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The Crossover

Highways wrap around the city of Dayton, Ohio, like a ribbon bow-tied on a box of chocolates from the local Esther Price candy factory. They have six ladies at the plant who do just that: Tie ribbons around boxes all day. Henry Rosenkranz can tell you about it. "I love candy," says Henry, a slim white teenager in glasses and a hairnet, as he strolls the factory, bucket in hand. His full-time after-school job is mopping the floors.

Henry is a model American teenager and the prototypical consumer at which the hip-hop industry is squarely aimed, which has his parents sitting up in their seats. The music that was once the purview of black America has gone white and gone commercial all at once. A sea of white faces now rises up to greet rap groups as they perform, many of them teenagers like Henry, a NASCAR fanatic and self-described redneck. "I live in Old North Dayton," he says. "It's a white, redneck area. But hip-hop is so prominent with country people . . . if you put them behind a curtain and hear them talk, you won't know if they're black or white. There's a guy I work with, when Kanye West sings about a gold digger, he can relate because he's paying alimony and child support."

Obviously, it's not just working-class whites, but also affluent, suburban kids who identify with this music with African-American roots. A white 16-year-old hollering rap lyrics at the top of his lungs from the driver's seat of his dad's late-model Lexus may not have the same rationale to howl at the moon as a working-class kid whose parents can't pay for college, yet his own anguish is as real to him as it gets. What attracts white kids to this music is the same thing that prompted outraged congressmen to decry jazz during the 1920s and Tipper Gore to campaign decades later against violent and sexually explicit lyrics: life on the other side of the tracks; its "cool" or illicit factor, which black Americans, like it or not, are always perceived to possess.

Hip Hop PalestineHip-hop has continually changed form, evolving from party music to social commentary with the 1982 release of Grandmaster Flash and the Furious Five's "The Message." Today, alternative hip-hop artists continue to produce socially conscious songs, but most commercial rappers spout violent lyrics that debase women and gays. Beginning with the so-called gangsta rap of the '90s, popularized by the still unsolved murders of rappers Biggie Smalls and Tupac Shakur, the genre has become dominated by rappers who brag about their lives of crime. 50 Cent, the hip-hop star of the moment, trumpets his sexual exploits and boasts that he has been shot nine times.

"People call hip-hop the MTV music now," scoffs Chuck D, of Public Enemy, known for its overtly political rap. "It's Big Brother controlling you. To slip something in there that's indigenous to the roots, that pays homage to the music that came before us, it's the Mount Everest of battles."

Most rap songs unabashedly function as walking advertisements for luxury cars, designer clothes, and liquor. Agenda Inc., a "pop culture brand strategy agency," listed Mercedes-Benz as the number one brand mentioned in Billboard's top 20 singles in 2005. Hip-hop sells so much Hennessy cognac, listed at number six, that the French makers, deader than yesterday's beer a decade ago, are now rolling in suds. The company even sponsored a contest to win a visit to its plant in France with a famous rapper.

In many ways, the music represents an old dream. It's the pot of gold to millions of kids like Henry, who quietly agonizes over how his father slaves 14 hours a day at two tool-and-die machine jobs to make ends meet. Like teenagers across the world, he fantasizes about working in the hip-hop business and making millions himself.

"My parents hate hip-hop," Henry says, motoring his 1994 Dodge Shadow through traffic on the way home from work on a hot October afternoon. "But I can listen to Snoop Dogg and hear him call women whores, and I know he has a wife and children at home. It's just a fantasy. Everyone has the urge deep down to be a bad guy or a bad girl. Everyone likes to talk the talk, but not everyone will walk the walk."


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