How
does hip hop represent black people, with specific reference to the song '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 and wanted to consume
or produce hip hop material in the shop.
Furthermore, there are props used in the music video that connote a
representation of the people displaying them. For example, the constant appearance
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 which arose
from the nineteen fifties in ‘Mowtown’. 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 and 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 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 audiences 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
until black people resolve the murder rate within their ethnicity (and any
ethnicity).
Over the years, the representation of black people within the hip hop
genre has transformed substantially. The pioneering rap group, Public Enemy,
are particularly significant when considering the transition of the genre; in
their iconic song ‘Fight the Power,’ the artists express 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 an activist anthem. Thus, the genre has
essentially provided marginalised groups of people with 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, challenging
ideologies formed by opinion leaders. 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 merely what the news feeds them.
However in today’s media infatuated society, the infrastructure of music
has changed drastically, especially when considering a song like ‘Plug’, so the
representations of black people in hip hop music has embodied vanity and
success rather than powerful commentary because “the days of making powerful,
thought provoking and entertaining music videos” [36] are now a thing of the past which means audiences
of middle and upper classes will have less resources available to them to
challenge the stereotypical views of black people and subvert Alvarado’s idea
of them being ‘decivilised’. Dominant ideologies and representations of black
people remains the same or could potentially become worse if ethnic minorities
do not decide to ‘Fight the Power’. In the past, hip hop was used to show the
mistreatment of black people by those in power; taking white privilege into
consideration, it is evident that their opportunities are different from black people.
An “African-American inner city neighbourhood, who are shouting the words “Fight the Power”[37] provides this sense of community and
togetherness, which portrays the care that Public Enemy had for themselves as
well as their community. In their video, they used a number of extras alongside
them, to protest and display large numbers of people rather than highlighting
the artists as central figures. This 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] The whole video is shot in one setting, a
conventional street. The fact that this video lacks several settings almost
focuses on the main point and purpose of the video, to politically comment on
the issues of the government. There are constant uses of iconography, revealing
posters of Martin Luther King and banners that read Brooklyn and other states.
The iconography of ‘Fight the Power’ is seen throughout the music video, from
the banner float to people wearing t-shirts and holding posters of the words;
these iconic words highlight the anthem as a political protest anthem. The
constant repetition causes the song to become influential through the catchy
melody and iconic phrasing that cannot go unforgotten. It shows how Public
Enemy is in favour of Pluralism and the idea of a liberal state of freedom of
speech. In contrast with ‘Plug’ we can see the black rappers care more about
their success and struggle in escaping the ‘ghetto’ through the iconography of
materialistic aspects such as the designer brands. There is no 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.
Rich the Kid glamorises the rapper lifestyle within the song ‘Plug,’
conveying his lack of respect for his portrayal as a minority; as a voice that
young people listen to he has the ability to fill his music with meaningful
content, addressing important themes such as the Black Lives Matter campaign.
However, rather than supporting this, he supports the struggle of holding his
pants up throughout the video, despite the fact he is wearing a belt; it is
behaviours like this that has led onto serious discrimination of race. Police
brutality is an on-going issue within 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-Americans”[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 are 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 portrayed as the ‘predators’. This could then
lead to other racial groups having sympathy for black people as they build a
personal relationship (considering uses and gratification theory) with J. Cole.
Despite the efforts of social and political 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. Thought provoking music portraying societal issues has reverted to
sexualised, criminal rap such as Rich the Kid, who continues to portray the
‘gangsta life’ as something of significance, which highlights a major problem
due to this music becoming all the more prominent and mainstream in today’s
society.
A criticism of black representation in hip hop is the objectification of
black women, which is explicitly evident throughout the lyrics of ‘Plug’ but
interestingly not within the video itself. The constant reference to women as
‘hoes’ and ‘bitches’ portrays his misogynistic and negative views of women,
proving to be an obvious issue for their avid audience. Interestingly, no women
appear in the video, which therefore focuses the audience attention on the
rappers themselves and their glamorous lifestyles in terms of material. 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 neglect”[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.
To conclude, hip hop of this generation is argued to be changing through
the evaporation and decline of social commentary songs and the evolution of
meaningless profanity which is being forced to the audience of the music genre.
More specifically ‘trap’ has become a burden on the growth of race equality
because of artists like Rich the Kid who construct songs that conform with
dominant ideologies of right wing audiences (Marxists) who believe all black
people behave the same as the rappers displayed in their music videos. Audiences
care more to “bop their heads like chickens in a farm without understanding the
lyrics”[51]
when listening to trap music and this is where the reflection of certain groups
evolves. So it’s obvious the
representations created from hip hop songs like ‘Plug’ have mainly been
negative because of the influence it has had on black people persuading them to
accept the inequality in society and encourages them to follow the illegal
footsteps of rappers who were once in their position and are now gloating about
their success in songs. Considering a right wing perspective, they may use
these artists as prime examples as to why a moral panic has been formed between
black people and hip hop because of the way they fantasise crime. Therefore,
the representation of black people in hip hop overall will mean that it becomes
harder for political groups of black people, like the campaign of Black Lives
Matter, to convince the world they are not all the same.
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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]
Parker, B. (2000).
[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
[51]
Aidoo, D. (2013).
