Sie sind auf Seite 1von 10

EnnisO.

Newman
UniversityofMemphis

IzNiggazaBeautifulThang?InterrogatingSpikeLeesBamboozled,andtheHistorical
ConsequencesofMinstrelsyinHipHop

Sinceitsinceptioninthemid1970s,responsetoHipHopmusichasrunthegamutfrom
celebrationtocriticism.BornfromatumultuoussocialclimateaftertheBlackPower/BAMera,
thisexpressiveartform,oncemerelyconsideredasubculturalpassingfad,hasbecomea
lucrativeenterprise.Today,HipHopmusichasbeencommerciallyassimilatedintothe
Americanmainstream,anditsinfluencecanbeseenineveryaspectofAmericansociety,from
clothingtofastfoodculture.Duetoitscommercialsuccess,variedarticulationsanddebates
overdefiningtheauthenticwithinHipHophaveinspiredmanyartiststotakeonandmodify
manysociallyconstructedpersonas,whichhavebothhistoricallineageandcontemporary
consequences.Theprevalenceandperformanceofhypermasculinity,misogyny,andviolence
againstwomen/men,arebutafewoftheseconstructedthemeseverpresentwithinHipHop
music.GangstaRap,anditsvariousinterpretivearticulations,e.g.Crunk/Hardcore/Mainstream
Rap,hasbeenthemostcommerciallyviablesubgenrewithinHipHopmusic.Theobsession
withmaterialcapital(cars,jewelry)andhumancapital(entourage,scantilycladwomen)are
popularstaplesofthissubgenre,andwhilethesethemesaidtheartistingainingaccesstothe
publicsphere,itremainsafaciletargetforcritique.Someculturalcritics,suchasJohn
McWhorter,viewthisculturebeneathalimited,scrutinizinglens,claimingthatHipHopmusic
isallaboutthebeat,andisnothingmorethanegodriven[1].Yet,whilesomeculturalcritics
oftenmisunderstand,distort,andmisappropriatemanyoftheculturalfactsabouthiphopculture,
andaboutGangstarapinparticular,andmisssomeimportantcounternarratives,stillotherslodge
moresophisticatedcritiquesthatsituateGangstarapinitshistoricalandcontemporarycontext.
Forinstance,filmmakerandculturecriticSpikeLee,whomadethecontroversialmovie
Bamboozled,hasofferedasatiricalcritiqueofGangstarap,byestablishingananalogous
relationshipbetweenhistoricalblackfaceminstrelsy,andtheperpetuation/modificationofthose
raciallychargedimagesandsymbolswithinpopularculture.
ThispaperattemptstointerrogatethemainthemesinSpikeLeesBamboozled,
exploringthedirectorscritiqueofGangstarapasthe21stCenturyversionoftheMinstrel
Show[2].Inaddition,thispapershallhighlightparallelsbetweenhistoricalimagesandthemes
ofminstrelsy,situatethosethemesandimagesinacontemporarycontext,anddemonstratehow
theperpetuationofsaidthemes,mostnotablyintheformofstereotypes,constitutesalegacyof
minstrelsyandasimultaneouscontributiontoapossessiveinvestmentinwhiteness.Lastly,I
willpresentamorenuancedexaminationofGangsta/MainstreamraptoproblematizeLees
comments,theorizinghowthelegacyofthissubgenrehasinsomewaysactuallychallengedthe
statusquo.

Minstrelsy:AHistoricOverview
Minstrelsy(BlackfaceMinstrelsy)wasasatiricalperformanceartthatbecamepopular

aroundthe1830s.Whiteperformerswouldblackenuptheirfaces,andperformfor
multiclassedwhiteaudiences,portrayingBlacklifeontheplantationthroughcomedicsatire.
StereotypesassignedtoBlackpeopleinmanycaseswerecreatedontheplantation,andthe
minstrelshowshookwastoreinforcethesewarpednotionsofblacknessthroughsongand
theater.Minstrelscouldmimicblackvernacular,portrayblackmenasnaturallyviolent
(hypermasculine),andblackwomenashypersexual.Collectively,blacksweredepictedas
mentallyandsociallyinfantileandhappywiththeirlifeontheplantation.
InTheWagesofWhiteness,DavidRoedigerhighlightsclassfractureswithinthewhite
communityinthelate19thandearly20thcenturies,andthedesiresofwhitewageworkersto
constructsocial/classdistinctionbetweenthemselvesandBlackworkers.Roedigerstructures
thisworkasachronologicalstudyofhistoricalworkingclassracism,employingpsychoanalysis
andclassicalMarxismtoanalyzeacomplexsystemofpsychological/ideologicalstructures
whichreinforceracialstereotypesfurtherforgingnotionsofblacknessasantitheticalto
whiteness.Roedigerexamineshowtheprevalenceoftheminstrelperformancestemporarily
blurredwhiteclassdistinctions,ifonlytoprovideaspaceforescapeandtheindulgenceof
perversenessassociatedwithblacknessbothenticedwhitemenerotically,andreaffirmedtheir
collectivesuperiorityovertheblack.Thus,Roedigerargues,whileworkingclasswhitemenat
anyothertimewerelookeddownuponandsegregatedfrommiddleandupperclasswhites,the
minstrelshowspaceiswheredifferentialsocialclasseswithinthewhitecommunitycame
togethernotasIrish,Italian,Jewish,upperclass,workingclass,andpoor,butassimplywhite.
Theothernessoftheminstrelsymadeitpossiblefortheseotherwisedisparategroupsto
recognizethemselvesassimilarinwhattheywerenotblackcoons,hypermasculineorshiftless
meninrelationswithhypersexualwomen.AccordingtoRoediger,coonsongswere
instrumentalandeffectiveinprojectingbehavioralarchetypesassociatedwithblacknessthat
arousedbothfearandfascinationamongwhites,thus,suchactionscouldbeexperiencedand
condemnedsimultaneously(Roediger116).Hefurtherarguesthatminstrelentertainersboth
claimedtobepupilsorevenkinoftheBlackstheymocked,elucidatingclaimsofauthentic
portrayalofblackness(116).Thisreinforcementofracializedstereotypes,symbols,andimages
associatedwithBlackpeopledidnotsimplyentertainwhitesrather,thisphenomenon
contributedtowhatGeorgeLipsitzcallsapossessiveinvestmentinwhiteness,aconstructed
practicethatissystemic,institutionalized,andcultural,employedbythedominantcultureto
maintainitshegemonicsuperiorityovertheracializedother,(pg.number).Whiteaudiences
werebothentertained,andgainedpsychologicalcapitaltowardtheirsuperiorwhiteness,even
ifmaterially,manyworkingclasswhitesremainedoutcastfromthefinancialprivilegesof
whitenessrelativetheirwhitemiddleandupperclasscounterparts.Yet,minstrelperformers,
whowerelargelyworkingclassmenandoftennonEnglishimmigrants,couldemployblackface
asameansofobtainingmonetarycapital,attemptingtogainaccesstothepublicsphereby
entertainingwhitemiddleandupperclassaudiences.RoedigercomparesHegelsLordshipand
Bondagetothepsychologyofminstrelperformersarguingthat,Blackfacewhitesderivedtheir
consciousnessbymeasuringthemselvesagainstagrouptheydefinedaslargelyworthlessand
ineffectual(118),whichallowedforthesuppressionoftheirownshortcomingsandthe
exaggerationandimaginationoftheshortcomingsofothergroups.
Further,blacknesscouldalsobeanambiguousspace,oneinwhichanynotionsof
othernessordeviancycontraimaginedandconstructedwhitenormscouldbeplaced,andin
manywaysactedout.Inessence,thisothernesscontainedalevelofsocialcapital:when

whitesembodieditthroughminstrel,theirownotherness,eitherasimmigrantsorpoor,they
tradedintheirethnicorclassothernessforamorelucrativeembodimentofblackness.However,
satiricaldepictionsofblacknesswerethecentralfocus,andthosedepictionsrelegatedBlacks
beneaththelowesttier.ToblackenupwasanactofwildnessintheantebellumU.S.
Psychoanalytically,thesmearingofsootorblackingoverthebodyrepresentstheheightof
polymorphousperversity,aninfantileplayingwithexcrementordirt,(Roediger118).Thus,
bothpsychologicallyandsocially,minstrelsyservedasthespaceinwhichwhitesofallclasses
andethnicbackgroundscouldperformandconsumetheirdesiresforotherness,allwhile
forgingacollectivewhiteidentityinaperiodofrisingracialuncertainty.

ManTan:TheNewMillenniumMinstrelShow

Althoughthefunctionofminstrelsyasaspacearoundwhichwhitescouldgatherand
articulatetheirmostnonnormativedesiresdissipatedtoacertainextentaftertheGreat
Depression,permutationsofitcertainlycontinuedtoexist.Aspoor,workingclass,and
immigrantwhiteswereabletobettertheirclassstanding,theyclamoredforsomedistance
betweenthemselvesandblacks.Liketheirmiddleclasspredecessors,theywantedtositinthe
audienceandconsumeminstrelsy,ratherthanblackenupandbetheshowforothers.Hence,
blacksincreasinglybecameinvolvedinminstrelsyastrulyauthenticrepresentationsof
themselves.Withtheadventoffilm,blackactorswouldoftenappearinblackface,themselves
actingoutthestereotypesthat19thcenturyworkingclasswhiteshadperfectedtoactouttheir
subconsciousdesiresandfrustrations.Arguably,thiscooningtraditionhascontinuedinsome
formthroughoutthe20thcentury,fromAmosNAndytoGoodTimestoSOMEMORE
1990sCONTEMPORARYCOONSHOW?In2000,SpikeLeeendeavoredtotakeonthis
historyofminstrelsyandblackfaceperformance,actualandotherwise,withBamboozled,his
cinematicsatiricalcritiqueoftheportrayalofBlacksinthemediaandotherexpressiveforms.
PierreDelacroix,Leesprotagonist,enactsaschemetoproducearaciallyoffensiveshow,thathe
maybeterminatedfromhiscontractpositionatCNS.HecreatesMantan:TheNewMillennium
MinstrelShow,whichtohisdismay,isadoredbythenetworkexecutives.Thesuccessofthe
minstrelshowsendsDelacroixsschemespinningoutofcontrol,asitgrappleswiththe
representationsandconsumptionofblackimages,issuesofauthenticblackness,andthe
continuingsignificanceofraceinthemediaandtheAmericanimagination.Thisultimately
leadstothedemiseofDelacroixaswellasothers,compellingtheaudiencetoconcludethat
cooning,isdevastatingandultimatelydestructiveforallBlackpeopleinvolved,performers
andaudiencesalike.
Bamboozledisinterestinginthatthereareseveralelementswithinthemoviepertaining
tothemesofblackculturalidentity,thecontemporaryconnotationsperhistoricallyconstructed
archetypes,andthereallifeconsequencesthatcouldresultfromtheperpetuationofthese
stereotypes.Inaddition,BamboozledservesasametaphorforHipHop,illustratingthe
constructionoftheartistascommodity,social/classascendancygainedbytheartistperforming
inthatconstructedcontext,andadesiredreturntotheartistsauthenticself.Bamboozleds
Delacroix(playedbyDamonWayans),isaHarvardeducatedblackmanwhoseekstoidentify
himselfwithanuppermiddleclassnarrative.Hesvirtuallyconstructedanewidentityborn
PeerlessDothantoafather(playedbyPaulMooney)whorefusestosellouttobecomerich,
now,transformedtoPierreDelacroix,completewithnasalenhancedproperspeakandanoverall

presentationofselfthatarticulatesthedesireforalternateclassidentification.Delacroixisa
contractwriterforthefictitiousContinentalNetworkSystem(CNS),wherehisimmediate
supervisorisThomasDunwitty(playedbyMichaelRapaport).ThewhiteMr.Dunwitty
constructshisownblackauthenticity,whenhestates,Truthbetold,Iprobablyknowniggers
betterthanyou,andhishavingablackwifeandtwobiracialchildrenthusgrantshim
culturallicensetousethewordniggerlooselyinfrontofDelacroix.Mr.Dunwitty,similarto
minstrelperformers,cannavigateinandoutofblacknesswhenpsychologicallyorsocially
necessary.Mr.Dunwittycontinueshistiradeonnetworkratingswhichhaveapparentlybeen
low,andDelacroixsrelativelyinnocuousshowsubmissionsleaveCNS,andinparticularMr.
Dunwitty,desiringsomethingedgier,fiercer,andinessence,blacker.Withhisassistant,Sloan
Hopkins(playedbyJadaPinkettSmith),Delacroixdevisesaplantousethetalentsoftwo
homelessmenwhoperformdailyoutsideofCNSheadquartersManray(playedbySavion
Glover),andWomack(playedbyTommyDavidson)tocreateanoffensiveshowthatwill
result,Delacroixhopes,inhissubsequentfiringfromCNS,sothathemaypursuehistrue
televisioninterests:creatingmainstreamshowswithblack,middleclasscharacters,elsewhere.
Yet,whenDelacroixpitchestheshowtoMr.Dunwitty,notonlydoestheexecutivelovetheidea
oftheshowwhichwillstarbothManrayandWomackasMantan(afterMantanMorely)and
SleepnEatrespectively,tworealcoonswhohaveseveralmisadventuressimilartotheshow
formatofantebellumminstrelshowsbuttheshowgarnersapprovalfromthecompanybrass,
andthus,airs.AlthoughaudiencesareinitiallytakenabackasareHopkinsandDelacroix,
eventuallythevastmajorityofmainstreamviewingaudiencesapprovedoublingoverin
laughteratMantan:TheNewMillenniumMinstrelShow.
Thesuccessoftheshowisnotwithoutbacklash,however,andHopkinssbrotherJulius
(playedbyMosDef),andhiscomradesinrevolutionaryrapgroupTheMauMaus,are
outragedbytheshowanditsstereotypicalmessages:theshowissetinawatermelonpatch,has
anMCnamedHoneycutt(portrayedbyThomasJeffersonByrd),hasabandcalledTheAlabama
PorchMonkeyHouseBand(portrayedbyhiphopartistsTheRoots)thatplaystraditional
antebellummelodies,haseachofitsperformersblackenup,andissponsoredbybrandssuch
asTimmyHillniggerclothingandDaBomb40ouncemaltliquor.WhiletheMauMaus
growmoreincensedandMantan:TheNewMillenniumMinstrelShowdrawsprotestfromAl
SharptonandJohnnieCochran,Delacroix,Hopkins,andthenetworkbecomeincreasingly
complicitwiththeshowanditsancillarystereotypeswhichworktouniversalizebeinga
nigger.Yet,Delacroixissoonforcedtoconfrontwhattheshowhasbecome,asitsintended
satiricalpurposehasbeenlostwithoutthepropercontextualization.Hopkins,andtheshows
costar,Womack/Sleepn'Eat,deserttheshow,rattledbyitsperpetuationofstereotypesandthe
selfdegradationitrequires,despitethefactthattheshowhasbeenfinanciallylucrative.Inan
actofdesperateanger,theMauMau'stakethetapdancingManrayhostage,threateningtokill
himliveontheInternettoprotestthecooninghischaracterhascometoepitomize.Inthefilm's
climax,theMauMaudo,infact,murderManrayontelevision,andthenthemselvesare
murderedbypolice,savefortheironevisuallywhitememberwhois1/16black,playedbyMC
Serch.Hopkins,takenoverbygrief,forcesDelacroixatgunpointtotakeresponsibilityforwhat
hehassetintomotion,accidentallyshootinghimashelaywatchingamontageofstereotypical
blackimagesthatshehasputtogether.Ultimately,theshowssuccesshasdestroyedanumber
oflives,onceinterconnectedbyitssuccess,andSpikeLeearguesbothexplicitlyand
implicitlythatGangstarapisnotdissimilarinitsconsequences.


GangstaRap:TheNewMillenniumMinstrelsy?

IntheDirectorsCommentaryofBamboozled,SpikeLeepositsananalogouslineage
betweenhistoricminstrelsyandGangstaRap:inmyopinion,thisgangstarapisa21st
CenturyversionofminstrelshowsPriortoLeesstatement,MosDefscharacterJulius/Big
BlakAfrikaarguesthatbecausehisgroupdoesnotandwillnotembracealistoficonicalprops
andlyricalreferencese.g.ice(expensivejewelry,usuallydiamondsorplatinum),Cristal
(champagne),pushingBentleysandpoppinMo(Moet),allofwhicharecommon
symbolssaturatingcommercialrapmusichisrevolutionaryrapgroupcannotgettheattention
ofrecordlabelsorothermediaoutlets.Leesstatementssuggestthatsymbolsassociatedwith
minstrelsy,e.g.genderperformancethemes,vernacular,misogyny,etc.,havebeenpassedonto
gangstarap,andhavebeenmodified.MorecontemporarysymbolswithinGangstarapthatcan
beseenasequidistanttohistoricalminstrelsymightincludesaggingpants,grills,enacting
stereotypicalblackvernacular,dancing(think:SouljaBoyTellEm),andauctionblockstyle
accentuationoftheblackbody.ToLee,justbecauseanartistdoesntblackenupinhistorical
minstrelfashion,doesnotmeanthatheorsheisntperpetuatingthosestereotypes.Yet,while
LeedrawsanuncomplicatedhistoricallinefromminstrelsysoGangstaRap,furtheranalysesof
theparallelsanddifferencesbetweenthegenresisnecessarytoascertainwhetherornotGangsta
Rapisthenewmillenniumminstrelsy.
GangstaRap(alsoconsideredReality/Hardcore/MainstreamRap),becamepopularin
thelate1980swiththedebutofN.W.A.(NiggasWithAttitude),althoughrapperslikeSchoolyD
andIceTarecreditedashavingfirstusedthevernacularalterationgangstaintheirmusic
respectively.GangstaRapisanoftenabrasivelyviolencethemedmusicalsubgenrewithinHip
Hopculture,commerciallypopularizedontheWestCoast.Itssubjectmattercontainsdepictions
ofhardstreetlifewithinsectionsofurbancentersacrossAmerica.Assubgenre,GangstaRap
hasbeenthemostcommerciallysuccessfularticulationofHipHop,propellingitsappealontoa
globalstage.
Toagreatextent,oneneednotlookfartodelineatesimilarities,evenparallelsbetween
themesconstructedfromminstrelsyshistoricalpastandthemesarticulatedinthecontemporary
context.Minstrelshowscircatheantebellumperiodcreatedandrepeatedlyreinforcedwarped
notionsofblackness.Thisblacknessbecamethesymbolicdumpinggroundforallthings
considereddeviant,nonwhitethus,blacknesswassocially/morallyantitheticaltowhiteness.
Further,whiteswhosoughtclassascendancyandaccesstothemainstream/publicspherecould
employtheuseofminstrelshowperformance,inordertogainmonetaryandsocialcapital
towardthatgoal.Oncesuccessful,theseminstrelperformerscouldrenouncetheirpseudo
blacknessatanytime.Violenceandhypermasculinitywererecurringthemes,denotingthat
Blackmenwerebynaturesimplemindedorinfantile,violent,andhypersexual.
Consubstantially,artistswhoaligntheirartisticidentitywith,aswellasperformwithin,the
subgenreofgangsta/hardcore/mainstreamoftenseeksimilarsocial/monetarycapitaltogain
accesstothepublicsphere,tobecomeupwardlymobile.Theseartistsemploymechanisms,or
gimmicks,thatareseenascommerciallyviableinhopesofinvokingtheAmericanDreamas
livedexperience.Manygangstarapsongsarepermeatedbylyricsofviolencedirectedtoward
bothmenandwomen.Thosesamelyricschannelconspicuousconsumptionandpresentan
overarchingcapitalistsentiment.GangstarapperscontraProtestantethic,conveyadesirefor

livingthegoodlifeofmaterialgainwithoutnormativework.Inmostcases,thedesiredgood
lifecomesbywayoftheinformaleconomy,e.g.drugdistribution/selling,weaponsdealing,
autotheft(celebratedinvideogamessuchasGrandTheftAuto),etc.ThehustleinGangsta
rapistheoverarchingtheme,andbecomestheuniversalizedmeanstoeconomicascendancy,
andthehustleroftenthesameentityasthegangstarappergainspoliticaleconomythrough
suchacts.Thehustle,whilearoutetotheAmericanDream,isnonnormative,andtherefore
antitheticaltotheimplicitprinciplesoftheProtestantethic.Conspicuousspendingfurther
distancesthehustlerfromexplicitprotestant/puritanicalteachingsofthrift.
Rapvideosarerepletewithvisualdepictionsofhypermasculinityshowingthesubject
simultaneouslyasobject,reinforcingthephysicalconnotationsofsocializedmasculinity,e.g.
muscledefined,excessivelyoiledbodiescoveredwithgaudyjewelryandtattoos,grotesque
displaysofphysicalstrength/aggression,andmyriadrepresentationsofmaterialwealth.These
samevideoshaveanoverrepresentationofthefemalebody,yetrelegatetheroleofthewomanto
nothingmorethansexualizedobject(hypersexuality).Womenareseenscantilyclad,ifclothed
atall,movinginsimplesyncopationinordertodisplayanaccentuationoftheirrobustphysical
features,e.g.assandtitties.AlthoughGangstarappresupposesitselfsimultaneouslyasaspace
bothheteronormativeandhomophobic,lyricsdepictingblatantdesiresforthesexualconquest
ofwomentobecarriedoutbyamultitudeofmen,ortoparaphrasedItaintnofunlestweall
getsomesignifyadesiredphysicalbondingwithothermales,attheexpenseofthewoman.
Rappersofthissubgenrehaveapropensitytofightforauthenticspace,toprovethateveninthe
midstofattainingmonetarycapitalandclassascendancy,theyarestilldown.HipHopis
alwaysreferredtoasastreetculture,atleastinregardtoitscomingintotheworld.Theghetto,
oritscurrentincarnation,thehood,hasbecometheconstructedworldviewthatinformsmuch
ofthesubjectmatterinrapsongs.Itisaplacethatsupposedlyinvokesdespairandnihilism.
Gangstarappersillustratenarrativesofpoverty,excessiveviolence,andadearthofadequate
housing.Letusnotforgetthebesiegementbylawofficials,theconstantracialprofiling,and
insertionintoprisonculturethroughrepeatedandgenerallydisproportionateincarceration.This
landmarkandallofitsblithejustifiesaGangstarappersdesiredclassascension.Concurrently,
theireventualascensionpayshomagetotheirhoodties,similartothecapitalistwhoconveysa
storyofsuccess,e.g.ragstoriches,resonatingDuBoisiandoubleconsciousness.Thehood,in
essence,ishallowedearthtotheGangstarapper,andinmostinstances,aGangstarappers
credibilityisquestionediftheycannotalignthemselveswithaspecificterrainwithininner
cities.Interestingly,inmanyrapvideos,iftherapperisntpostedupontheirnativeblock,
theydrivethroughthehoodtopaysymbolichomage,ormakeapointtoconsistentlyreference
itintheirmusic.
Ashistoricminstrelsybothentertainedandreifiedthesuperiorityofthewhitecommunity,
Gangstarapalsoresonatesasacontemporaryspaceofantitheticalblackness.Seenasdeviant,
oppositional,andhomoerotic,justasthecharactersinminstrelshows,Gangstarapservesasa
playspaceandrepositoryfortherepresseddesiresofwhiteAmerica,particularlywhitemale
youth,whoaretheprimaryconsumersofGangstarap.Theviolenceandothernessofblack
bodiesinGangstaraparesanitizedandtranslatedbytheirhypermediaproliferationand
absurdity.Thatis,whilewhitesweremadecomfortablewithblacknessinoriginalminstrel
showsbyhavingwhitesblackenupnomatterwhathappened,therewasawhitepersonunder
thereinthecontemporarycontext,whitesaremadecomfortablewithblacknessthrough
anotherformofdistance:thetelevision.Suburbanwhitesdonothavetoconfrontrealstreet

gangstas.Yet,theycanenjoythemfromthecomfortoftheirlivingrooms,glamorizedand
packagedformassaudienceconsumption.Althoughtheymayimplicitlyknowthatwhattheyare
viewingisaperformance,justasantebellumminstrelshowattendeesknewthattheperformers
underthemakeupwerewhite,theynonethelessrevelinthedeviantescapeitprovides.

ReconceptualizingGangstaRap

Wehaveestablished,fromanexplorationofSpikeLeesBamboozled,howsimilarities
canbedrawnbetweenconstructionsofablackidentitycollectivefromahistoricalcontext,as
wellastheconsequencesofconsumptioninregardtothatidentity.Pervasivethemesof
patriarchy,hypersexuality,hyperviolentmasculinity,andhomophobia/homoeroticismplace
scrutinizingeyesuponthecollectiveHipHopcommunity,andGangstarapspecifically,inviting
aproliferationofcriticism.WehavewitnessedthelikesofBillCosbyspewforthcondemnation,
relegatingthissubgenreastheenfeebledarticulationofacultureofpoverty.McWhortercallsit
egocentric,andpossessingnopowertoengageanyonebeyondmovingtoabeat.Andeveryone
remembersDr.CalvinButtsdiatribeonBoneThugsNHarmonysdebutalbum:Werenot
againstrap.Werenotagainstrappers.Butweareagainstthosethugs,[echoout].Whileitis
fairlyeasytodelineateaconnectiontotheseantebellumsocialconstructions,fewcriticsand
cultureagentsidentifytheoverarchingsignificanceortheunderlyingconsequences,andthus
neverplacesaidthemesintothelargersocialcontextinwhichtheyoccur.Tothem,this
subgenrecannevertranscendbeyonditsnegativestigma.Facingaconstantbarrageofmalicious
attack,onemustwonderifGangstaRapisnomorethanpimpinghoesandslamminCadillac
doors?
SpikeLeeanalogouslylinksGangstaRapwithantebellumminstrelsy,arguingthateven
intheabsenceofphysicallyblackingup,minstrellegacyisperpetuatedthroughthe
performanceofracializedroles.ToLee,Gangstarapsverypresentationofselfcontinuesthis
legacyofthesambocaricature.However,Leefailstointerrogatethoseadditionalarticulations
thatmayalsoidentifythemselveswithinthesubgenre.Hesubsumes
Gangsta/Hardcore/Mainstreamrapasmonolithic,addingtothefragileargumentofa
dichotomousrelationshipbetweenitandsocalledconsciousrap(seeforinstanceinthe
DirectorsCommentarywhenLeecommentsonMosDefsmusic).Lee,ashaveotherculture
critics,placesGangstaRapinamarginalspace,cuttingitofffromitsownlegacy,andits
potentialtranscendence.Indeed,thecollectiveappropriationofHipHopculturehaschallenged
thisexpressiveartsabilityinmanywaystocontrolitsowndestiny.Artistsbecome
dehumanized,deconstructedonmyriadlevels(witnessManray/MantanandWomack/Sleepn
Eat)todeterminetheirmarketviability.Rapperswavegunsinvideos,stagefights,flash
excessivecash,anddevaluewomenvialyricaldepictionsofmultiplayersexualconquest.The
verynatureofthissubgenreseconomicviabilityplaceslightonthefactthatwhitesuburban
youthhavebecomeGangstarapslargestdemographic.Paradoxically,whilethedominant
culturetogreatextentcondemnstheprevailingsubjectmatterofviolenceinthemusic,the
stereotypesassociatedwiththismusiccontinuetoinformsocietyscollectiveworldviewofthe
socalledlivedexperienceoftheblack.Throughmediaconstructionandmodificationof
systemicallydisseminatedarchetypes,andtheproliferationofthosenegativeconnotationsof
blackness,themediaactsasthecontemporarymechanismofhegemonyforthedominantculture,
furthercontributingtoapossessiveinvestmentinwhiteness.

ButisthisthesumofGangstarap?Inordertocriticallyaddressthisquestion,wemustperhaps
redefineGangstaraptoincludeadditionalrepresentations,therebyidentifyingitscontextual
complexity.Further,inthatredefinition,wemustdetermineifthereexistexamplesofthis
reconceptualizedGangstarapchallengingthestatusquo.
HowdowedefinethesecharacteristicsofanewlyreconceptualizedGangstarap?We
mustconsidermyriadfactorssuchassymbolsactualartisticcontent(lyrics)etc.N.W.A.
(NiggazWithAttitude)hitthescenein1988withtheiralbumStraightOuttaCompton,depicting
afreshnewnarrativeofstreetlifeinCompton,California.Untilthattime,eastcoasthardcore
raphadbeenthedominantmusicexpressionwithinHipHop.N.W.A.releasedsongslike
ExpressYourself,Gangsta,Gangsta,andthefamousStraightOuttaCompton.Their
musicillustratedcommunaldissatisfactionwithlawenforcementasseenwithFuckThePolice
whichinturn,resultedintheirreceivingthefamouscertifiedletterfromthenFBIDirectorMilt
Ahlerich.N.W.A.wasinstrumentalinprovidingavoicetothevoicelessinnercityyouthof
Compton.N.W.A.hasalwaysbeenrememberedasthepolarizedshiftfromthesocalled
politicallychargedmusicthelikesofPublicEnemyandKRSOne.SomeHipHopaestheticians
arguethisshiftwasdeliberatelydonetotakefocusfromthemorepoliticallydrivenmusic.
Classically,bothPublicEnemyandKRSOnehavebeenregardedasconsciouspoliticallydriven
HipHopmusic,buteachpossessedasimilarabrasivestylenotonlyinperformancepresentation,
butincontent.PublicEnemyurgedblackyouthtoorganizewithsongslikeFightthePower,
echoingheavyBlackNationalistphilosophy,andwasadirectrhetoricalattackchallengingthe
statusquo.PublicEnemyreleasedvastsoniccataloguesofsocialcritique,alsocondemninglaw
enforcementsandEMSsreluctancetorenderassistanceinimpoverishedneighborhoods.
KRSOne,popularlyregardedasTheTeacher,didreleasethegangstathemedCriminal
Mindedin1987.Onthealbumscover,youseeTheBlastmasterandDJScottLaRock,
performingtheirhardcoreposewithemotionlessexpression,grippingtheoozie.Shortlyafter
thisalbumsrelease,DJScottLaRockwasbrutallymurdered,therebyinspiringaphilosophical
andrhetoricalshiftinthemusicofKRSOne.ReleasingsongslikeYouMustLearn
challengededucationalnorms,andconveyedasentimentofidentityrealignmentforBlack
people.
WecannotforgetmorerecentexamplesofprogressiveGangstarap,suchasthegroup
DeadPrez.TheirfirstcontributionLetsGetFreesparkedinitialcontroversybytheartonits
cover:agroupofAfricanchildren,armsoutstretchedwithwhatappearedtobeassaultrifles.For
commercialreasons,theimagewasslightlyalteredtoresemblesticks.DeadPrezreleasedthe
hitsongHipHopwhereintheyarticulatednotionsofsystemicoppression,andidentifyingthe
purveyorsofthestatusquoastherealenemyofthepeople.TheySchoolsspokeoneducation
notrepresentingthedemographicofstudents,andofferedseverecritiqueofthefragmentedand
hegemonicinformationbeingdisseminatedtostudents.DeadPrezareofinteresthere,because
oftheirepistemologicalstanceasRevolutionary,butGangsta,implyingadirect,edgy
abrasivenessinseekingformsofsocialjustice.SuchasentimentspeakstoapostCivilRights
generationwhoarecriticaloftheshortcomingsofthatera.
Tobeaccurate,Gangstarapinitsreconceptualizationasasociallytransformative
phenomenonisnotlimitedtorapartists.Ifwhatweconsidergangstaisnomorethan
oppositional,itbegsthequestion:CanBlackPeoplerepresentacollectivearticulationofbeing
gangstainAmerica?ThelegacyofCivilRightsisnotcelebratedbyeveryone,forthefewwho
reapedthebenefitsofbecomingupwardlymobile,adisproportionatemajoritywereseemingly

leftbehind,trappedininnercityneighborhoodswithinadequateeducation,poor,housing,few
jobopportunitiesetc.Inaddition,becausesomeblackswereabletoconstructadifferent
middleclassidentitydidnotpermitthemintospacesofgreateraffluence.Itisfromthese
marginalizedspacesthatarenegotiationofgangstaastransformativephenomenoncanoccur.
Socialexclusionandalienationfosteredagencynonnormativeworkallowedameansfor
survivalthroughinformaleconomy,e.g.drugselling,Gangstarap,otherformsofhustle.As
TalibKweliaffirmsonhissongTheManifestoontheLyricistLoungecompilation:Niggas
dontsellcrack/causetheyliketoblackssmoke/Niggassellcrack/causetheybroke(Rawkus
1998).
Conclusion
Minstrelsybeganasabondingspaceforwhitesofvariousethnicitiesandsocialclasses
toaffirmtheircommonalitiesdespitetheirdiversity,andreinforcetheirconstructionsofwhite
superiorityandblackinferiority,inashiftingracialterrainwhereblacksweretransitioningfrom
slaverytothelaborforce.Minstrelshowswereperformedbywhitesinblackface,andthrough
theseperformances,racializedbehavioralarchetypeswereprojectedontoBlackpeoplesuchas
hyperviolentmasculinity,hypersexuality,andinfantilismallowingwhitestheprivilegeto
indulgeintheperversenesswhilecondemningit.Asworkingclassandethnicwhiteslargely
madetheirascensiontomiddleclassspaces,blackperformersconductedminstrelshowsand
actedinearlyfilms,continuingtofulfillthewhitepsychologicallypornographicdesiresof
transposingtheiremotionsandneurosesontoblackbodies.DespitecivilRightsstruggles,in
ordertobeconsumedbymainstreamaudiences,blacknesswasstillrelegatedtocertain
parameters,e.g.comedicand/orservantetc.
Althoughminstrelsyhasexperiencedmaniterations,Gangstarapisconsideredoneof
itslatest,andmostgloballyexpansive.Manyoftheracializedthemesofantebellumminstrelsy
weretransplantedtoGangstarap,andhavethusgonethroughcontemporarymodification,but
becauseofthissubgenrescontextualcomplexity,italsochallengesthesedestructive
representationsinavarietyofways:lyrically,throughattractingwhitestoconsumeit,and
thuspresentingmorecomplexandauthenticrepresentationsofself,andthroughovercoming
systemicallyplacedobstaclestomakeit.Thoughusuallyconstructedinanegativespace,a
reconceptualizationofGangstaraprevealsthepossibilityofastrategicreappropriationof
racializedstereotypesastransformativephenomena.

[1]FromJohnMcWhortersAllAboutTheBeat:WhyHipHopCantSaveBlackAmerica.NewYork,NewYork:
Penguin,2008
[2]Lee,Spike,dir.Bamboozled.Perf.DamonWayans,JadaPinkettSmith,SavionGlover,TommyDavidson.2000
DVDNewLineCinema

Das könnte Ihnen auch gefallen