The popular perception that rap music is an expression of the African Americans’ struggle for social equality seems to have some basis. This is especially true when considering that rap music originates, or at least become popularized, by Black artists who have expressed their racial sentiments through songs that have become expressions of their racial opinions, such as those concerning bigotry. Such is the case in the popularity of Tupac Shakur and the rap group, Public Enemy, specifically on how the Black Americans are able to relate to their songs’ themes on racial bias suffered by Blacks under a supposed democratic environment of the United States. This is especially observable in the songs “911 is a Joke” and “Ghetto Gospel”, which are replete with messages about how African Americans hope to be treated fairly by the ruling White majority in the very society they regard as home. For these reasons, it can be argued that despite of its general penchant towards violence, rap music is a positive social agent because it provides a chance for the society to understand African Americans’ view on their social standing, thereby offering possibilities for social awakening to happen.
It cannot be denied that African Americans have suffered tremendously in almost all epochs of the nation’s history. Starting with the slave trade of previous centuries, the Blacks have only recently enjoyed some semblance of social equality, such as with the right to vote and in education, that had been denied in the past. However, it would be erroneous to state that Blacks at the present age truly enjoy the same privileges as the Whites. This can clearly be observed by the manner that Black rappers express themselves in their songs, such as Public Enemy’s “911 is a Joke”. Here, the lines wherein the rapper calls 911 to ask for help with an emergency observes that “Don’t you see how late they’re reacting / They only comewhen they wanna / So get the morgue truck and embalm the goner” (911 is a Joke, 1990) definitely proves a point. More than suggesting 911’s inefficiency in terms of providing competent service, the aforementioned lines imply a racial bias, in that 911 shows laxity in providing help to Black communities. As such, this revelation on the injustice perpetrated towards Blacks benefits the society by being aware that this sentiment even exists. This likewise provides avenues by which social corrections can be made; in hopes that the lines of “911 is a Joke” can instigate positive social changes.
The benefit that can be gained from the ‘awareness’ that rap music brings can be personal, social and even political in nature. Rachel Sullivan, in her journal article for Journal for Black Studies, emphasizes this point when she stresses that rap articulates their concerns about “access to public space and community resources” (Sullivan, 2003, p. 607). This theme on racial inequality can also be observed on how Public Enemy’s song expresses this concern: “They are the kings cause they swing amputation / Lose your arms, your legs to them it’s compilation” (911 is a Joke, 1990). Here, it must be noted that the word ‘they’ is meant to denote the White majority who perceives themselves as ‘kings’ who can relegate the Blacks according to their own choosing. However, it can be said that this portrayal is constructive despite of the negative imaging of the American society, because it allows the audience to realize that a gap exists in the society that needs to be corrected. Hence, there is hope of further improving the African Americans’ social standing by stressing on its negative aspects, such as what is commonly emphasized in rap music.
Moreover, rap music is also able to convey the African American side of the racial equation, specifically their desire for a peaceful and progressive cohabitation with the White majority. The legendary rap artist, Tupac Shakur, is very explicit in this aim when he declares in his song, Ghetto Gospel, “there’s no need for you to fear me / If you take your time to hear me / maybe you can learn to cheer me / it ain’t about black or white” (Ghetto Gospel, 2005). Indeed, in the said song there is a clear intention from Shakur to correct the wrong image of African Americans, especially since “more rappers were packaged as violent black criminals” (Samuels, 2004, p. 164). Hence at least in the case of Ghetto Gospel, rap music can be considered as beneficial to the society because of its intent of erasing and eventually correcting the wrong social impression that Blacks are violent, and even brutal, people. In this respect, it is indeed uplifting to realize that there are efforts from esteemed Black rap artists themselves to convey a message of peace and avoidance from violence.
Shakur’s song is also concerned about correcting White Americans’ perception against Blacks. This is parallel with how the author, David Samuels, describes the current social condition in the US, wherein “despite progress toward equality, blacks still did not quite belong in white America” (Samuels, 2004, p. 149). Making the American public understand how the Black people truly feels in terms of achieving racial harmony is important given the tendency of Blacks to be relegated to inferior social class. As such, the lines “there’s no need for you to fear me” (Ghetto Gospel, 2005) exemplifies Shakur’s desire to be understood, and hopefully for Blacks to be treated with the same respect as the Whites. This dilemma is likewise expressed by Stephney, Public Enemy’s executive producer, when he laments, “We were suburban college kidsbut we were always made to feel like something else” (Samuels, 2004, p. 149). Thus, the negative representation being suffered by Black Americans and being socially misunderstood are the prime concerns of the lines from Shakur’s abovementioned song.
However, it still cannot be denied that rap songs also have the penchant for promoting violence and racial hatred, specifically against Whites. In fact, even Black leaders, C. Deloris Tucker and Reverend Calvin Butts among other, express their growing apprehension that “rap music promotes violence and misogyny” (Sullivan, 2003, p. 608). As such, violence may be the basis for the lines “So get the morgue truck and embalm the goner” (911 is a Joke, 1990), with emphasis on murderous aggression in the words ‘morgue’ and ‘embalmer’. Also, it must be noted that Shakur postulates that a reason for the violent theme on his song is because “We jump into another form of slavery” (Ghetto Gospel, 2005), hence necessitating some Black rappers to retaliate and try to get even through their songs. Indeed, cases such as these where violence is promoted in rap music strengthen the argument that rap is a destructive social force. This may even be the reason why former Vice President Dan Quayle and former President George H.W. Bush, had expressed fear that rap music promotes violence (Sullivan, 2003, p. 608). Hence, while Shakur and Public Enemy pursue to correct the racial ills against Black Americans, it is also true that their songs contain a certain amount of provocation if and when necessary.
However, the arguments presented by Quayle and Bush may be founded on shaky grounds. After all, there had been numerous instances even in contemporary times where the Blacks had suffered from racism in the delegation of public services, as expressed by the Public Enemy’s song. As such, this suggests that rap music simply retells what the rappers see in their communities; these songs are not figments of their imagination, but rather are true-to-life depictions of actual events.
The main social benefit attainable from rap music is the awareness that the Blacks are still deprived of equality and basic human rights. This awareness, albeit perplexing, open rap audiences to the sufferings of Blacks and in the process hope for changes to be implemented. Hence, the instances where Public Enemy laments of the sluggishness of 911 when confronted with Black callers and Shakur’s call for understanding are not intended to mock and ridicule the Blacks, but to make the listeners recognize that true racial equality is yet to be achieved in the African Americans, despite of the supposed freedom and democracy tenets of the United States.
References
Flav, F., Shocklee, K., & Sadler, E. (1990). 911 is a joke [Recorded by Public Enemy]. On Fear of Black Planet. USA: The Bomb Squad.
Samuels, D. (2004). The rap on rap: The ‘Black Music’ that wasn’t either. In That’s the joint! The hip-hop studies reader (pp. 147-153). New York, NY: Routledge.
Shakur, T., John, E., & Taupin, B. (2005). Ghetto gospel [Recorded by Tupac Shakur and Elton John]. On Best of 2Pac Part 2—Life.
Sullivan, R. (2003). Rap and race: It’s got a nice beat, but what about the message? Journal of Black Studies, 33(5), 605-622.
