Last week three
wannabe rappers reported missing after an aborted concert in Detroit several
weeks ago turned up dead in a basement of an
abandoned apartment, shot to death. The discovery of the bodies was entirely by
accident, with state police roaming the building while conducting a different
investigation. Three people have been arrested, one a juvenile caught driving a
vehicle belonging to one of the dead men, and another “person of interest”
turning up in Knoxville, Tennessee.
I’ve written
before about the high “unnatural” death rate of rap/hip-hop “artists.” We’ve
got to get “real” here,and what is “real” today seems to be
self-fulfilling prophecies, no thanks to a media (both news and “entertainment”)
that paint a picture of “normalcy,” where blacks are either a highly visible part of what white America calls “culture”—meaning not the “rap” culture that would turn-off many white viewers
and hurt ratings—or “victims” of a society in which black lives “don’t matter.”
The problem with
these images, of course, is that they are completely incompatible with each
other, yet have the same reality, but in varying measures. A 2020 story from People’s Policy Project noted that
income inequality within the black
community is worse than in other groups. It isn’t hard to see, with
professional athletes making millions a year, while some rap and hip-hop artists get
rich selling people misery, victimization and revenge. The Project noted that
blacks in the lower 10th percentile made less than a quarter of the
black median household income, while the 90th percentile made 11
times the median income—and that from an already lower level than whites and
Asians.
The other
reality is that blacks tend to be killed by other blacks, and thus one wonders
why blacks are the ones who don’t seem to think other black lives “matter.” But
oh gosh, let’s blame it on “society,” but I’ll get to that later. Last year the
New York Times reported that 65 percent of all homicide victims in the city were black people, with a slightly larger number of
perpetrators also black, who were also responsible for 74 percent of the shootings. Of course, that is not the “picture” we get from
television crime shows like CSI or Law & Order, when most of the
victims are white women.
Of course there
can be an “explanation” for that, other than white women also have an
out-of-control victim complex: homicides involving white victims—and especially
white female—are much more likely to receive investigative resources, while the
“anti-snitch” culture in the black community also prevents “easy” solving of
black homicides. Unless, of course, the homicides
are committed by police wearing body cams, which also tend to show the victims
in usually uncooperative postures to avoid detention.
An assistant
district attorney, Jim Quinn, wrote an op-ed in The New York Post in 2020 that this country is a “coward” when it
comes to talking about race, and of course that is from both the right and the
left. Blacks killed by police is but a tiny minority of the total black
homicide victims, but those cases get nearly all the coverage. Quinn spoke of
the “moral catastrophe” in the black community in New York City, and that
“These are real problems that require real work. But our politicians paint
murals and political slogans on Fifth Avenue, thinking they have accomplished
something.”
You know, I
dislike contemporary music in general today, and that it is quite a surprise
given that up until the mid-1990s there was always music I liked. In fact my
musical tastes include classical music, and the fact I like music from the
1970s more than any other could be explained by the fact that many producers,
especially black producers like Thom Bell, had “classical” pretensions. Black
music during the Seventies was heavy on the orchestration; while it mostly
propelled songs about love, peace and social harmony, social commentary was
present, but it wasn’t the dominant ideology, nor did it advocate armed insurrection.
But by the Eighties, artists like Lionel
Ritchie who were still writing catchy tunes to melodious production were a
dying breed (and not just from the black music perspective), although that
wouldn’t become clear until the next century began.
We can
“speculate” about the emergence of rap and hip-hop as the dominant form in
black music by the 1990s and why it black music scene has a difficult time "evolving" away from it. The “rationalization” that rap “music” was more “truthful’ is again more a
self-fulfilling prophecy—and all the evidence suggests that “getting real” has
not made things “better,” but worse. Singing about love and harmony tends not
to have the same societal effect as "rapping" about
hate, gangster culture, violence and whatnot with unhealthy doses of
four-letter words does. People may not all feel "the love," and hate has always been a much easier emotion to draw back on.
Why did this “music”
became by far the dominant form in the black music culture going on 30 years with
no end in sight? Most point to societal reasons, but those issues existed when soul, funk and disco were the dominate black music during the Seventies, and homicide rates were quite high in conjunction with demographic changes in the cities and de-industrialization effecting well-paying manufacturing jobs. But the music of the time didn't contribute to crime or actively embrace it like rap/hip-hop does today; if anything it tamped-down thoughts of violence; it was a way out, and nobody was killing each other over how well they sang about "love" or "peace."
It has been suggested that both established and start-up record
companies saw rap and hip-hop as an easy way to make money, since it didn’t
require expensive production—you know, musical instruments and orchestras. All
this “genre” needed was a “beat” behind spoken-word raps that were not really
“songs,” but “performance art.”
Nobody, for example, thought that MC Hammer’s relatively harmless
“U Can’t Touch This” was actually anything more than a one-off, harmless novelty number. Later, those who were more “adventurous” might
“sample” a memorable line from an old song, but that just demonstrated just how
far love of music has strayed from the actual creation of “music.” I was reading a recent edition of Rolling Stone; the only items about
“music” were two album “reviews” that mentioned the “philosophical direction”
of the groups (I wouldn’t call them “bands,” because that requires competence
in musical instruments), and nothing about the musical production.
Of course there the
culture’s defenders; Take some guy name Touré, who hosts theGrio, a black
news-oriented website, who tries to “explain” why there is so much violence
related to rap/hip-hop . “Hip-hop is deeply connected to the Black
community,” he says, ignoring a century or two when Hip-hop didn’t exist. “It
takes much of its power and its energy from our swag and our cultural
innovations.” Well, “swag” maybe, but if you want to call vulgarity that often
glorifies violence and criminality set to what essentially a monotonous
one-note monologue whose selling points are just how “badder” someone is than
someone else a “cultural innovation,”
then someone has their terms mixed-up.
Beyonce, we are told, is now the
all-time leader in Grammy awards won. Really? Yeah, sure she can do the vocal gymnastic thing pretty well to some tuneless songs, but that just tells you the level of
“competition” there is for her out there. I mean, who else are people going to vote for who is as popular as she is who doesn't sing rap straight up?
“Hip-hop is the
child of all of us,” Touré says. Oh, so you are going to
lump us all together in that “culture”? I mean, if that is all the last two
generations of people are allowed to be exposed to in the black community, then
it is that by default. Then there
appears to be a brief acknowledgement of reality: “But hip-hop can’t take
what’s great about the Black community without also sucking in some of our
problems. That’s the real issue—some of the central challenges in the Black
community bleed into hip-hop because most rappers aren’t separate from the
Black neighborhoods they live and/or work in. Hip-hop is an extension of Black
America for better and for worse.”
Touré
then goes on to list the names of rappers who have been killed by gun violence,
something that has been going on since rap/hip-hop became the dominant way of
expression in the black community. Guns are too easy to get, self-esteem “too
hard to hold on to,” there is high unemployment and many feel “their only
choice is criminality.” Of course we could say that since desegregation,
black consumers stopped spending money in black businesses and people forgot
how to be entrepreneurs in the basics (meaning not fashions "ordinary" people can't afford).
“Many young Black men are left feeling like their only
choice is criminality. Given all that, we have a situation ripe for gang
activity and the brazenness that comes with committing vicious and easily
solved murders of famous people.”
But then he goes
into the usual rationalizations that require our “understanding” and
“empathy”—or else:
I am not saying Black people are to blame.
Trust me, I understand how white supremacy and racism have led to this
situation. I’m saying that decades of oppression have led to the gunplay and
criminality you see in some of our neighborhoods, which is having an impact on
hip-hop.
OK, so rap/hip-hop has nothing
to do with a “cultural” shift toward the acceptance of violence as a fact of
life? This was not the case in other eras when music was not associated with
violence. Sure, you had artists like Sam Cooke and Marvin Gaye die from gun
violence, but those were domestic situations, they weren’t associated with gang
culture or the targets of such. Their songs were not mired in the bad things of
life, as short as it is. Their music, like that of their eras in general, was
about finding some moment of happiness in a world that has precious little of
it.
That is not what rap/hip-hop brings to the table—it is about “rebellion,”
revenge and “respect,” the latter term more often perceived to be taken than
given. That is another hypocrisy of the Black Lives Movement—it is more likely than not to be problem within the black community where you find a lack thereof; if you don't
“respect” someone else’s “life,” your life will be taken from you.
There’s more: “The stress of
racism itself causes illness. So does segregation and food deserts that make it
hard to get nutrition. Also, many Black people are afraid to visit the doctor
because we fear that we don’t have the money for health care or we lack trust
in the medical system. Most rappers come from families that have been poor for
generations, so even though they have become rich, their bodies are still
wrestling with the physical issues that were passed down to them, and in many
cases, their minds are still grappling with the approach to health and medicine
that they learned from their families.”
How is it possible to seem
“educated” and uneducated at once? Rationalizing ignorance doesn’t make it more
“rational,” or less ignorant.
Then there’s the
kicker: “The death rate in hip-hop doesn’t mean something is wrong with
hip-hop. It’s an extension of the problems all Black people go through. It’s
evidence of America’s oppression.” What is so curious to me is that in the
various forms of media, the eye-test tells us that blacks are significantly
more over-represented than any other group, and unlike Hispanic representation, almost always
in “normal” occupations or life styles, and rarely a useful examination of the
culture where violence is a way of life. Even the Oscar-winning film Moonlight
(which many thought was a response to the complaints about the “no black”
Oscars the previous year) eventually blamed the drug-dealing lifestyle of the
main character on society’s reaction to his gay identity.
There is another
viewpoint, by journalist and author Nathan McCall, who in a Washington Post
op-ed “My Rap Against Rap” recalls his own youthful life of crime that was influenced by
the film The Godfather, which instilled in himself and his friends the
“ruthless code” that “real” gangsters lived by. Shootouts and “retaliatory
murders…took the thrill of gang warfare to another level.” The message he
recalled was that “if someone double-crosses you, he deserves to die.”
After watching “the
hippest flick I'd ever seen. My buddies and I stepped outdoors, inspired and
hyped, so hyped that we bopped down the sidewalk talking loud and intentionally
bumping into people, hoping somebody would protest and give us an excuse to do a
bare-knuckled version of what we'd just seen on the movie screen.” He got a
chance to do the “Godfather” thing when he was 19, when a man “disrespected”
his girlfriend, and so he deserved to die, so McCall shot him (the man survived, and
McCall received a 30-day jail sentence).
But sitting in a jail
cell changed him. Unlike today when going to prison is a “badge of honor” for
many in black community, for McCall he discovered that he was “a silly, scared
teenager who was mixed-up in the head.” For him as in many people, being
“bombarded with images of sex and violence often find it hard to separate
fantasy from fact. And some can't resist the temptation to act out what they've
seen.”
Then came the advent
of rap/hip-hop as the dominate influence in many young lives. Not all of it was
“bad,” but “gangsta rap” became the dominant “strain.” Back in 1993 when McCall
wrote this piece, Dr. Dre was rapping
Rat-a-tat and a tat
like that
Never hesitate to put
a nigga on his back ...
McCall noted “Plain
and simple, that is a boastful call for black men to kill each other. Lyrics
like these have become so pervasive that they're the accepted norm.” Can we say
that things have gotten “better” in 30 years? How about more violent? At the time of the writing of his op-ed, homicides (especially with firearms) in the black community had seen a dramatic increase from 1989 to 1993, which certainly appeared to coincide with the emergence of rap/hip-hop. There was a steady decrease in the homicide rate until 2015, when the homicide rate began its most dramatic rise since the 1960s, almost double the rate in 2021 than it was in 2014.
McCall observed that
music does influence behavior in the black community, some more than others. “On its face, it
may seem crazy for someone to tie music to behavior. But the history of African
Americans shows that, from the days of slavery to the present, music has always
played a monumental role in what we think and do. It has always been an agent
of change…The key element is aggression -- in rappers' body language, tone and
witty rhymes -- that often leaves listeners hyped, on edge, angry about ...
something.”
At first those of a different
generation “overlooked the harsh lyrics because they were viewed as gritty
urban political expression -- outrage at a hostile white world. Then, over
time, the language changed. Rappers who once sang about being oppressed began
sounding oppressive and hateful themselves…Gangsta rappers often defend their
themes by saying they reflect a reality that they're not responsible for. The
rappers' justification would be more persuasive if the brutality they toast had
always been part of our reality. But this is more a case of life imitating art
in the worst of ways.”
Tupac Shakur, for
example, before his killing at the age of just 25 in 1996 had a laundry list of
shootings, assaults and sexual assault charges on his “rap” sheet. He is
regarded as one of the most “influential” rappers of “all-time.” We can see why people might believe this.
Again, it is the
“messages” being conveyed. It isn’t like in the “old days” when the blues were
just about feeling blue, or soul music that spoke to the “soul.” Now it is all you
hear in some communities, there is a failure to put “negative rap” in
perspective, especially by those “vulnerable” to such influences—meaning those
with “faulty parenting,” or no parenting at all. They don’t listen to preachers
or teachers either for guidance. They do see the rap “lifestyle” might make
them rich, or so they think.
McCall noted even back then,
nationwide juvenile homicide arrests doubled or tripled—mostly black-on-black—coinciding
with the rise of gangsta rap. And it wasn’t just in urban hell-holes either: “The
sudden, unexplained change in the values and behavior of young blacks in rural
American towns is another development that has only taken place in recent years.
Earlier generations, who were cut off geographically from violent urban
influences, now have ready access to hip-hop music and videos. Now we've begun
hearing more about random violence in places such as Kansas and North Carolina,
where a few murders a year were once big news.”
McCall also made this
observation: “Nobody fantasizes more than young black men. When you live in a
world that limits your hopes, reality is often too much to bear. Because they
are largely invisible, black males fantasize about becoming professional
athletes -- stations they think will make the world acknowledge them. Because
they are powerless, they are consumed with the symbols of power -- guns and
gangstas. They imagine themselves as godfathers and, sadly, some actually get
up the nerve to act out such roles. So they spray gunfire into crowded swimming
pools, as happened in Washington last summer; or they gun folks down on a
recreation field, like the men whose stray bullets killed a 4-year-old girl.”
He remember that time when he
shot a man over “disrespect,” he was “mired in the weirdest logic”—that if the
man had died, he still didn’t believe he had actually committed murder. The man
simply deserved to die over ill-chosen words. Since blacks are the one bearing
the brunt of this behavior, “you’d think blacks would have moved decisively to
stop it. In the 1960s, we mobilized when white police, dogs and hoses were our
most immediate threat.”
But now the “enemy” is really “us,” writes McCall. But the black
community is still looking for scapegoats when it is not inured to the violence (if
not necessarily to property crime), and that only at such times when a cop is the "perp."
McCall noted at the time of the
writing of this op-ed that there were efforts to curb what people heard on the
radio, and of course we would eventually see records with “ratings” labels, but
mostly for “sexual” references. It has been noted in this country that "sex" often seems a far worse "crime" than killing people, and you can’t “silence” people for having a
political or social “message” even if it does inspire crime and violence.
It would seem
that while for some people, life has gotten better, sometimes a lot better—we
know, we see them every day on television--but for others human life is a transient thing. But like in society in general the
“gap” between who is doing well and who isn’t is increasing in the black
community more so than in other communities. But in the minds of "gangstas"—and this
is true of the Latino community, where to be honest, there are some people who
insist on being real assholes—this “gap” can be “closed” by what gangsta rap
"promises." At least we can say that there were those like Ice-T and Snoop Dog who thought it was a good idea to "branch out" into acting or business.
It is of course a false promise, but even after three decades when McCall first warned what was happening, many
wish to learn nothing, because lives don't really matter to them.