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Bigger Than Hip-Hop: Music and Politics in the Hip-Hop Generation

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Bigger Than Hip-Hop: Music and Politics in the Hip-Hop Generation Copyright by Marnie Ruth Binfield 2009 The Dissertation Committee for Marnie Ruth Binfield Certifies that this is the approved version of the following dissertation: Bigger Than Hip-Hop: Music and Politics in the Hip-Hop Generation Committee: Janet Staiger, Supervisor Jennifer Fuller Mary Kearney Jürgen Streeck Christine Williams Bigger Than Hip-Hop: Music and Politics in the Hip-Hop Generation by Marnie Ruth Binfield, B.A. M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2009 Dedication To Zoe and Harper The Future Acknowledgements My deepest thanks and gratitude are due to the members of the National Hip Hop Political Convention, especially to those who continue to grind for the NHHPC. Thank you for inviting me into the community and for sharing your beliefs, your dreams, and your disappointments. Props to the Austin crew for always stepping up when I had questions and needed help. Thanks especially to KC, Debbie, and Clifford for always representing and always holding it down. Austin is lucky to have y’all. The Carver Library and The Victory Grill regularly supplied meeting spaces, for which I am grateful. Mystic quickly responded to my request to quote her lyrics and kindly read an earlier draft of chapter three. Thanks to her for permission to use her work and for her interest in mine. All of my committee members have been patient and constructive as I worked through the challenges of researching and writing while raising a family. I deeply appreciate their support and their constructive criticism. My advisor, Janet Staiger, has consistently offered encouragement and helped me to feel that I could succeed even when the work was especially difficult. Thank you, Janet. I cannot imagine anyone better to work with. v Thanks to my mom, who is always interested in what I am doing and always asks lots of questions. Thanks as well to my mother-in-law whose help with the kids assured that I had the time necessary to travel, to concentrate, and to write. Moms might not make the world go ‘round, but the definitely make sure it keeps going. The community that sustains me in Austin is awesome. Y’all know who you are and I love you. And, of course, much love to my man, Aaron. We worked hard and we did it. We both know I would not be where I am without you. I am not even going to try to list your contributions, but will just say thanks for it all. This is yours, too. And I love you. With Love and Respect, Marnie vi Bigger Than Hip-Hop: Music and Politics in the Hip-Hop Generation Publication No._____________ Marnie Ruth Binfield, Ph.D. The University of Texas at Austin, 2009 Supervisor: Janet Staiger In 1988, rap group Public Enemy’s front man Chuck D declared that hip-hop was the “black CNN.” His assertion was that hip-hop music could be used as a tool to disseminate information amongst communities that traditionally have been underserved by mainstream media outlets. In the years since, several explicitly political and activist groups have formed within hip-hop communities. Most hip-hop audience members are not, however, directly involved in such groups. My dissertation investigates the links between hip-hop music and culture and politics in the lives of audience members, exploring audience member’s definitions of politics and community and examining the influence of hip-hop on these definitions. This is an ethnographic project that includes participant observation as well as in- depth interviews with self-identified hip-hop fans. Participant observation took place at two National Hip-Hop Political Convention conferences, in Austin at concerts, panel discussions, and other hip-hop oriented events, and online in an email listserv devoted to vii hip-hop and politics. Interviews address listening and other practices that serve to connect individual members to hip-hop communities. In addition, I asked participants to explore their definitions of “politics” and to comment on connections between music and politics from their individual perspectives. Finally, participants were asked to list issues of particular concern to them. This is an interdisciplinary project that combines aspects of sociology, cultural studies, and popular music studies. I also rely upon Patricia Hill Collins’ concept of intersectionality, assuming that race, class, and gender each work together to contribute to audience members’ experience with hip-hop music and culture and their sense of belonging to the hip-hop community. This project contributes to understandings of music reception as well as to understanding political affiliation and practice by exploring and describing the ways in which people register and experience music and politics in the hip- hop generation. viii Table of Contents Chapter 1: “What’s the Scenario?”: Studying Hip-Hop and Politics......................1 Review of Literature....................................................................................5 Popular Music Studies within Cultural Studies....................................5 Black Popular Music.........................................................................19 The Politics of Hip-Hop Music..................................................................29 Methods ....................................................................................................37 Research Design........................................................................................40 Convention Meetings, Listserv Members, and Austin Participants.............44 Chapter Outline .........................................................................................50 Chapter 2: Hip-Hop Music, Community, and Politics.........................................53 What is Hip-Hop?: Defining a Genre.........................................................54 Hip-Hop Communities ..............................................................................59 The Role of Hip-Hop and Social Movements.............................................72 How Hip-Hop Music Works Politically .....................................................74 Chapter 3: Political Lyrics and Hip-Hop’s Contributions to Social Change Movements................................................................................................84 The Roots of Political Hip-Hop .................................................................86 Hard Times Old School .............................................................................89 Hip-Hop Feminism....................................................................................91 Black Nationalism and Afrocentrism .........................................................92 Public Enemy ............................................................................................94 Gangsta Rap ..............................................................................................96 Conscious Rap.........................................................................................102 Political Lyrics and Community Building................................................106 Challenges to Making Political Music Effective ......................................113 Chapter 4: Hip-Hop’s Political Concerns..........................................................124 Violence and Police Brutality ..................................................................130 ix Economics...............................................................................................134 Media Justice...........................................................................................138 Identity Politics .......................................................................................144 Coalition Building ...................................................................................152 Chapter 5: Electoral Politics, Grassroots Activism, and Hip-Hop Leadership ...158 To vote or not to vote ..............................................................................158 Grassroots Politics...................................................................................169 Leadership...............................................................................................174 Politicians as Leaders ..............................................................................181 Community Leaders ................................................................................186 Rappers as Leaders..................................................................................188 Chapter 6: Breaking It Down............................................................................194 Who Is Hip-Hop? ....................................................................................196 Problems in the Creation and Maintenance of Hip-Hop Communities......201 The Failure of the National Hip Hop Political Convention.......................204 Hip-Hop Music and Its Political Potential................................................208 Telling Stories Is Not Enough..................................................................212 Hip Hop is Failing to Make Good on Its Promise.....................................215 Hip-Hop Is A Tool ..................................................................................223 Future Research.......................................................................................225 Bibliography ....................................................................................................228
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