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"The Chain Remain the Same": Communicative Practices in the Hip Hop Nation Author(S): Geneva Smitherman Source: Journal of Black Studies, Vol

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"The Chain Remain the Same": Communicative Practices in the Hip Hop Nation Author(s): Geneva Smitherman Source: Journal of Black Studies, Vol. 28, No. 1 (Sep., 1997), pp. 3-25 Published by: Sage Publications, Inc. Stable URL: http://www.jstor.org/stable/2784891 . Accessed: 20/04/2011 07:38 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=sage. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Sage Publications, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Journal of Black Studies. http://www.jstor.org "THE CHAIN REMAIN THE SAME"1 CommunicativePractices in theHip Hop Nation GENEVASMITHERMAN MichiganState University Itis truethat the nature of society is tocreate, among its citizens, an illusionof safety;but it is also absolutelytrue that the safety is alwaysnecessarily anillusion. Artists are here to disturb the peace. Baldwin(1992) The termhip-hop refers to urbanyouth culture in America. Hip-hopis manifestedin suchcultural productions as graffitiart, breakdancing, styles of dress (e.g., baggy pants, sneakers, Malcolm X caps,appropriately worn backward), love ofb-ball (basketball), andso forth.Although the Hip Hop Nationis predominantlyBlack, Latinoscomprise a significantminority within this nation. Three differentNew York artists have been credited with coining the term hip-hop(which dates back to the 1970s): Busy Bee Starski,DJ Hollywood,and DJ Afrika Bambaataa (founder of the Zulu Nation in New York).It is uncertainwhich of the three is theoriginator of theterm, but according to Kool DJHerc (January 24, 1994,personal communication),the acknowledged father of hip-hop, "only these threecould argue it." Fernando (1994) indicatesthat the term was givenbroad popular exposure by "Rapper'sDelight," the first commerciallysuccessful rap song, which was released by the Sugar AUTHOR'S NOTE: An earlierversion of thisarticle was presentedat the "Englishin Africa" Conference, Grahamstown, South Africa, September 1995. JOURNALOF BLACK STUDIES, Vol.28 No. 1, September1997 3-25 C 1997 Sage Publications,Inc. 3 4 JOURNALOF BLACK STUDIES /SEPTEMBER 1997 Hill Gangin 1979.2The songfeatured the lyrics: "With a hip,hop, thehipit, the hipidipit, hip, hip, hopit, you don't stop" (p. 13). Rap musicand rappers-such as Treachof Naughty by Nature, Ice Cube (aka Cube),formerly of NWA [Niggas Wit Attitude], P.E. [PublicEnemy], Ice-T, Queen Latifah,Snoop Doggy Dogg, Dr. Dre,Yo-Yo, Kam, 2 Pac-and othersare the artistic representatives of theHip Hop Nation.Through their bold and talentedproduc- tions,they are fulfillingthe missionof the artist:"disturb the peace." Of course,the United States Ghetto (USG) is a hotbedof unrest,dispossession, and powerlessness;so, forAfrican Ameri- cans livingon the margins,for this "underclass,"there is no "peace."What is beingdisturbed is thepeace of middle-class White andBlack America. Interestinglyenough, the term rap was originallyused in the AfricanAmerican speech community to referto romantic,sexual- ized interaction,usually originated by a man forpurposes of winningthe affectionand sexual favorsof a woman(see, e.g., Kochman,1972). By thelate 1960s,when the term crossed over intomainstream public language, it had lost its sexual innuendo and came to meanany kind of strong,aggressive, highly fluent, pow- erfultalk. One findsboth uses ofthe term in today'sBlack speech community,and of course, rappers represent both meanings in their artisticproductions. Rap musicis rootedin the Black oral tradition of tonal semantics, narrativizing,signification/signifyin, thedozens/playin the dozens, Africanizedsyntax, and othercommunicative practices. The oral traditionitself is rootedin the survivingAfrican tradition of "Nommo"and the powerof the wordin humanlife (see, e.g., Dance, 1978; Dundes, 1973; Gwaltney,1980). The rapperis a postmodernAfrican griot, the verbally gifted storyteller and cul- turalhistorian in traditional African society. As AfricanAmerica's "griot,"the rapper must be lyrically/linguisticallyfluent; he or she is expectedto testify,to speak the truth,to come wit it in no uncertainterms. Further, in theearly formation of rapmusic, the rapperwas expectedto speakwith a quickness. Smitherman/COMMUNICATIVE PRACTICES 5 Therate of speech in rap must be constantin order to correlate it withthe beat of the music.... A rapsong averages one hundred forty-fourbeats per minute ... eachbeat of the music can be corre- latedto a stressedsyllable. If the number of unstressed syllables is equalto the number of stressed syllables in a rapsong, the rapper uttersa minimumof twohundred and fifty eight syllables per minute.(Yasim, 1995, p. 38) A blend of realityand fiction,rap musicis a contemporary responseto conditionsof joblessness, poverty, and disempower- ment(Smitherman, 1994), which continue to be thenorm for the Black UN workingclass. A culturalcritic, describing himself as fromthe "front lines of the White Struggle," provides this descrip- tion of rap music: "[It is a rebellionagainst] white America's economic and psychologicalterrorism against Black people" (Upski,1993). Morgan (in press)expresses it this way: "Petulant, raw,and screaming with vibrant and violent images ... [rapmusic] representspeople who are angry that the power apparatus tried to buryit alive." Givenits mission "disturbthe peace"-much ofrap music has a moraledge. As PoorRighteous Teachers (a Five PercentNation rapgroup3) says, "The gods are rulingup in hip hop" (quotedin Ahearn,1991). This music has becomea-or, perhapsthe-prin- cipalmedium for Black youth to "express their views of the world" and to seek to "createa senseof order"(Allen, 1996) out of the turbulenceand chaos of their,and our,lives. Despite the 1990s' emergenceof guns,violence, misogyny, and overusedtaboo lan- guagein rap music, the founding mission of rap remains that clearly reflectedin Rapper Grandmaster Flash and the Furious Five's 1982 hitsong, "The Message." Here they decry, for all theworld to hear, thedeplorable conditions of the hood: Brokenglass everywhere, Peoplepissin on the stair, Youknow they just don't care. I can'ttake the smell, I can't take the noise ... Don'tpush me cause I'm closeto the edge, 6 JOURNALOF BLACK STUDIES /SEPTEMBER 1997 I'm tryingnot to lose my head. It'slike a junglesometimes Itmakes me wonder HowI keepfrom going under. (used by permission, Sugarhill Publish- ingCompany) For contemporaryBlacks, then, as Naughtyby Natureraps, the chainremains the same as in enslavement. [Introduction]:I think it's about time you explained to everybody the realreason you wear this chain aroundyour neck ... [Treach]:Too many of my people got time Itshows as crimeunfolds ... theirgoals locked in a facilitywhere time is froze Godknows the heart hurts To seeno sky, just dirt Theygive a mana cellquick before they give a manwork ... Barsand cement instead of help for our people Jailsain nothin but the slave-day sequel Tryinto flee the trap of this nation Seeinpenitentiary's theplan to plant the new plantation ... Who'slocked up, who's shot up, who's strung out, who's bleedin-keepreadin I needto explain:the chain remain the same ("Chains Remain," Naughtyby Nature, 1995; used by permission, ? 1995 WB Music Corp.[ASCAP] & NaughtyMusic [ASCAP]) Thereis currentlyafoot a concertedcampaign against rap music despiteits political and moralmessages and itscelebration of the Black oraltradition. On June5, 1993,African American minister ReverendCalvin Butts held a "rapin" in Harlem,New York,to whichhe hadinvited participants to bringoffensive tapes and CDs tobe runover with a steamroller.(The steamrollereffort was foiled by membersand supportersof theHip Hop Nationwho blocked thesteamroller. Reverend Butts and supportersthus took the pile ofCDs andtapes to the Manhattan office of Sony and dumped them there.)In 1994,Dr. C. DeloresTucker, head of the National Political Smitherinan/COMMUNICATIVE PRACTICES 7 Congressof Black Women,was successfulin gettingthe U.S. Congressto hold hearings against rap music. She joined forces with a Whitemale conservative, former Secretary of Education William Bennett,to mountan all-outcampaign against rap music. By late September1995, Tuckerand Bennetthad succeededin forcing TimeWarner to sell offtheir interest in Interscope,the recording companyfor the most prominent of the "gangsta" rappers. Admittedly,rap has its violence,its rawlanguage, and its mi- sogynisticlyrics. However, it is an artform that accurately reports "thenuances, pathology and most importantly, resilence of Amer- ica's best kept secret . .. the black ghetto"(Dawsey, 1994).
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