The Beautiful Struggle: an Analysis of Hip-Hop Icons, Archetypes and Aesthetics
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THE BEAUTIFUL STRUGGLE: AN ANALYSIS OF HIP-HOP ICONS, ARCHETYPES AND AESTHETICS ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ________________________________________________________________________ in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________________ by William Edward Boone August, 2008 ii © William Edward Boone 2008 All Rights Reserved iii ABSTRACT The Beautiful Struggle: an Analysis of Hip-Hop Icons, Archetypes and Aesthetics William Edward Boone Doctor of Philosophy Temple University, 2008 Doctoral Advisory Committee Chair: Nathaniel Norment, Ph.D. Hip hop reached its thirty-fifth year of existence in 2008. Hip hop has indeed evolved into a global phenomenon. This dissertation is grounded in Afro-modern, Afrocentric and African-centered theory and utilizes textual and content analysis. This dissertation offers a panoramic view of pre-hip hop era and hip hop era icons, iconology, archetypes and aesthetics and teases out their influence on hip hop aesthetics. I identify specific figures, movements and events within the context of African American and American folk and popular culture traditions and link them to developments within hip hop culture, iconography, and aesthetics. Chapter 1 provides an introduction, which includes a definition of terms, statement of the problem and literature review. It also offers a perfunctory discussion of hip hop as culture. Chapter 2 examines pre-hip hop American popular culture in the twentieth century such as America’s World’s Fairs, superhero mythology, popular culture iconography, etc. and illustrate the ways in which they served as cultural, social and historical precursors to hip hop aesthetics. Lastly, this chapter identifies Afrocentric cross-currents within hip hop culture, which I describe as the post-Afrocentric movement in hip hop culture, and illustrate the ways in which hip hop culture grappled with the efficacy and viability of Afrocentric motifs, theory and aesthetics Chapter 3 offers a iv comparative analysis of blues and hip hop aesthetics. I explore gender dynamics within the context of inter-genre, call-and-response between male emcees and female neo-soul artists. Chapter 4 traces the development of hip-hop aesthetics and draws on African, American and African-American cultural practices and aesthetics to analyze its development. I focus on early characteristics of hip-hop culture, which are foundational components of hip-hop expression such as the influence of comic book super hero narratives. Hip-hop aesthetics are an amalgamation of post-modern, post-industrial, urban blues sensibilities filtered through African-American musical traditions. I utilize Bakari Kitwana’s conceptualization of the hip hop worldview as a basis for highlighting hip hop attitudes, aesthetics, and expectations. Lastly, chapter 4 expands upon previous socio- economic discussions on hip hop culture with a focus on hip hop aesthetics and expression. In chapter 5, I explore hip-hop iconography, iconology and archetypes. I identify specific pre-hip hop icons and explore their influence on hip-hop aesthetics. I examine African American iconology and its relevance to hip-hop aesthetics. I also identify more recent hip hop icons and archetypes (e.g. the hater and gold digger), which operate as signifiers in hip hop narratives and aesthetics. Chapter 6 identifies specific characteristics of hip hop expression. I examine hip-hop aesthetics and archetypal influences, particularly notions of ‘bad” and “cool” within hip- hop culture. Perhaps more than any other African-American archetype, the badman/bad nigga archetype has survived within African-American male narratives. I explore the evolution of bad within hip hop aesthetics and offer a socio-cultural analysis of 1984, identifying specific icons (e.g. Run-DMC and Mr. T), attitudes, values and trends that v shaped both hip-hop culture and American popular culture. I examine specific cross- currents within 1980s American popular media and explore the ways in which hip hop narratives and aesthetics reappropriate and engage specific popular culture texts. I assert that not the framework for hip-hop aesthetics was solidified during 1984. I identify key figures, icons, archetypes, and popular media, circa 1984, and their influence on hip hop aesthetics and discourse. vi ACKNOWLEDGEMENTS First, I must give thanks and praise to the Creator. Of course, I would like to thank my mother (Loretta Boone,) my father (Bill Boone Sr.), my sister (Sheresa Blanchard), my nephew (Lil’ Will), and brother-in-law (Mario Blanchard). Your financial, spiritual, and emotional support made all this possible. Without your love and prayers, I am sure I would not have been able to complete this Ph.D process. I would also like to thank my Afro Blew Media Inc. family, Daniel Fitch, Andre LuSane, Bryon Turmon and David Lusane. It’s time to rock out!! I would like to thank Tanya Walker, Marcus Johnson, Christopher Norwood, Dr. James Peterson, Thomas Ware, Decouteau Irby, Devon, Anthony Dandridge, Yaba Blay, Kaila Story, Kia M.Q. Hall, Dr. Paula Quick-Hall, Daud Watts, Dr. Donnetrice Allison, Dee Brown, Scott Smith, Antwan “Twon” Ross, and Dr. Kelton Edmonds. This process has been intellectually, financially, emotionally, and spiritually draining. I encountered many obstacles along the way. Systemic racism and classism is alive and well in America. I have experienced first-hand the many challenges facing poor, African American men in academia and in society at-large. As evidenced by my experiences during the Ph.D process, I am convinced that for many African Americans, the American Dream is just that: a dream. I would like to thank all the folks from my hometown Orange, New Jersey. It was on the streets, courts, backyards and ball fields of Orange (e.g. Metcalf Park, the Valley, Seven Oaks) that I was equipped with the hard-nosed, aggressive, no-nonsense approach to obstacles which served as a constant reminder to never give up and never back down. To Marcus Johnson, Emmanuel “Manuel” Harris, Navarr Montgomery, Trevor and Tarik vii Stevens, Dr. Vernon Thompson, Eric White, Jason Smalls my uncle Dean Wilson and my Uncle Richard Wilson, his daughters (my cousins) Staci and Stephanie Wilson, Aunt Gwen, Tenelle Rainey, Ingrid Austin, my Aunt Dean, Barshay and Andre Kelley. Thanks I would like to thank all my students from North Carolina A & T, Winston-Salem State University, Princeton University, Temple University, and Upward Bound. An additional thank you goes out to my Hip Hop and Black Culture students at Temple Univerity. Your input, prodding, and encouragement kept me going. Dr. Greg Carr, Dr. Nathaniel Norment, Dr. Abu Abarry, Dr. Marc Hill, Dr. Molefi K. Asante, Dr. Sonja Peterson-Lewis, Dr. Anthony Montiero, Dr. Noliwe Rooks, Dr. Cornel West, Dr. Eddie Glaude, and Dr. Elwanda Ingram. I cannot forget all of my professors at Delaware State University—Dr. Kenyjatta, Dr. Blakey, Dr. Breasure, and Dr. Innis, and Dr. Mcneal, as well as all of my academic peers at Temple University. An additional thank you goes out to my committee: Dr. Abu Abarry, Dr. Marc Hill, Dr. Nathaniel Norment, and Dr. James Peterson. I also would like to thank my landlord at Cumberland Suites, Steve Marrone. Even though we have had our “differences,” at the end of the day, you have been more than fair. Lastly, I would like to thank all my haters. Your hate, envy, jealousy, and overall bad vibes have served as motivation and introspection through this doctoral process. As the great white supremacist Woodrow Wilson declared: “If you want to make enemies, try to change something.” I would like to thank the ancestors. Without your blood, sweat, and tears, my academic journey would not have been possible. I have finally secured what was denied to Black folk for over 300 years: education. viii This dissertation is dedicated to my maternal grandmother, Juanita Wilson, who was the family matriarch and leader. Her declaration, “once you get education ‘they’ can never take it away from you” echoed in my head throughout this process. She has undoubtedly guided me along my spiritual and academic journey. She was a woman of grace, dedication, and brutal honesty…Walk with me… ix DEDICATION To the ancestors for keeping going when the end appeared as if were eons away To my grandma Mookie, Juanita Wilson, whose spiritual guidance served as a beacon of hope To my parents and sister, whose love and prayers kept me on track To the “folk” of North Philadelphia, who kept me focused and inspired and showed me mad love when I felt discouraged To all the hip hop artists and lovers of the culture, To all the African American and Latina men, who have been victims of American racism, HOLD YA HEAD!!! This is for you x TABLE OF CONTENTS Page ABSTRACT ...................................................................................................................... iii LIST OF ILLUSTRATIONS ........................................................................................... xii LIST OF TABLES .......................................................................................................... xiv ACKNOWLEDGEMENTS............................................................................................... vi DEDICATION .................................................................................................................. ix