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BLACK NATIONALISM
AND RAPMUSIC
ERROL A. HENDERSON
University
ofFlorida
misinglyricofthepoet.Also,poets,withtheir jaggededgesintact,
stillrequiredthetalkingdrumofinstrumentation to fullycapture
theBlackethosofstruggle, resistance,
righteousness,exploitation,
and creativity in Black America.Hip-hopfusedthetwo-poetry
andjazz-in sucha way as to renderitselfthemostconductive
sourceofthecurrent ofAfricanAmerican culture.
Hip-hop,or rap music,began in the early 1970s. The first
synthesis of self-conscious
poetryand musiccan be traced,most
directly,totheBlacknationalistLastPoets.TheiralbumsTheLast
Poets, Chastisement, Thisis Madness,and othershave become
classicsin theAfricanAmericancommunity. Whenone member
who separatedfromthegroup,withthestagename "Lightning
Rod," used a musicalscoreprovidedby Kool & The Gangas a
backdroptohislyricalnarrative ofa dayinthelifeoftwohustlers,
he hadno ideahe was layingthebasisforan entirely newmusical
genre.This album,Hustler'sConvention, was a mainstayin the
albumcollectionof a SouthBronxDJnamedKool Herc.Almost
toa person,itis agreedthathip-hopbeganwithKool Herc.
Herccredited LightningRod andJamesBrownwithproviding
thefoundation forhip-hop,butitwas Hercwhogave itlife.Herc
was deftat theearlyartof mixingandfadingone recordintothe
nextwithout missinga beatintheinterchange. He didthismostly
by ear.His vastrepertoireofmusic,including somereggaebeats
thatthoughloved in thestreetswereveryhardto find,and his
thundering speakersystemknownas "TheHerculords" madehis
musichighly danceable, andunavoidable.
rhythmical, Thethunder-
ingsoundsoftheHerculords remainslegendary.
an
Meanwhile, electronic geniusofa youngman,J.Saddler,had
developeda moreaccurateway of mixingmusicfromtwoturn-
tables.GrandMasterFlash,as he becameknown,originated the
"clockmethod," whereby DJsusedthefaceofthealbumas a sort
ofreckoning toolbywhichone couldremember one's place on a
recordmoreexactly.Thiswas necessary because-Flash wouldnot
simply"mix"therecords, buthe would"scratch"them:usingthe
needlein thegrooveas an instrument to makethegrating though
rhythmical soundforwhichraphas becomefamous.Althougha
hip-hopprodigy, GrandWizardTheodore;reportedly discovered
Henderson
/BLACK NATIONALISM AND RAP MUSIC 311
HIPHOPAS A CONDUIT
FOR POLITICAL CULTURE
Hip-hopis muchmorethanthenamesandfacesofindividual
practitioners
of thegenre.Interalia, it has thepotentialto filla
voidofcross-generational
transitional culturaltransmissionwithin
Blackculturebyprovidinga newlyrictoan oldtune,insomecases
WhenPublicEnemydropped"BlackSteelintheHourof
literally.
Chaos,"theywerenotonlyproviding an anthemforincarcerated
Blackyouth, buttheyweredoingso inthecontext ofregurgitating
"Hyperbolicsyllabicsesquedaelamistic,"a 1970sIsaac Hayestune
fromthealbumHot Buttered Soul. It is thesamplingaspectof
312 JOURNALOF BLACK STUDIES /JANUARY1996
hip-hopthatallowsforcreativesynthesis in thecontextofcross-
generational cultural transmission. Notonlywasthistying together
of generations important in theaestheticsense,butit was more
significant becausethenexuswas established betweena relatively
apoliticalgeneration of the 1970s and 1980s withthestaunch Black
nationalist AfricanAmericansubculture ofthe1960s.Kool Herc
madethemostof thispotential in hip-hopforcross-generational
cultural transmission. Inonesense,thiswasepitomized through his
earlyuse of JamesBrown("Say it Loud, I'm Black and I'm
Proud"),theBlacknationalist LastPoets,andRastafarian reggae.
Reggae,especiallyin the handsof Bob Marley,pickedup the
nationalisttorchlaid down withthe deathof jazz greatJohn
Coltrane.Black nationalism was incubatedin reggaebeforethe
comingofhip-hop, andtothisdaythebestofreggaemaintains its
Garveyite elements.
Becausetheearlyeraofhip-hop(1973-1979)wasdominated by
theDJ,thespunrecordshadtospeakforthemselves. DJslikeHerc
andlaterHollywood, justthrewsomecatchyphrasesoverthemix;
however, there wasn't muchtotheactual"rap"element ofhip-hop.
Melle Mel, Grandmaster Caz, The Treacherous Three,Lovebug
Starski,and Hollywoodwereimportant progenitorsof theera of
MC dominancein hip-hop.MCs demonstrated theirverbalacro-
baticsover "def' DJ mixes.This was epitomizedin "Rapper's
Delight,"theSugarhill Gang'sexpropriation ofsomeofGrandmas-
terCaz's oldraps,whichnonetheless maderapa nationalphenome-
non. The phrasingwas classic hip-hop,butsimplistic. Within2
years,Melle Mel letthe world know thatliving couldsometimes
be "like a jungle."This was "The Message." Althoughit was
different fromthehip-hopthenin vogue,itevokedthenationalist
rootsof rapbetterthananything before-orsince.It was cutting
edge. It was in the best tradition of whatKRS-ONE wouldlater
describeas "edutainment," butitwasnotas pretentiousas thelatter.
This brandof nationalism was rootedin thecommonality of op-
pression,and "The Message"madeitplain.Laterrapartistslike
PublicEnemyandX-Clanwouldattempt toprovidea moreexplic-
itlypoliticaland culturalanalysis of theBlack condition without
compromising thebasichip-hopaspectsoftheirraps.
/BLACK NATIONALISM AND RAP MUSIC
Henderson 313
becauseBambataa
Definitely, wasdownwithZulu,
. . . everybody
evenifyouwasn'tdownwiththecrew,evenifyouwasn'tdown
IslamandtheFunkMachine,
with[Afrika] andBambataa andthe
Soulsonic
Force,youwasstilldownwith Zulu.You wasdownwith
Bam,youknowwhatI'msaying. camefrom
So that just
everybody
beingdownwith Bam.Noneofthatshitwashappening whenBam
wasaround, kindofthing.
itwasa respect LikedownattheRoxy,
thatwas Bam's shit.I mean,Bam was thefirstmajorperson
/BLACK NATIONALISM AND RAP MUSIC
Henderson 317
NATIONALISMANDTHE
NATIONALIZINGOF RIP-HOP'SAPPEAL:RUNDMC
THE GERMINATINGCONTEXT
FOR AMORE FOCUSED NATIONALISM
Ifwe movebeyondhip-hop'sspatiallocus(urbancenters begin-
ning in New York) and turnto its temporal locus,we begin to
understand it's weddingtoBlacknationalism.
better The national
emergence ofhip-hop is contemporaneous withtheriseofreaction-
aryrepublicanism intheReagan-Bush yearsthatwouldpersistfor
The
no lessthan12years. multiple recessions ofthelate1970sand
early1980s weredepressionary forBlack peopleand especially
Black youth.From 1979 to 1981, theBlack community of the
UnitedStateswastransfixed ontheAtlantaChildMurders, andfew
wereconvincedorassuagedbytheconviction ofWayneWilliams.
In thelate1970s,LouisFarrakhan splitwithWarith Deen Muham-
mad'sAmerican MuslimMissionandreformed theNationofIslam
(NOI) undertheformer Blacksupremacist conceptsabandonedby
Henderson
/BLACK NATIONALISM AND RAP MUSIC 319
thesonofElijahMuhammad withthedeathoftheself-proclaimed
"messenger ofAllah"in1975.CoupledwiththeriseoftheFarrakhan
led NOI was thepoliticalriseofJesseJackson andhispresidential
runsin 1984 and 1988. AlthoughJacksonhas neverespoused
nationalismbeyonditsexpediency forrealizinghis integrationist
aims,theattackson Jacksonby theWhitemediaand his White
coaspirantsservedto galvanizeBlack nationalist supportaround
himandtoresultinpositivesentiment forhiscampaign evenamong
thosewhodidnotsupport hispopulistplatform.
WhenJacksonreceivedtheNOI's Fruitof Islam as his own
securityforce,theconvergence oftheintegrationistandnationalist
hearkened backto thedaysofKingandMalcolm.Atthisvolatile
point,onlyhip-hopspoketothetimes(withtheconstant exception
of Gil-ScottHeron).In thesetimes,hip-hop'ssociopolitical con-
sciousnesswasbaredproudly forall suckerstosee.Hip-hopspoke
totherealities,
perceptions, misperceptions, thatfor
andaspirations
toolonglaystillbornonghetto streetsorabortedbyconditions that
waylaidhopesthatevenindeathfoundno audienceoutsideofthe
tenement wallsortheunmarked boundaries thatseparatedwhere
youcouldgo inthecityandwherethesunbetnotsetonyou.George
(1988) observesthatinhislyrics,
Unfortunately,nationalism focusofthe
also tookthepatriarchal
1960sandtooka verymisogynist approachtoBlackwomanhood.
Although fromitsearliestdayship-hop hashaditsfemaleDJsand
MCs, itscenterstagewas mainlymaleoriented. By thetimeofthe
riseof Sugarhill,actslikeAngieB beganto emergethrough the
hip-hopranks.Forthemostpart,femaleswouldperform ancillary
rolesas dancers,andtheywererelegated, tonovelty
as performers,
rapssuchas in thecase oftheReal Roxanneor to responseraps
320 JOURNAL 1996
OF BLACKSTUDIES/JANUARY
hip-hopwhohavefusedthebestofthegenrewithmoretraditional
elementsofBlack music.TheseincludebutarenotlimitedtoDr.
Dre and funk,PeteRockandjazz, theBombSquad androckand
R & B, andso on.Thecentral pointis thattheimageofhip-hophas
beentransformed to includerap'ssuperproducers andpromoters,
rapmovieandtelevision emergent
stars,raptivists, Blackwomanist
MexicanandCaribbeanAmerican
respected
artists, likeKid
artists
Frost,TheLatinAlliance,andCypressHill,"suckerducktricktype-
wannabe"actslikeSerch,HouseofPain,MarkyMark,VanillaIce,
as well as new geographicentrep6ts in the West,South,and
Midwest.
THE TRANSFORMATION
OF THE IMAGE OF HIP-HOP: BDP
Theimageofhip-hop waslargelytheB-boyandFlyGirlimages
ofurbanBlack youth.Theseimageswereperpetuated in thebur-
geoningmusicvideoindustry. Getting paid,drinking forties,roll-
ing,stupidsex,beepers, flygear, a dopesoundsystem inthe helluva
ride-all werepartoftheimpulseandimitation thatcontinued to
moveBlackyouththatflockedtohip-hopindroves.Thiswas the
imageof hip-hop.But therealityincludedmuchof thepostteen
Blackaudiencethatwas turned offbythepretensions ofR&B and
less inspirednouveautechnojazz oftheWynton Marsalisilk.For
them, hip-hop continuedthebestofthefunkandsoultraditions that
disco failedto projectbeyondthedancehalls and cabarets.The
hip-hopsampling, thedanceablebeats,andtheinfectious rhymes
made rap attractive, but the substantivecontent-itsfocus on
gangs, drugs,community involvement, and givingsomething
back-hit a nerveforpostteens emerging fromonetypeofdisillu-
sionment intheteenyearsandfacinga newkindinthe20s andthe
decreasedprospects forsuccess,notjustonanindividual level,but
as a people.Forthem,theimageofhip-hopwas notepitomized in
theB-boyimageso muchas itwas epitomized in thecommunity
interest.As theWhitemediaanditsBlacksurrogates begantopaint
hip-hop as inherently theunifying
violent, forceofa perceived alien
322 JOURNALOF BLACK STUDIES /JANUARY1996
A CHALLENGETO THOSE
WHO ASSUME A NATIONALIST POSTURE
is a professional
performer, an entertainer,andas suchhe is quite
interestingandevengood.However,fora revolutionary, orevena
reformer, he makesfora goodrapper. Ice-Tis notso muchnation-
alistbutgangsterish.Ice-T's nationalism mayhaveemergedfrom
hisproducer AfrikaIslamwhois also downwiththeZulu Nation
andwhowentoutwesttoproduceIce-T.
The gangstaposturetooksomeof thefocusofftheemergent
nationalism epitomizedin KRS-ONE and PE in theEast. It also
was thebreadandbutter ofwestcoasthip-hop. Thiswas duetothe
factthattheterritorialgangelementin theWest,especiallyinLos
Angeles,is moredefining thanthatsameelementin theNortheast
homeofhip-hop.LiketheirEast Coastpredecessors beforethem,
theWestCoast"allstars"cametogether witha concerted nationalist
focusaroundtheissue of violencein hip-hopand in theBlack
community. Thiswasundertaken inthetrackentitled "We'reAll in
theSame Gang.""2 Earlier,Ice-Thadmadea verylucidpointabout
theuse andabuseofthetermviolencewhenitcametohip-hop. He
pointedoutin "Squeeze theTrigger," in hisRhymePays thatrap
musicdidnotcauseviolenceanymorethansoccermatches, hockey
games,or nuclearpeace rallies-all the sitesof some formof
violence.The largerand important pointwas thatyouthlive in a
violentsociety,and at itsbest,themusicthatcapturedthisethos
wouldevokeviolentimages.Therefore it is foolishto assume,as
manypolicymakersdid,thatrapmusicwas causingviolenceas
opposedtoreflecting theviolencewithin manyurbancommunities.
Ice-T movedfromwhatcouldbe considered thepettygangster-
ism thatwas evocativeof the originalHustler'sConvention to
Power,whichthoughgood musically, showedmorethatpeople
who operateat themarginsofpowerunderstand verylittleabout
realpower.Although attempting topromote boththegangstaand
intelligent hoodlumimage,as well as a nationalist one, Ice-T
insteadputhimselfin a positionto publiclyadmonishLL Cool J
formuchofwhathe himself proclaimed in hisfirstalbum,andin
manywaysinall ofhisalbums.LL Cool Jwas thebiggesthip-hop
actgoingat thetime.He responded to Ice-T's dis powerfully and
humorously andGrandmaster Caz andprobably AfrikaIslamand
theZuluNationmediated thedispute(Eure-&Spady,1991,p. xv).
/BLACK NATIONALISM AND RAP MUSIC
Henderson 331
NOTES
1. CitedinFanon(1968,p. 206).
2. Ontherelationship betweennational andpopularculture,
culture Cabral(1973) argued
thatwithin cultureis foundtheseedofoppositionthatleadstothefashioningoftheliberation
movement. Asante(1993,p. 120) suggeststheprospectin Afrocentrism is to recenterthe
"decentered, dislocated,anddisorientedyouth."Karenga(1993,p. 414) maintains thatpart
oftherelevanceofrapmusicis itspromotion ofa senseofcommunity amongBlackyouth
centeredon a nationalist consciousnessraising.Unfortunately
rap's mixedmessagesof
positiveconsciousnessare oftenmutedby its sexism,lumpenglorification, and at times
hypocriticalpronouncements ofBlackactivism.
3. See Madhubuti (1973, 1978).
4. However,forperformers, havinga homebase didnotprecludetheneedforsecurity.
Hercwas amongthefirst tohavehisownhomebasewhereasothers wereprimarily restricted
to houseparties.He hadtheHevaloonJerome Avenueduring1974beforemovingaround
/BLACK NATIONALISM AND RAP MUSIC
Henderson 337
REFERENCES
NJ:
essays.Trenton,
Asante,M. (1993). MalcolmX as culturalhero& otherAfrocentric
AfricaWorldPress.
idea.Philadelphia,
Asante,M. (1987). TheAfrocentric Press.
PA: TempleUniversity
/BLACK NATIONALISM AND RAP MUSIC
Henderson 339
(1993)fromtheUniversity
ErrolA. Hendersonreceivedhisdoctorate ofMichigan,
of
AnnArborHe is an assistantprofessorofpoliticalscienceat the University
Florida.