University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2018 The political limits of the conscious MC brand: Ladi6, Urthboy and K’naan Annalise Friend University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. 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For further information contact the UOW Library: [email protected] THE POLITICAL LIMITS OF THE CONSCIOUS MC BRAND: LADI6, URTHBOY AND K’NAAN. A thesis submitted in fulfilment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by Annalise Friend BCA (Dist), BA (Hons 1st) FACULTY OF LAW, HUMANITIES AND THE ARTS SCHOOL OF THE ARTS, ENGLISH AND MEDIA 2018 Abstract The contemporary hip hop MC faces a commercially powerful and globally established hip hop culture. To be successful in this field requires a distinctive brand, deployed across multiple media types. Within the hip hop culture there is a ‘conscious’, or socially engaged, style that emphasizes communal identities and is in tension with the imperative to develop self-branding in a neoliberal era. This thesis aims to show (a) how selected artists construct their own personal brands as ‘conscious’ performers, and asks (b) whether self-branding limits the political critique of the ‘conscious’ artists. The thesis examines the self-branding activity of three politically engaged artists: Ladi6 (Aotearoa-New Zealand), Urthboy (Australia), and K’naan (Somalia-Canada). The process of self-branding includes management of online videos, websites, social media, live performance, cover art, costume, body movement, recorded hip hop tracks and merchandise. As I show these personal brands draw on national and gender roles such as the White Australian larrikin, the Pacific beauty, and the African poet. The personal brands of these performers also make use of ideas that recur in hip hop: references to violence, displaying awareness of the socially disadvantaged, speaking out to assert pride and hope in one’s community, and endorsing universality or ‘oneness’. Public political critique by the selected ‘conscious’ artists includes their comments on the treatment of refugees, the objectification of female musicians, and the need for alternatives to poverty and war. However, the models of political work used—such as charity singles, being a ‘respectable’ role model, or allying with corporate brands to create the appearance of a global celebration—all deflect attention back to the MCs’ brands, rather than to the causes they support. This limits the impact of their political messages. Declaration This work has not been submitted for a degree to any other university or institution. Name ANNALISE FRIEND Acknowledgements My heartfelt thanks go to my patient and dedicated supervisors, Assoc. Prof. Paul Sharrad, Dr. Nicola Evans, and Dr. Andrew Whelan. I have been supported while writing this thesis by Chris Turner, Dr. Katharina Freund, Raewyn Campbell, Ellen Wilkinson, Dr. Charlotte Allen, Rebecca Goodway, Marlee Jane Ward, Tania Maria Mastroianni, Pedro Altuna, Henry Lauer, Judy Gill, Jenny Briscoe-Hough, Lara Seresin, Susanna Rennie, Jen Fox, Jade Anoki Fletcher, Andreyna Sanchez, Greg Wythes, Johnny Batchelor, Zsuzsi Soboslay, Uncommon Knowledge, Matthew Friend, Denise Fahey, Ben Fahey, Lauren Friend, many fine baristas, the Illawarra escarpment and the Pacific Ocean. Table of Contents Chapter 1: Introduction 1 Definitions 3 Role Playing and Realness 10 The Conscious MC Brand 16 Research Questions 20 Significance 21 Studying Self-Branding 22 The Artists 26 Chapter 2: Literature Review 34 Hip Hop as Political Critique 34 Confronting Consciousness 39 Hip Hop Gender Politics 56 Hip Hop and the Politics of Place 72 The Branded Self 74 Chapter 3: “Come on Lady!” 96 It Came Naturally 97 Making Ladyspace 105 Looking Out of the Frame 118 A Conscious Soul 127 Reflecting Transcendence 129 Conclusion 132 Chapter 4: A Larrikin Leader 136 Keeping Up with the Great Elsewhere 137 For the Boys 141 A Bogan Barbeque 145 Branding Protest 152 The Elefant Family 157 A Modern-Day Larrikin 169 The Ironic Stubbie 175 War from Afar 179 Conclusion 191 Chapter 5: Whose Wavin’ Flag? 196 The Distance That Is Caused by the Movement 199 Articulate and Hardcore 210 Wearing the Message 220 Celebration Mix? 230 Conclusion 257 Chapter 6: Conclusion 262 Violence 263 Awake and Aware 266 Ladyspace and Brotown 271 Branding the Globe 273 The Limits 279 Challenges for the Hip Hop Theorist 281 The Voice in the Centre 284 Branded Love 286 Works Cited 288 Discography 312 Filmography 318 Online Sources and Videos 318 Email Newsletters 336 Performances and Events 337 Table of Figures Figure 1. Alvin and the Chipmunks Promotional Image (4BP). ____________________________________________ 12 Figure 2. Screenshot, Huggies Advertisement (hoperator). ______________________________________________ 13 Figure 3: Parts oF the Robot Dance White People Know (Cheezburger). _____________________________________ 14 Figure 4: Screenshot, "Manners Rap" (Penguin Australia). _______________________________________________ 15 Figure 5. Flyer For Gua AFrica, Picked Up at The Basement, Sydney, 2011. __________________________________ 18 Figure 6. Ladi6 Promotional PIcture (AWMusic). ______________________________________________________ 27 Figure 7: Urthboy Promotional Image (EleFant Traks “Urthboy”). _________________________________________ 29 Figure 8. The Herd Promotional Picture (SMH). _______________________________________________________ 30 Figure 9. Screenshot, "Wavin’ Flag Coca Cola Celebration Mix" (Peace Magazine). ____________________________ 32 Figure 10. MC Qualities and Hip Hop Genre Continuum. ________________________________________________ 53 Figure 11. Mr Personal Brand (knoblaugh). __________________________________________________________ 88 Figure 12. The Lady Dictionary (North) _____________________________________________________________ 109 Figure 13. Time Is Not Much Cover Art. ____________________________________________________________ 119 Figure 14. Break It To Pieces Cover Art (Tha Feelstyle). ________________________________________________ 120 Figure 15. Velvet Dusky Maiden (darnsexysecondhand). _______________________________________________ 121 Figure 16. Ladi6 Tea Towel. Photograph by Pedro Altuna. ______________________________________________ 125 Figure 17. Ladi6 Live (Ladi6 and Electric Wire Hustle). iPhone photograph by author. ________________________ 131 Figure 18. The Liberation OF . sticker. Photograph by Pedro Altuna. ____________________________________ 134 Figure 19. Home Grown Compilation Vol. 1 Cover Art (DJ Flagrant). ______________________________________ 150 Figure 20. EleFant Traks Logo (EleFant Traks "Soundcloud"). ____________________________________________ 160 Figure 21. Detail oF The Herd T-shirt. Photograph by author. ___________________________________________ 161 Figure 22. The Herd Live (eleFanttraks.com). ________________________________________________________ 162 Figure 23. EleFant Traks Baby Onesie. Photograph by author. ___________________________________________ 163 Figure 24. Screenshot. Urthboy Feat. Jane Tyrell "Shruggin'" (Rhythm and Poetry). __________________________ 165 Figure 25. Wall oF Hands Advertisement (Sydney Morning Herald). ______________________________________ 167 Figure 26. Urthboy Promotional Image (urthboy.com). ________________________________________________ 171 Figure 27. Spitshine Cover Art (Urthboy "Spitshine Cover"). _____________________________________________ 174 Figure 28. Urthboy Stubbie Holder. Photograph by Pedro Altuna. ________________________________________ 175 Figure 29. Distant Sense oF Random Menace Cover Art. _______________________________________________ 179 Figure 30. Cover/Poster From The Dusty Foot On The Road. Photograph by Pedro Altuna. _____________________ 200 Figure 31. 12/8 Water Drumming Rhythm oF “Wash It Down” __________________________________________