peoples. It was only in the early 1990s that the current "gangsta" culture became synonymous with hip-hop. I do not claim that hip-hop nowadays is a movement of peace - though the UZN and RSC both still exist and are active around the world, from New York to Japan - but rather that one must understand the background of the culture of hip-hop in order to understand the way that it has become twisted in modern society.
Finally, there is one last sticky subject that has many baffled: The So-Called "N-Word." What you must understand is that the use of this word KRS-One, Chuck D, and others have been working for years
-Hip-hop growth; diversity (the spectrum of hip-hop from Anticon to Company Flow to Def Jux to Sage Francis to Atmosphere to Eyedea to Eminem to G-Unit to Dr. Dre)
Closing; summation of arguments; enjoinder to remain actively seized, &c.
There was a man who was out boating with three of his friends.
Unfortunately, a thick fog rose up out of the water, and their small boat struck a hidden rock on the lake. As the man struggled to keep his head above the water, he heard the cries of one of his friends, and saw him drowning, struggling helplessly. He attempted to save his friend, but in his aid only succeeded in falling further and further underneath the water, until he had to let go and watch as his friend fell below the waves.
He then heard the cries of the second of his friends. When he swam over to see if he could receive aid from him, he saw that he, too, was struggling to tread water - staying alive, but only barely. When they clutched each other to stay afloat, they found that their combined strength was not great enough to keep their combined weight afloat, and so they agreed to separate for a time while still keeping a close watch on one another, just in case one of them would sink beneath the waves.
Finally, through the turmoil of the storm, the man heard the voice of the third of his friends, calling to him. Crying out, he shouted for his friend, until he caught sight of this friend swimming over to him. He was swimming with calm, powerful, confident strokes, and easily cutting through the waves. With his help, the two men treading water easily made it to the shore, and found their way home.
Just as one cannot allow another's struggles to bring him down, one may not rest on another who is struggling (lest he burden this struggling brother). Discerning who may be trusted is the key to all.
A monk was sitting naked, meditating on the ground in a rainstorm. A prince riding by in his caravan saw him and was amazed at his tranquility, and invited him into his carriage. When they arrived at the prince's palace, he offered the monk rich food, clothes, jewelry, and spices - expecting him to turn them down. The monk, however, accepted it all quickly and graciously. The prince was amazed, and told the monk to leave, because obviously he was no holy man. However, the monk immediately dropped all the prince's gifts and returned to his naked meditation. The prince then went to the monk and begged his forgiveness.
Oh Lord, my Father
I come before You
Humbled and low
Distressed and weak
I, in my weakness, have sinned against You
I, in my humanity, have lived the life of the flesh
Lord, our Father
Hallowed be thy name
And forever in my brain
Let me sing Thy praises
Thy praises, that will ever ring out in glory
Thy praises, that will ever change my life
Oh Lord, my Lord
My Father, my King
I, in my living flesh have sinned
I, in my sinful thoughts have strayed
Cast these lustful ways from me, O Lord
And make me righteous according to Your image
Cast these sinful ways from me, God
And reveal to me Your discretion,
That in my lifetime I might see myself in Thy image.
Oh Lord, my God
I come before you
Humble me
Make my heart sing Your praises.
Oh Lord, soften my heart. Let me not be led into temptation, but lead me into the grasp of righteousness.
For I am weak and pathetic; I am useless and unholy.
There is no purpose in my life but You, Lord, but my flesh begs me to fall.
I long for the soul of a Christian, but my flesh is weak and unready.
Lord, save me from the delights of the world, and let my glory be in You.
I come before you open and hopeful, knowing that my God will not desert me if I prostrate myself before him.
Save me from myself, oh God.
Charging headlong into an adversary is the easiest way to be defeated, but one must never let foresight stand in the way of timeliness. In the timing of one's actions, as in everything, one must have balance.