How
does hip hop represent black people, with specific reference to the track
'Plug' by Rich the Kid?
Hip Hop’s popularity is 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 perspective would argue that an audience which has been
influenced by large multinational news institutions, with hegemonic views,
would perceive black people as ‘criminals’ through mediated news reports that they
consume about ethnic minorities which could potentially reinforce their views
and ideologies of an ethnic group. Or maybe the subject of the matter is
self-representing themselves through these types of songs which would make the
news institution’s exaggerations seem realistic. This could be the reason why
some audiences do not take black people’s cries seriously when they are
protesting about 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 in December of 2015 and is a self-representation
constructed by young black 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 Fanon’s theory would typify
them as being “decivilized” [3]meaning
they show elements of being 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 do
these representations articulate?”[4] as dominant ideologies about black people can be
reinforced from this self-representation suggesting all black people consume
drugs linking to Perkins’ theory that “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 towards
the ethnicity leading to the confrontational relationship between the two
groups; increasing the likelihood 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], which also suggests that police are biased
against them. It could be disputed that hip hop artists who rap about illegal
activities had an influence on these criminals “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 aspirational 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 the artist has drugs in his house
ready to sell or use through the connotation of ‘snow’. 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 generates 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 The
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 are not shown wearing revealing clothes or behaving
seductively because they simply are not shown at all. Maybe the stereotypes of
black people and hip hop mistreating women are incorrect or not as prominent 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 does not 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] 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 which the two-step
flow model suggests audiences to be “opinion followers”[19]. 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”[20].
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” [21]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”[22].
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”[23], 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”[24].
Despite some of the positive images the
music genre conveys, it has always been in controversy for supposedly 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”[25]. 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 conference news institutions
like The Daily Mail mediate news stories where they associate the ethnicity
with crime because they are an opinion leader 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”[26]. 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 supports 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”[27], 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”[28]. 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” [29] 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” [30] could
be the reason why black folks are constantly in the news as they want to
execute copycat crimes of their favourite hip hop artists. Hence the reason
people of the middle and upper classes tend to 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”[31]. This is
particularly relevant with hip hop artists trying to promote the campaign where
a specific rapper (A$AP Rocky) believes “we must eliminate black on black crime
first”[32] suggesting police brutality is not as much of an issue.
The representations of black people through hip hop songs in the past
are different to now. When considering a hip hop song from the nineties (from
the pioneering rap group in Public Enemy) called ‘Fight the Power’ we see the
artists expressing their emotions as “victims of this American system” [33] rather than “an American dream”[34] 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” [35] 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 previously 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, who are oppositional readers, are able to form their own
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 and representations of black people has slightly changed
where “the days of making powerful, thought provoking and entertaining music
videos” [36] 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 do not 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 people. With Fight the Power it brings togetherness of an “African-American
inner city neighbourhood, who are shouting the words Fight the Power”[37] 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 is not 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’ [38] and 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 is not any
encouragement shown to younger audiences to avoid the criminal life but it is the
complete opposite and does not maintain an audience in the way Public Enemy did
with a “strong and demanding visual presence”[39]. Consequently, rap is not taken seriously as the
audience have been “brainwashed”[40] by the fantasies and money so are becoming
less aware of socio-economic affairs.
There is an important wider context to the way hip hop negatively
represents black people. A serious matter that has been going on for decades
now is police brutality and their suspicious trend on murdering black people. It
is still a problem in today’s society and just last year in America there were
“708 documented deaths in 2016”[41] caused by police and “173
of which have resulted in the deaths of African-American”[42]. As a result it has led to significant public
figures and hip hop’s audience asking the question whether the genre is
negatively representing black people. It could 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 rebelled against the discrimination and decided to build the
‘Black Lives Matter’ campaign (through the social media platform) 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”[43] 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” [44] which could have an impact on the audience. This
is because the lyrics used are showing the “American nightmare”[45] 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 has not been as successful as the ‘trap’ side of hip hop
and Michael Eric Dyson’s theory suggests that political rap did not 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.
A criticism of black representation in hip hop is the objectification of
black women. 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”[46] so
would be incentivised to have sex at early ages or possibly commit rape.
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”[47].
However, it could be argued that news institutions are trying to “distract us
from the real causes of crime like child abuse or parental neglec”[48] 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?”[49]. With
reference to the primary text something that is unique about this song is that
women are not being objectified by the artists physically like other hip hop
music videos do. This is probably because there are not any women in the music
video. So Laura Mulvey’s theory of the male gaze would not be appropriate in
this song because there are not 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 do not 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. However, with an artist like J.Cole “those [/these] videos
did not need to depend on obligatory scantily clad females”[50] 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
socio-economic 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 are not 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.
[11]
Rich the Kid. (2016), YouTube.
[12]
Akademiks, D.J. (2015), YouTube
[13]
Johnson, L. (2016).
[14]
Dumont, L. (2003), p23.
[15] Gabbadon,
N. (2006), p165.
[16] Rich
the Kid. (2016), YouTube.
[17]
Genius. (2016).
[18]
Collins, H. (2016), p16.
[19]
Stanley, B. (2005).
[20]
Wall, T. (2003), p7.
[21]
Finely, T. (2015).
[22]
Wall, J. (2006), p6.
[23] Ibid, p10.
[24]
Carol, M. (2008), p243.
[25]
Goodle, E. (1994). p23.
[26]
King, C. (1970). P47
[28]
Springhall, J. (1999), p150.
[29]
Clay, A. (2003), p1349.
[30] Ibid, p1351.
[31]
Springhall, J. (1999), p148.
[32]
Akademiks, D.J. (2015), YouTube.
[33]
Mossberg, D. (2012), YouTube.
[34] Ibid, YouTube.
[35]
Clay, A. (2003), p1348.
[36]
Spence, J. (2009), p4.
[37] Ibid.
[38]
Margolis, L. (2000).
[39]
Spence, J. (2009), p15.
[40]
Aidoo, D. (2013).
[41]
Williams, J. (2016).
[42] Ibid.
[43]
Davis, R. (2016), essence.
[44]
J, Cole (2016) YouTube.
[45] Mossberg, D. (2012)
[46] Springhall, J.
(1999). p71.
[47] Dionne, P. (2007).
[48] Blanchard, B.
(2016).
[49] Aidoo, D. (2013).
[50] Spence, J. (2009).
p16
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