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Articulating the Hip-Hop Nation: Rap As Transnational Urban Subculture in the United States and France

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Articulating the Hip-Hop Nation: Rap As Transnational Urban Subculture in the United States and France disClosure: A Journal of Social Theory Volume 8 peregriNations Article 2 4-15-1999 Articulating the Hip-Hop Nation: Rap as Transnational Urban Subculture in the United States and France Adrian Fielder Northwestern University DOI: https://doi.org/10.13023/DISCLOSURE.08.02 Follow this and additional works at: https://uknowledge.uky.edu/disclosure Part of the Arts and Humanities Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License. Recommended Citation Fielder, Adrian (1999) "Articulating the Hip-Hop Nation: Rap as Transnational Urban Subculture in the United States and France," disClosure: A Journal of Social Theory: Vol. 8 , Article 2. DOI: https://doi.org/10.13023/DISCLOSURE.08.02 Available at: https://uknowledge.uky.edu/disclosure/vol8/iss1/2 This Article is brought to you for free and open access by disClosure: A Journal of Social Theory. Questions about the journal can be sent to [email protected] Contributors Sandy Feinstein is presently on a Fulbright Lecturing/Research Award Adrian Fielder to Allepo, Syria. She is published most recently in Crab c:eek Review, Utah Foreign Language and Literature Journal, and the Colombia Poetry Re­ view. The poems appearing in this issue are based on her experiences Articulating the while on a Fulbright to Denmark and as a Visiting Professor at the American University in Bulgaria. In the United States, she is an Associ­ Hip-Hop Nation: ate Professor of English at Southwestern College in Kansas. Rap as Transnational Urban Subculture in the Adrian Fielder is a Ph.D. Candidate in the Department of French and Italian, Program in Comparative Literary Studies at Northwestern Uni­ United States and versity. France Peter Gray is an assistant professor of English at Queensborough Com­ munity College, CUNY in Queens, New York. My hip-hop will rock and shock the Paul McDonald is a graduate of the University of Montevallo, nation I like the Emancipation Montevallo, Alabama, and holds a degree in vocal performance as well Proclamation. as a post baccalaureate degree in pre-law from the University of Louis­ -Wu-Tang Clan, "Do Mystery of ville. He is the winner of the 1995 Strassenfest Poetry Slam and his Chessboxin," Enter the Wu-Tang (36 work has appeared in several literary supplements of the Louisville Ec­ Chambers) (1993) centric Observer, as well as the Lexington, Kentucky based publication, One perspective on the c~tural Technique. space(s) which this .essay ~l at­ tempt to investigate is prov1de.d by Katherine Metzo is a Ph.D. candidate in the Department of Anthropol­ a scene from a recent moVIe: a ogy at Indiana University. young adult male in a fifth~story apartment can be seen plac~g .a Peter Neufeld is the co-founder and co-editor, along with the poet Eric pair of large audio ~peakers m his Frost, of Melodeon Poetry Systems which publishes a chapbook series open window, facing outwards. and a journal. He is currently completing a graduate degree in Ameri­ Clad in a T-shirt with the emblem can Literature at San Francisco State University. His new book, Learning for L.A.-based rap group Cypress from Catastrophe, is due out this summer. Hill the man is standing in front of a tu~ntable system and preparing to Editor's Note spin vinyl records: he is a DJ. A "disk-jockey," of course, is Many thanks to: Brandon Claycomb for editing the interviews; Kelli McAllister for editing the literary submissions; Lisa Stein for editing someone who plays records con­ the book reviews; Chris Metzo for her art editorship; Jamie Sadler for secutively on the radio, or at parties and dance clubs. But this guy is a handling correspondence; Amy Wright, Lisa Stein, Chris Metzo, Mary Curran, and Debra Lundberg for endless copy editing; Debra Lundberg hip-hop DJ, which means that ~is art and Laurel for production assistance; Sandra Anders for guidance with involves much more than simply printing; Profs. Mortensen, Natter, Jones, and Schatzki for their counsel putting on one record after another; a h ip-hop DJ usually has several and advice; the collective for its diligence; and especially the contribu­ tors for their excellent submissions. -Carl Dahlman disks spinning simultaneously on the turntables, which must be 15 Flelderl !Articulating the Hip-Hop Nation mixed together during performance. The records include various 2 "samples"-rhythmic and melodic riffs borrowed from other musical the lyrics of US artists. At the same time, however, the genre has often genres (such as soul or jazz) or from other hip-hop artists, but also been adapted by artists into an expressive response to highly localized sounds fr.om s~urces as varied as public speeches, television programs social and political realities. In this way it has become a stridently po­ and movies, video games, etc.-which provide the aural background lemical voice by which urban subcultures in different countries have o~er .which the. "rap.pers" deliver their lyrics (either "freestyle" impro­ articulated outspoken critiques of particular nationalist agendas. The visation, or recited lines written beforehand). Hip-hop music originally present essay will attempt to address the most salient issues at stake in emerged from the boroughs of New York City during the 1970's and the global popularity of this musical form by analyzing the specific has evolved rapidly ever since: rapping has become (in some locales) an ways in which it has been employed and, at times, transformed by extremely complex verbal art form, and the DJs have continually trans­ French hip-hop artists (the vast majority of whom are descendants of formed production techniques by incorporating the latest advances in immigrants from former French colonies in Africa and the Caribbean). digital sound technology. Simon Frith, who has done extensive work with the roles that music . But ~he film s~ene described above reveals what might seem at first plays in the socialization of young adults in British towns, has argued like an incongruity. As soon as the DJ begins the music, the camera that "for young people, at least, music probably has the most important showing us his performance takes flight through the window and hov­ role in the mapping of social networks, determining how and where ers in mid-air, offering a panoramic vista of an inhospitable urban land­ they meet and court and party" (177). Concentrating on the extreme scap~: not Brooklyn or Philadelphia or even Los Angeles, but rather a popularity of so-called "ethnic music" among marginalized youths in low-mcome housmg project outside Paris. The rapping is done in an England, Frith comes to the following conclusions: angry, staccato French, and the samples played by the DJ include nei­ ... by choosing from, operating w ith (and perhaps subverting) musical ther James Brown nor Thelonius Monk, but rather Edith Piaf and the practices that carry wider cultural messages .... young people ... situate Beastie Boys. The scene is from Mathieu Kassovitz's 1995 film La haine themselves historically, culturally, and politically in a much more complex (Hate), a '95 Cannes award-winner (for Best Director) which dramatizes system of symbolic meaning than is avall able locally. (176-77) the hostile realities faced by children of families immigrated to France From this perspective, musical genres such as reggae, hip-hop, punk, ~om former c~lonies i~ North and West Africa. The youths' speech is funk, etc.-which have developed in response to the hegemonies op­ mter~persed wi~h English expressions current in rap music, they wear erative in specific political and cultural contexts-can be appropriated clothing and hairstyles popular in US urban culture, and they even pay by groups in different (yet similar) social circumstances as a viable eame~t ho~age to the "break-dancipg" moves developed by the first means of articulating cultural difference from the mainstream norm. American hip-hoppers in New York. Frith's propositions would seem to confirm the contention that, in If all o.f .this ~eems a ?it strange from an outsider's perspective, for our postcolonial/postmodern world, " the global circulation of images those fa~l.1ar with the hip-hop (sub)culture, the international scope of and sounds, goods and people... 'deterritorialize' the process of imagin­ rap music is alr~ady old news. As Paul Gilroy points out, hip-hop has ing communities" (Shohat and Stam 7). In this sense, the appropriative b~en a transnational phenomenon from its inception, when the inge­ gesture which has established hip-hop in France might be read as an af­ ruous sound system~ firs.t brought to the South Bronx in the 1970's by firmation of the possibilities for immigrant communities living there to reggae d.ub-masters nrurugrated from Jamaica were quickly adopted by "map" the networks of an alternative (and even oppositional) space of local artists to create tracks by interweaving sound bites from previ­ identification, a "subnation" founded precisely on the transnational af­ ously-recorded songs (33-34). Since that time, the influence of hip-hop filiations mobilized through rap music. However, in the light of work has spread around the globe with head-spinning speed; rap music is currently being done in a number of different disciplines, we should be now.both ~onsumed and.produced by youths in Tokyo, Sydney, Rio de aware of another quite valid interpretation of the global scope of this Janeiro, Kingston, Madnd, London, Paris, and Berlin to name just a cultural form. few cities. ' Arjun Appadurai, for instance, argues that, as national boundaries In many. cases, hip-hop artists in these locales have "mimetically" are becoming more fluid and new "spaces" (or "globalscapes") are cre­ refle~ted a~titudes ~d con.cerns more apposite in Compton or Queens ated by global structures of power, the frontiers demarcating cultural than in.
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