Out of all the readings this week, Mark Dery’s essay “Public Enemy: Confrontation” interested me the most. First of all, I think Dery provides an excellent explanation of the political nature of hip-hop. Through an examination of both the aesthetics and the lyrics of Public Enemy’s music, he makes the case that “rap, by definition, is political music” (408). Few people would argue with this; rap, even when not overtly or literally political, is informed by the politics of power, commoditization, race, gender, and other considerations. However, Dery also argues that “In the final analysis, it is important to remember that while rap is political, rappers are not politicians. Like callow young men of all races, they often fall prey to macho posturing, misogyny, and xenophobia” (410). Interesting: the creators of political music need not be politicians themselves, and the vices in their music are not unique to their culture or genre. Perhaps we ask too much of rappers by expecting them to serve as political figures representing an entire community when they are merely artists or entertainers. So, this makes me wonder if we should always view hip hop music as something entirely separate from the artists who create it.
I also enjoyed reading Chuck D’s explanation of his own hip hop aesthetics. This week’s readings, and the interview especially, helped me to understand the complicated technical elements of hip hop production. I find myself listening to rap music now with a more careful ear, attempting to catch the bass lines, samples, digital instruments, and asymmetry in each song. Chuck D also referred to the importance of layering in hip hop, which was discussed in Parodies of Ownership, and he points out that a “soul and funk” feel is essential to a good rap song. I have a great deal of respect for hip hop artists who take aesthetic responsibility for their own music and who actually understand what they’re doing, which Chuck D clearly does. I think many rappers today just speak someone else’s words on a highly-produced track and have no understanding of the complex technological process underlying their success.
Maybe that’s why we will never again have a “Golden Age” of hip hop.
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Katie,
ReplyDeleteDery's article was my personal favorite as well. It helped to show that there is more than simply the lyrics that lend to the political atmosphere of the music.
I also never realized how much of an art sampling truly is until this week. The idea of looking for that perfect break in the music, cutting it perfectly, and then layering it into the music to have the greatest effect is too difficult of a concept for me to even imagine!
Great post!