"MAKE ME NOD MY HEAD IN REVERENCE": PASSION, PAIN AND POLITICS IN HIP-HOP POETRY by Tara Henley B.A. Hon, Simon Fraser University, 2000 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Department ef English O Tara Henley 2003 SIMON FRASER UNIVERSITY August 2003 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL I Name: Tara Henley Degree: Master of Arts Title of Thesis: "Make Me Nod My Head in Reverence": Passion, Pain and Politics in Hip-Hop Poetry Examining Committee: Chair: Dr. Tom Grieve Assistant Professor Dr. Sheila Delany Senior Supervisor Professor 3) ~d~aulfhdra sbPervisor Associate Professor Crawford Killian External Examiner Instructor and Department Head Department of Communications Capilano College Date Approved: I PARTIAL COPYRIGHT LICENCE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. Title of Thesis: "Make Me Nod My Head In Reverence": Passion, Pain, and Politics in Hip-Hop Poetry Author: (Signature) AG. i+ boo3 (Date Signed) ABSTRACT Hip-hop is an art form that originated in New York's South Bronx neighborhood in the late 1970's that involves rapping, DJing, breakdancing, and graffiti art. In the press, hip-hop is routinely attacked for being sexist, homophobic, and violent. In academic circles, hip-hop tends to be uncritically celebrated as the cutting edge of radical resistance. Both views are overly simplistic. This project calls for a more thorough, balanced analysis of what has become a highly complex, constantly shifting global youth culture. It examines the unique positions that arise in American rap lyrics as sites of intersecting, and often contradictory, historical, cultural, and political influences. The study begins with a preliminary chapter that provides background information on hip-hop, including its social and economic context, and its major stylistic movements. The project moves on to four main areas of concentration. Chapter Two considers the mdependent entrepreneurid ethic in hip-hop, arguing tinat this is an anempr to subvert the dominant power structure by seizing wealth, power, and opportunity-but that it remains an individual solution to collective problems. Chapter Three surveys Islamic hip-hop, tracing the history of Islam in Black America, and examining the unique set of tensions that has arisen during the post-91 1 era, as both anti-Islamic sentiment and the influence of Islam have steadily increased in America. Chapter Four takes on the issue of sexual politics in rap. While it acknowledges the regressive misogyny and homophobia that pervade hip-hop lyrics, it also explores why feminist critiques of the music have proved so explosive by detailing the racist history of first, second, and third wave feminism. Chapter Five engages with the debate over cultural appropriation that has iii emerged following Eminem's spectacular crossover success. The work presents the possibility that white rap represents both cultural theft and an avenue for youth to unite across racial lines, while arguing that white consumption and production of hip-hop carries a responsibility to confront the social conditions that are addressed in the music. To Rob Henley (a.k.a. Big Rowd of Fourth World Occupants), my brother, my best friend, and the inspiration for this project and To the poets of this generation-the courageous MCs who pour their souls onto the page, especially: Tupac Shakur (R.I.P.), Mos Def, Talib Kweli, Dead Prez, J-Live, The Coup, Jay-Z, and Nas. Much respect. ACKNOWLEDGEMENTS First and foremost, I would like to thank m): brother Rob Henley (a.k.a. Big Rowd), whose insight and criticism definitively shaped this project. I would also like to thank my mother Dr. Joy James for all of her love and support. I want to thank to my wonderful supervisor, Dr. Sheila Delany, who believed in this project from its inception, *hose suggestions directed much of my research, who encouraged me to try my hand at journalism, and who left a steady stream of newspaper clippings in my mailbox, many of which made their way into this thesis. I would like to thank The Georgia Straight for giving me the opportunity to work out my ideas in print, especially news editor Charlie Smith (who jump-started my journalism career) and music editor Mike Usinger (who helped me with my writing immensely). I want to thank Mutang Tuo and the Penan tribe in Borneo for their example of spirited collective struggle. As well: Arden Henley and Mary Kean for their encouragement ("the best thesis is a finished thesis"), Calabria Cafe5 for allowing me to stay and write for hours, Geneva "Baker" Biggers for all of our inspiring conversations about politics, Morgan Shapero and roommates for providing me with somewhere to stay while doing research in New York, Ruby Fanning for her unswerving support, Nicole Ricci for urging me to go to graduate school, Christine Gough for reading all of my work, and fellow grad students Alison McDonald and Stefania Forlini for their friendship and feedback. Last but not least, special thanks go to Smiles for his support and for getting me stop work and have fun at exactly the times when I most needed it. I would also like to thank the following hip-hop artists who expressed ideas+ither in conversation or in interviews-that contributed to my understanding of hip-hop culture: Abstract Rude, Angel Duss, Big Rowd (Fourth World Occupants), Deena Barnwell, Choclair, Crescent Moon (Oddjobs), David Hilliard (Black Panther PartylBlack Panther Records), Dave Jolicoeur (De La Soul), Dolo (Ghetto Concept), El-P, Emotions (Fourth World Occupants), Flipout r 'G P.'I t-TranAmn\irr Fin,;,j ;-r,ivl, :e::eestoiie 1--:-I 11----- IDlnnlr Dn-+har Cl.rr;t;xroc\ K \...* ,-.- ,, -- .- . Ja1111~11laaaa11 I UICLUR L uliulr~I ~ljac.v WO,, .. OS, Kia Kadiri, Madchild (Swollen Members), Manik, Medusa, Moka Only (Swollen Members), Nate Sabine (Manager1 Promoter), Ndidi Cascade, Nomi (Oddjobs), DJ Nu-Mark (Jurassic S), Os12, Plus One, Prevail (Swollen Members), DJ Shortfuse, Sol Guy, Stic-man (dead prez), Sweatshop Union, Tajai (Souls of Mischief), and Take5. Shout-outs: Big Rowd, Deps Numonic, Emotions, Fourth World Occupants, Battleaxe Records, Kevin Kocher, Kyle Kraft, Sean Lalla, Deena Barnwell. Smiles, De La Soul, Swollen Members, Prevail (first interview ever!), Nate Sabine, Cheryl Cuddie and Keiron McConnell, Divina Westmore, Ndidi Cascade, Emmanuel, Julie Brand and Cody Jones, Fritz the Cat, Jen Stewart, Kia Kadiri, Sweatshop Union, Manik, 0s 12, Martin Turenne, Charlie Demers, Janet Smith, Gail Johnson, Joanna Ferraro, Rebecca Blissett, Bill and Vicki James, Sandra James, Andrew Buczewski, Catherine Rachey, Denise Vanderwolf, F.W.U.H., Topanga Cafi, Jennifer Forhan, 7 Heads Entertainment, DJ Shortfuse, DJ Needle Kineval, DJ Flipout, 94.5 The Beat, The Commodore, Shine, Tyson Jamal Stockton, Simone Jolie Biggers, Lynn Coady, Wayde Compton, Baba Brinkman, Plus 1, Take 5, Dect, Gman & Rizk, Rick Threat, Jennifer Jang, Judy McLean and John Nugent. TABLE OF CONTENTS I ... Abstract .............................................................................................................................. 111 Dedication ........................................................................................................................... .v Acknowledgements ............................................................................................................ vi .. Table of Contents .............................................................................................................. vil Introduction ....................................................................................................................... 1 Hip-Hop: A Love Story Chapter One ....................................................................................................................... 18 From the Sovereign State of the Have-nots-A Brief History of Hip-Hop Chapter Two.. ..................................................................................................................... 33 Pimpin' the System: Street Hustlers, Reparations, and the New Black Bourgeoisie Chapter Three................................................................................................................... ..58 .- . T.. ~1.- n-ll-. C LI- D---C 1nl.r-i- Ui- in Amnrmnn 111 but: Duly 01 me ~caz+~-~~xamx-II~~-XIV~ LU Chapter Four .................................................................................................................... ..80 Bitches and Sistas-Sexual Politics In Da Club Chapter Five .................................................................................................................... 125 The White Nigga-Multiracial Unity or Cultural Theft? Conclusion ...................................................................................................................... ,147