How
does hip hop represent black people, with specific reference to the track
'Plug' by Rich the Kid?
Hip
Hop’s popularity over the years has significantly been booming with a variety
of audiences being encouraged to be a part of it. It is and has always been
heavily affiliated with black culture which is why it is important to identify
how the genre represents the ethnicity and how/whether the media has decided to
capitalise from this confusion by attempting to demonise them. An artist
like Rich the Kid has been on the rise in the American
sub-genre of hip hop ‘trap’ which audiences would argue contains similar
conventions of the main genre and this is where the representation of black
people is constructed. When considering the track he produced called ‘Plug’
with two other artists (Playboi Carti and Kodak Black) we can see a
negative self-portrayal of black people with the way they behave, their
appearance and the lyrics used in the song. Perhaps a Marxist audience who has
been influenced by large multinational news institutions, with hegemonic views,
would perceive black people as ‘criminals’ through mediated news reports they
consume of the ethnic minority which could potentially reinforce their views
and ideologies of the ethnic group. Or maybe the subject of the matter is
self-representing themselves through these types of songs which would make the
news institute’s exaggerations seem realistic. This could be the reason why
some audiences don’t take black people’s cries seriously when they are
protesting something controversial or political like the ‘Black Lives Matter’
campaign.
An obvious example of a modern rap song which negatively represents
black people is ‘Plug’, which was released back in December of 2015, through
the self-representations constructed by the young artists. In the music video
the three rappers follow the conventions of a hip hop song answering ‘how true
to real life the media representations are’[2]
where they are portrayed as being ‘high’ or drunk which Frantz Fanon’s theory
would describe them as being ‘decivilized’ [3]meaning
they show elements of a ‘gangster’ or ‘pimp’. This particular representation is
displayed throughout the video but is mostly evident when Rich the Kid and
Kodak Black are in a car smoking, what an audience would infer to be drugs,
which could explain why they behave in an overly hyped manner afterwards whilst
excessively using the ‘N’ word which is a key convention from any era of hip
hop. This means that Tim Wall’s question in his book ‘Studying
Popular Culture’ can
be answered ‘what sorts of ideological position about the world
these representations articulate?’[4] as dominant ideologies of black people can be
reinforced from this self-representation suggesting all black people consume
drugs linking to Tessa Perkins’ theory ‘some stereotypes can be
true’[5]. Perhaps the influence of the music genre on black
people taking drugs is the reason police are displayed as having an agenda on
the ethnicity leading to the hate relationship between the two groups;
increasing the serious matter of police brutality. For example police in the UK
(London) set up a ‘hip hop cop shop’[6] which was designed to attract criminals into the undercover
‘fake rap store and snared 30 gangsters for drugs and gun offences’[7]. The fact that the authority decided to use a hip
hop shop, over alternative options, highlights the association the genre has
with crime. This belief and ideology was actually supported as the shop had
gained stakeholders who were criminals and in reference to the amount of black
people, ‘19 of the 27 men pictured’[8](9), which also suggests why police are biased
against them. It could be disputed that hip hop artists who rap about illegal
activities had an influence on these thugs ‘aged from 16-41’[9] as they wanted to be able to relate with their
favourite artists and the uses and gratification theory, which is an
approach (created by Blumler and Katz) to understanding ‘how and why people
actively seek out specific media to satisfy specific needs’[10], can be applied to imply they built a connection
with the rappers based on the ‘personal identity’ element.
Furthermore, the constant display of stacks of money and luxurious items
could definitely influence an audience wanting to be wealthy and the lyrics of
the song conclude that these rappers are scammers of the law, ‘it’s
snowing in my attic, it’s snowing in my yard’[11], suggesting he has drugs in his house ready to
sell or use . The cinematography effectively shows various close ups of the
fancy cars and cash the artists own which a young black audience potentially
living in the ghetto may aspire to acquire and the narrative of the song
explains that the rappers had to sell drugs and steal to become successful and
wealthy like they are now. Therefore, the youth listening to this song that
live in deprived areas just like their favourite ‘trapsters turned
rappers’[12] once did could be influenced into the criminal
life because of the wealthy lifestyle the artists display on screen and so it
would be the younger generation that would ‘confuse the stage
performance of most music stars with what goes on in their private life’[13] . Another important factor of mise-en-scene is the
setting of the video in contrast with the one of its audience which displays
two completely different lifestyles. For example, we see Rich the Kid travel to
the top floor of an apartment with a swimming pool which emits connotations of
rich, successful and powerfulness whereas the audience of the song are probably
living in a struggle, poor or ghetto lifestyles. Levis Strauss’ theory can be
applied which ‘compares two themes that are completely opposite’[14] which in this scenario would be the representation
of rich black people versus poor black people. Therefore, hip hop creates the
iconography of black people being wealthy through the illegal activities
portrayed in these music videos which right wing news institutions, like Daily
Mail, capitalise from to reinforce negative representations of the ethnicity
thus satisfying the preferred readers as they consume news stories that fit
their ideologies about black people.
Despite ‘Plug’ meeting various key conventions of a typical hip hop
music video, there is one major element missing from it, the physical
objectification of women. So
this slightly subverts the stereotype hip hop has on the way women are treated
in the genre because they aren't shown wearing revealing clothes or behaving
seductively because they simply aren't shown at all. Maybe the stereotypes of
black people and hip hop mistreating women are incorrect as we see a typical
rap song not exploit women like the media suggests. Alvarado’s theory can be
applied which explores ‘racial representations’[15] to argue that even without the use of women the
media context uses the ‘exotic’ element because of the appearance of the
successful artists and they also fit into the negative category of ‘dangerous’
as they are presented as criminals through their gestures and props. An
audience of the three artists would expect to see an emergence of females in
this music video firstly because it occurs in their other productions and
because of the lyrics used in this song. For example, Kodak Black raps ‘she
said “baby you ain’t gotta rush” but I already caught my nut whatchu expect I
booted up’[16]
which suggests he doesn’t value the girl
enough to be in a committed relationship and only used her for sex whilst being
on drugs thus reinforcing the stereotype of black males treating women as
objects.
Institutions who collaborate with these young and sometimes low key
rappers are also trying to develop their brand in the genre of hip hop. The
producer of ‘Plug’ is Mexikodro who is from Atlanta where modern rap is rising
from and is ‘one of the more prominent producers coming out this
new wave of alternative rap’[17]. This is an appropriate example of the positive
opportunities hip hop has given black people without hope because he once lived
in the ghetto where it is a struggle and has many influences into a life of
crime but he decided to work arduously into the music industry. A UK rapper,
Jammer, says ‘I started playing music from seven years old, I was
unsettled at school. The only thing I liked was the music class’[18](19) which emphasises the significance hip hop and
music as a whole that has now been embedded into the black culture. The
distributor of the song was WorldStarHipHop which is a famous hip hop music
YouTube channel that releases the latest songs which is permitted by the
artists. The channel has four million subscribers with a strong following on
other social media’s like Instagram, Facebook and Twitter. The song ‘Plug’ has
twenty eight million views which would certainly increase the artist’s image
worldwide because of the significance of the YouTube channel’s global
following. WorldStarHipHop has other songs on its channel that meet key
conventions of hip hop music videos meaning that dominant ideologies
constructed by news institutions and opinion leaders are reinforced ‘two
step flow model suggests audiences agree with people and large institutions
because of their authority’.
This is because other songs have self-representations of black people being
criminals which Alvarado’s theory suggest through the ‘dangerous’ theme.
Therefore, an audience who use WorldStarHipHop regularly would expect any song
released on the channel to contain criminal self-representations of black
people and so ‘its listeners and institutions that produce it, which
provides us with an explanation of why music is as it is today’[19].
The power of hip hop universally over the years has been significant
especially when considering its growth in its fan base. It has evolved so much
so that it no longer only caters for black people but has diversified to suit
all people of all races because it has been appropriated by white people which
seems typical seen as ‘America loves appropriating black culture’ [20]and
because most cultures are being Americanised the world learns to appropriate
the same behaviours in their countries which ties in perfectly with cultural
imperialism. This is the dominance of Western, particularly US, cultural values
and ideology across the world. The main reason for this is the simple fact that
hip hop’s image through the years has been altered because of the changes in
society through different generations. For example, the primary text this essay
depicts called ‘Plug’ by Rich the Kid carries the key and generic conventions
of modern rap music videos which has been adopted through some of the
appearances of these mainstream public figures. These specific public figures
are in the eyes of young people so it would make sense for multi-national
corporations to utilise this fact and target them through celebrity endorsements
in music videos because ‘there is no better way of marketing something to youth
than to link it to hip hop’[21].
Rich the Kid is seen wearing, particular clothing brand, ‘BAPE’ which has
recently been in the spotlight of many of the young generation in the US, UK
and Japan. It could be argued that the popularity of the song and the artists
included in the media content made the ‘multinational corporation’s product
cool’[22], which influenced audiences watching the music video
as they see Rich the Kid boast about his designer garments. This could possibly
have a knock on effect on young people as they would want to meet social trends
which BAPE is certainly associated with increasing their brand image all
because of hip hop’s influence. Therefore, people would then learn to associate
that particular brand with gang life and black people because we have been
taught to believe ‘hip hop culture influences styles of behaviour and
dress’ [23].
Despite the positive images the music genre conveys, it has always been
in controversy causing moral panics. Stanley Cohen is the theorist
who constructed and developed the idea of moral panics which he believed ‘a
major issue was the “fundamentally inappropriate” reaction by much of society
to certain relatively minor events and conditions’[24]. Using a typical rap song like ‘Plug’ to
identify key conventions of a hip hop music video and what is being displayed
suggests why moral panics of the genre and black people is evolving/supported
over the years. Some would argue large news institutions like Daily
Mail mediate news stories where they associate the ethnicity with crime because
they are opinion leaders which is explained by the two step flow model which
believes ‘audiences are thought to be gullible and consume information provided
by the news whilst agreeing with them’. However audiences could dispute
the beliefs from theorist of the two step flow model and hypodermic needle
model, which believes ‘news organisations provide news and audiences are
injected with a syringe into the brain influencing their views and values’, and
could possibly debate that it is the rappers themselves reinforcing ideologies
representing them negatively toward society. For example, the use of drugs and suspicious amount of money is what the
audience would expect to witness in the video and it perfectly reinforces the
ideologies of the ethnic minority which could be the reason the moral panics of
black people being criminals for example still exists. Using Tessa Perkins’
theory, which she explains ‘some stereotypes can be positive or true’, we could infer that hip hop is
representing black people through stereotypes which are actually true because
the music videos would certainly have some type of impact on an audience
because ‘...you can’t listen to all that language and film without it affecting
you’[25]. This negative
self-representation, constructed by the young black rappers, could answer the
question of ‘how hip hop culture maps out these real and imagined relations
between people and the tools used to bring people together’ [26] because
people amongst the culture feel as if they must follow trends to be
accepted. Therefore, the ‘constant pressure to perform and behave the
right way – based on hip hop’ [27] could
be the reason why black folks are constantly in the news as they want to
execute copy cat crimes of their favourite hip hop artists. Hence the reason
people of the middle and upper classes disagree with the black lives matter
movement as ‘no one has the right to be upset at a brutal sex crime or mindless
thuggery if he is not prepared to drive sadistic videos out of our high
streets’[28]. This is
particularly relevant with hip hop artists trying to promote the campaign where
a specific rapper (ASAP Rocky) believes ‘we must eliminate black on black crime
first’[29] suggesting police brutality isn’t as much of an issue.
When considering a hip hop song from the nineties from Public Enemy
called ‘Fight the Power’ we see the artists expressing their emotions as
‘victims of this American system’ [30] rather than ‘an American dream’[31] that the media constantly displays through media
content to audience’s universally. This song is an accurate example of where
hip hop has given ‘black and Latino hope and recognition’ [32][13]as it highlights the issues ethnic minority groups are facing in society
and acts as a protest. Therefore, the genre has given people without power a
voice through music and Public enemy capitalised on this and created a song
that would challenge these ideologies of people and large news institutions who
are the opinion leaders. This could be a potential explanation as of why hip
hop as a whole has significantly grown because people with right wing,
conservative, hegemonic views have listened to songs like ‘Fight the Power’
allowing them to view different groups of people from a variety of
perspectives. This subverts the hypodermic needle model because it shows
audiences are using critical autonomy to form opinions on issues surrounding
the representations of black people through hip hop rather than just accepting
what the news informs them.
However, in today’s society especially considering a song like ‘Plug’ it
seems hip hop culture has slightly changed where ‘the days of making powerful,
thought provoking and entertaining music videos’ [33][14] are now a thing of the past which means folks of middle and upper
classes will have less resources available to them attempting to challenge
their views. Therefore, dominant ideologies and representations of black people
remains the same or could get worse if ethnic minorities don’t decide to ‘Fight
the Power’. Hip hop in the past was used to show the mistreatment of black
people by those in power and taking white privilege into consideration it is
evident that their opportunities are different for black folks. With Fight the
power it brings togetherness of an ‘African American inner city neighbourhood,
who are shouting the words “fight the power”’ [34] which shows the rap group cared for the black
community as they had many extras in the video walking down a street protesting
with them. So at times there isn’t really a central image because the purpose
was to display large numbers of people rather than only highlighting the
artists which would certainly reinforce their movement as they work together
with ordinary people to challenge the Government and major institutions
negatively representing black people. Therefore, Public Enemy used their power
to influence audience’s ideologies because ‘hip hop gives voices to the urban
culture’ [35] and Andy Medhurst’s theory of shorthand stereotypes
can be used to suggest they used them to tell a story in their music video. In
contrast with ‘Plug’ we can see the black rappers care more about their success
and struggle in escaping the ‘ghetto’. There isn’t any encouragement shown to
younger audiences to avoid the criminal life but it’s the complete opposite and
doesn’t maintain an audience in the way Public Enemy did with a ‘strong and
demanding visual presence’ [36]. Consequently, rap isn’t taken seriously as the
audience have been ‘brainwashed’ [37] by the fantasies and money so are becoming
less aware of socioeconomic affairs.
A serious matter that has been going on for decades now is police
brutality and their emphasis on murdering black people. It has got worse over
the years and just last year in America there were ‘seven hundred and eight
deaths’ [38] caused by police and ‘one hundred and seventy
three’[39] were of black people. It could definitely be argued that police
brutality as whole in America is a concern not only for black people but the
citizens that the authority is supposed to protect and serve. However, the
black community have rebel against the discrimination and decided to build the
‘Black Lives Matter’ campaign as there was a significant increase in the number
of black people being killed in the summer of last year by police. Hip hop
artists who share similar conventions of the old generation of rap like
Kendrick Lamar and J. Cole were prompted to create songs focusing on the issues
society are facing. These conventions would be similar to ‘Fight the Power’ and
there are ‘only a handful of artists today who consistently sought to bring
awareness to socioeconomic issues’[40] affecting the African American community. For
example, J Cole perfectly describes the actions of police and how black people
‘are out here dyin from police that flash the siren then pull up and jus start
firin’ [41][22]which could have an impact on the audience. This is because the lyrics
used are showing the ‘American nightmare’ [23] black people are going through and it represent black people as
victims who are being targeted by the police who are being portrayed as the
predators which could lead to other racial groups having sympathy for black
people as they build a personal relationship (considering uses and gratification
theory) with J. Cole. Therefore, the representation of black people could
change for the better as audiences would be able to perceive the deaths of them
caused by police differently to the ways the news presents them. Despite the
efforts of these types of rappers, it hasn’t been as successful as the ‘trap’
side of hip hop and Michael Eric Dyson’s theory suggests that political rap
didn’t get the support it deserved in the eighties and nineties. This is why it
has reverted to the flashy, sexualised, criminal rap which we know today and
through displaying this it became more prominent and more mainstream.
Another issue that has evolved through hip hop is the objectification of
women by the artists themselves. In a typical rap music video an audience would
expect to witness women dancing half nakedly trying to seduce the artists while
they are performing the song which has a negative and unrealistic reflection of
females. More specifically, the women are usually black which means the
representation is of black females being sex freaks so they would be viewed as
inappropriate to society. This could certainly influence young black children
from the ‘ghetto’ as ‘cheap fiction for working class juveniles encouraged and
even instigated delinquency’ [24] so would be incentivised to have sex at early ages or possibly
commit rape. Tessa Perkins’ theory can be applied to suggest young black
children are reinforcing the stereotype by having sex ‘aged twelve to eighteen
and the rates of sexual activity and sexually transmitted diseases are highest
among African Americans’[25]. However, it could be argued that news
institutions are trying to ‘distract us from the real causes of crime like
child abuse or parental neglect’ [26] by branding hip hop and the culture as the main culprits for crime
or ‘is it the media producers simply constructing a reflection of society?’[27]. With reference to the primary text
something that is unique about this song is that women aren't being objectified
by the artists physically like other hip hop music videos do. This is probably
because there aren’t any women in the music video. So Laura Mulvey’s theory of
the male gaze wouldn’t be appropriate in this song because there aren’t any
females to look at. It immediately would infer the song will be about something
more serious or about the artist's lives because they don't want the audience's
attention to be distracted by the women. It also subverts the stereotype of
women being portrayed as sex freaks which was formed decades ago with the
introduction of rappers from groups like N.W.A and Mobb deep. But with an
artist like J.Cole ‘those videos didn’t need to depend on obligatory scantily
clad females’ [28] to create an iconographic music video to gain
audience’s attention.
Rich the Kid has definitely created a hip hop song that is typical of
the genre now where audiences listen to it not for the lyrics or emotion or
socioeconomic issues but for fictional fantasies. Audiences care more to ‘bop
their heads like chickens in a farm without understanding the lyrics’[29]when listening to trap music and this is where the
reflection of certain groups evolves. The media teaches people (two step flow
model) to associate hip hop with black culture and crime and its evident with
things like ‘The Hip Hop Cop Shop’ [30]. This was where police in the UK opened up a shop selling rap songs
with a studio to capture and arrest criminals and gangs which they were
successful in doing jailing ’thirty seven criminals for a total of more than
four hundred years’[31]. So maybe there is a reason hip hop is heavily
affiliated with crime but this is probably because of issues like culture
competence where black folks aren’t given the same opportunities of white
people. Therefore, have to find ways of becoming successful or escaping
deprived areas which would lead them into the life of crime just like the hip
hop artists they listen to representing them negatively in society.
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[1]
Rich the Kid. (2016), YouTube.
[2] Wall,
T. (2003), p7.
[3]
Fanon, F. (1952), p13.
[4]
Wall, T. (2003), p7.
[5]
Perkins, T. (1997), p75.
[6]
Edwards, A. (2016), Daily Mail.
[7] Ibid.
[8] Ibid.
[9] Ibid.
[10]
Blumler, J. (2017), Wikipedia.
[11]
Rich the Kid. (2016), YouTube.
[12]
Akademiks, D.J. (2015), YouTube
[13]
Johnson, L. (2016), English Media Centre
[14]
Dumont, L. (2003), p23
[15]
Halsey, W. (2017), Macguffin.
[16]
Rich the Kid. (2016), YouTube.
[17]
Genius. (2016), About “Mexikodro”.
[18]
Collins, H. (2016), p16.
[19]
Wall, T. (2003), p7.
[20]
Finely, T. (2015), huffpost.
[21]
Wall, J. (2006), p6.
[22] Ibid, p10.
[23]
Carol, M. (2008), p243.
[24]
Goodle, E. (1994). P23.
[25]
Springhall, J. (1999), p150.
[26]
Clay, A. (2003), p1349.
[27] Ibid, p1351.
[28]
Springhall, J. (1999), p148.
[29]
Akademiks, D.J. (2015), YouTube.
[30]
Mossberg, D. (2012), YouTube.
[31] Ibid, YouTube.
[32]
Clay, A. (2003), p1348.
[33] Spence,
J. (2009), p4.
[34] Ibid.
[35]
Margolis, L. (2000), csmonitor.
[36]
Spence, J. (2009), p15.
[37]
Aidoo, D. (2013), EMC.
[38]
Williams, J. (2016), ibtimes.
[39] Ibid.
[40]
Davis, R. (2016), essence.
[41]
J, Cole (2016) YouTube.
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