Wednesday, November 22, 2006

Essay – Drawing the Line: Victims, Violence and Hip-Hop

Hey, I just wrote the first version of this essay, I guess for my weekly reflection on Hip-Hop, it deals pretty seriously with race relations and contains some swearing; if you don’t want to read that, don’t read this essay.

Drawing the Line: Victims, Violence and Hip-Hop

I am white. I would like to say that when I got mugged, it was an exception to stereotypes. I wish I could say that people’s prejudice couldn’t walk all over me, that I didn’t have to rethink my beliefs. Sadly, it wasn’t and I can’t. The only thing that was “exceptional” about me being mugged is that it happened at three in the afternoon, broad daylight, on a Sunday on a street that was populated with passers-by and shoulder-to-shoulder apartments.

I was walking down the street, alone, talking on my cell phone, as I was about to enter a community center I am involved with. Two African-American boys were walking my way—about 14 years old, dressed in billowing baggy clothing with the clumsy strut of the inner city and a fad pop culture that has been overblown. One of the boys was carrying a one-by-two piece of wood that was about four feet long. “That’s weird,” I thought to myself, smiling and talking to my friend who was in town from New Orleans. Raised on the discourse of liberal egalitarianism and the ideals of acting against prejudice, I decided, as I have so many times, that I was not going to cross the street. I would not submit to those “subtle forms of oppression”—the pervasive racism that creeps along the skin of America, like hives, or maybe a rash. As we were passing each other, in an instant the first boy (and I do emphasize, this was a little boy) turned and demanded I give them my money, and the second hit me across the temple with the piece of wood. My cell phone plummeted from my hand, breaking on the ground, and I swooned, catching my balance. “Hey, hey, hey!” Yeah, I quoted Fat Albert—it wasn’t intentional. The boy with the piece of wood hit me again, I blocked it with my hand; he hit me again, breaking the wood on my head. “Give us your money,” he repeated. Spiteful and angry, I was finally able to say, “I don’t have any money!” I lied—I found out later I had one dollar and eighty rupees left over from a trip to India (about two USD).

A man had pulled up in a car, honking. I don’t know what he said, but the kids stopped hitting me, pulling away to think for half a moment. The man started to pull away, and I hollered, “No, wait!” I saw the boys turned and kept walking down the street. “Thank you!” I added, wondering what I could say to the man who was driving off. I picked myself up—“Fuck… Jesus fuck.” I grabbed my cell phone off the ground, glad that I had worn my contacts that day, or I’d be picking up broken glasses, too. As I stepped away, I glanced at my phone, the back of the phone and the battery had fallen out. I turned around, hesitating. The kids were walking on, in that stupid strut. I cautiously and quickly doubled back, grabbed the battery and its cover, and hurried back towards the community center, the kids and I both headed in the direction we had been two minutes earlier.

Walking into the center, I found my friend who was in from volunteering with Katrina-affected areas. Both of us volunteer with the Art of Living Foundation, we work a lot towards teaching inner city youths several self development programs including stress management techniques and supporting them in finding direction in life. My friend had been working in trauma relief and youth program in New Orleans, and she was in Washington for a couple weeks helping to renovate the community center that the Foundation had recently purchased. Some callous DC paramedics came to the center, probably called by that passer-by who had really saved me. One paramedic seemed to not believe me; infuriated, I sent them away. My friend and I went for coffee.

“These poor kids, they feel like they have no options in life. It’s so stupid and ironic, I would love to sit with these kids on a course, learning meditation and yoga.”

“You know, it’s bullshit, because these kids only attack me for a little money or what they think I represent.”

“I guess it’s good it was me and not someone else—I can experience that without hating the kids, without really holding on to that experience, without letting it make me racist or paranoid or something.” I said a thousand things, just talking, trying to think about the event.

“Wow, you really got me thinking about all this, Sean.” My friend said. I wasn’t sure if she was humoring me. She talked about some people who had gotten mugged at gunpoint while working in New Orleans. She talked about one of our friends who was really active in the black communities in Washington.

“It’s funny because I’m not really the victim, here… you know? These kids have life so hard, and I’m… you know, it’s all relative… but really, I mean all of us… we’re all so privileged… I mean…” Across the street from Starbucks, as cars quickly passed by, I was at a loss.

“Yeah, we are all really privileged…” She couldn’t complete the thought either.

The black boy working the bar at Starbucks gave me some attitude when I asked for whipped cream on my gingerbread latté, the way that I’m sure it is supposed to be made; I worked at Starbucks for two years. Because he had also added foam, when he put the lid on the drink, it spurted out and covered the cup in overflowing sugary-sweet latté; he handed me the dripping drink. “Umm, can I have a second cup for this?”

After ten or twenty minutes, we walked back to the center. We meditated and sang some prayers. I had been very afraid of falling asleep—the paramedics had warned me of the symptoms of head trauma, so I didn’t completely relax, though I was so tired. I let my friend know that I had to go—I had to study for a final exam that was the next day. After a few offers to drive me back to the suburbs in Virginia, (and my stubborn insistence to go alone) I was off. On the road I called the advice nurse at George Mason University before heading into the study group. When asked about the appearance of my bruises, I looked for the first time at both sides of my index finger. “Oh it looks like shit, it’s black, I didn’t see that before.” What kind of pain is it? “Unpleasant!” The nurse and I both laughed. “Umm, my finger is throbbing. My head just hurts pretty bad, but my finger is throbbing.”

Instead of studying, I spent about two and a half hours in Kaiser Permanente’s emergency clinic. My sister and brother-in-law came to wait with me after I called them. As we talked in one of the waiting rooms that we were sent to, a young black man waited with his mother for her x-rays, he was obviously over-hearing our conversation as his head turned back and forth, glancing over his shoulder. I told them the story in the radiology waiting room. “These kids obviously aren’t good at it, they picked a college student—like I have money?” “Yeah, I guess they need to aim a little older!”

While I waited for the doctor, I called my mother. I found out that she would have to wake me every four hours that night, so I figured I would let her know what happened. “Did you file a police report?” “No.” Suppose that even if the kids had been caught, juvenile detention would only make matters worse for them—it would be more apathy and violence in their life, and maybe they would pick up more skills in crime. “Are you going to?” “No.” “Yes you are.” “No I’m not.” There was no point in explaining my feelings about the justice system in America. My Mom and I have very different viewpoints on a lot of social and political issues, and it’s not very productive to try and reconcile them. “We’ll talk about this tomorrow,” she concluded. We better not, I hoped.

After about a dozen x-rays of my head and both hands, the doctor said that I had a broken finger. She gave me a splint and a printout about head trauma and what was symptomatic of an emergency. “Yeah, so when I can’t read the paper, I need to come back in?” The doctor laughed, I smiled; I had to pee. I got home at about eleven in the night, it had been eight hours since the mugging.

Coming home, I went over the story with my parents. “That’s not the best part of DC, you know?” My stepfather has lived in the area for twenty years; he knows it better than I could ever hope to. “Yeah, it’s not a bad part of the city, either.” I pushed off to bed pretty quickly. Restless and unable to sleep well after midnight, I started reading through different books, looking for a quote by Sri Sri Ravi Shankar on karma that my friend had cited that morning, before the mugging. I found one quote I liked a lot:

“An ignorant person’s compassion is toward the fruit of an action – the sickness or suffering that he witnesses. But a wise person’s compassion is toward the lack of knowledge – the underlying reason for sickness or suffering. Compassion for suffering shows ignorance. Suffering comes because of karma, and if you believe in karma, where is compassion? One reaps the fruit of one’s actions.”

I slept at two or so, and was only interrupted by headaches or pain in my finger, and one check-in at five in the morning by my Mother, making sure my pupils weren’t dilated and that I could speak fluently.

So, where does this experience leave me? Cornel West and bell hooks are among my favorite authors. I love to hear Michael Eric Dyson speak. One of the things I love about being American is our ideal of equality in treatment and opportunity across communities, no matter how far-off that ideal is. I aspire to be a fierce liberal, a revolutionary, and someone who holds all people dear to heart, but what can any of that be worth if I don’t feel secure among a couple of black youths?

Of course I know that not every black man in the world is “out to get me.” I know that it is a minority of black people who resort to violence and crime, just like it’s a minority of any other racial group. I know that there is a lot of classism at hand also, or, as my sister challenged me in the waiting room, I assume there is classism at play—“These could have been kids who took the metro in, just looking to kill time,” she insisted.

Did I too readily give these children the benefit of doubt? Did I too readily ascribe to them a life filled with challenge and danger, a life without role models and a life with few opportunities? In an argument, my brother-in-law described me as “sorry for existing,” and that I felt guilty for the impact I make on the planet, “Why else would you be forgiving these kids who just attacked you? Why else would you talk about how hard they have it in life?”

Maybe he’s right. As the last few days have passed, and I’ve experienced a bit of sleeplessness here and a bit of nausea there, as I was ready to attack a person who startled me from behind, “Excuse me, could you tell me how to get to Dupont Circle?”, as I’ve paid out $40 or so in medical expenses for this experience and rearranged my life around lost study time and moments where I just needed some “time out,” in short, as I come to realize the extent that those ninety seconds effect my life in so many ways, I’ve also experienced a lot of anger about the incident. Anger is simply more pleasant than fear. I relive those moments on a Sunday afternoon, and I think, “What if I could have grabbed that stick from him?” I picture meeting up with the kids, only now I have a baseball bat. The reversal of tragic moments cascade in my mind. The violent aspirations of a helpless victim haunt me, in so many ways. My own violence and victimization unite me to my assailants—violent reactors that are victims of society, to pop culture, to ignorance. I am their victim, and maybe they think I am their victimizer, but regardless, they are victims, of so many things. Paul Farmer calls it structural violence in his book Pathologies of Power. Most of us just say it sucks.

So, I don’t walk on water—it poured rain today, I checked. There is an interplay between my ideals of forgiving saint and exacting vigilante. Maybe I couldn’t fulfill either role completely, and maybe neither role is safe on urban streets today. Maybe neither role is condoned by society—maybe society doesn’t want me to forgive, maybe I am supposed to become a crotchety conservative white boy or succumb to white liberal guilt. Maybe those roles better fulfill society’s vision for me—it’s dangerous to be open-minded and condemning, there is so little precedence!

Taking Hip-Hop Literacies this semester, we’ve talked a lot about understanding the origins of hip-hop, we’ve talked about the value of gangsta rap as communicating realities of life, and we’ve talked about the persistence of hard social conditions and the skepticism of politics and legit opportunities (what Cornel West describes as “nihilism”.) In response to some of that, let me try to draw the line here, to be that “open-minded and condemning” person, to seek to understand and not hesitate to interject moral and practical boundaries. This is my manifesto:

Wherein a social movement condones violent reactions and easy escapes, it is bullshit. Crimes against property and social class may be aimed against injustice, but they seek to fight injustice with unjust means of redistribution. If a people subscribing to the belief that the social class system in a society is unjust seek to sabotage that system and gain recognized symbols of power, status, and success, then they are immediately participating in the perpetuation of that system—they are, to paraphrase Audre Lorde, trying to dismantle the master’s house using the master’s tools.

Wherein the propagation of violence, classism, racism, sexism and heterosexism is defended by the pundits of a culture in attempt to allow the recirculation of these ideas to an increasingly large audience, it is bullshit. Hating others and condoning attacks on others can not be justified by any experience of social conditions that an artistic movement claims to arise from. In hip-hop, the angst of millions of children across the world is fueled by a few stale emcees talking about the life they participated in creating in Compton or the South Bronx. The refusal of any artistic movement to account for its own impact cancels any claim that its artists make to “represent reality.” They are not representing reality; they are creating their own vision of reality. If artists are creating a hard reality by means of claiming to represent a hard reality, then that artist is a perpetrator of violence on all the consumers that are victimized by their vision.

Hip-hop is dead. Any movement that claims roots in activism and “knowledge” that accepts guidance from prophets of violence, materialism and chauvinism is contradictory. Any contradiction that is grown to the scale of hip-hop can not survive, it must implode like any empire that has spread its possessive grasp too far. The sources of positive social change and artistic expression will automatically disassociate themselves from the victim-consciousness and powerlessness that pervade the nihilistic minds of pop culture. Two decades of emcees declaring that others are “fakin’ the funk” or, more simply, “frontin’” has left us ripe for a change. Like any other social and artistic movement, hip-hop has claimed its generation or two, and now the minds of the world are hungry. The consumers of creativity and culture must ask, what is the revolution that we will stage against hip-hop? That revolution will be my revenge; that revolution will be my offering of redemption.

Epilogue:

Somewhere in DC, maybe ten or fifteen miles from where I write this paper, those two boys are doing something. I don’t really know what, I can’t project that on them, but they are existing. We exist in separate worlds, but they collide so poetically, like a Hollywood movie (or a short essay.) I do wish these boys well. I know that at twenty-five years of age, odds are that black young men in the inner city will have been killed or imprisoned by the time they reach my age, and that they won’t be attending college. However, in the States, it is so often young black men in the inner city that start cultural revolutions, so I can close with this—I hope my two kids turn out to be the revolutionary type.

Thursday, November 09, 2006

Ch 8 - Zulus on a Time Bomb // Weekly reflection....

I thought this was a good chapter... it pairs well with the previous chapter about the boom in the record agency with "scouts" tracking down acts after sugarhill records / the sugarhill gang... it's a pretty different picutre-- FAB 5 FREDDY says on p 151 "I knew nobody had a sense or clue about anything because barely any real rap records had hit the market commercially, maybe 'Rappers Delight,' but nobody really understood it as like a scene."
And it was the picture of this as a vibrant scene that I liked about this chapter... graffiti in art galleries, how people came together to make documentaries and the reference to 'folkies'...
Being an ex-quasi-hippie and art school guy, I think I maybe just more readily relate to stories of installation peices and all that more than how Grandmaster Flash turned a toaster into a turntable with intuitive electrical engineering (umm... does anyone relate to that?)
The chapter goes pretty directly to the heart of our Greg Tate article-- talking about whether hip hop would become folk art or co-opted pop culture on p 158.... I think it would be really interesting to see what would the pop culture world be like and what would hip hop culture be like if hip hop had remained more of a local phenomenon... if that would make it more 'authentic'... (and would it be dominated more by manhattan folkies and suburban surveryors than the voices from the Bronx?)
I'm finding in reading the Chang text that it's hard to get a good sense of hip hop by reading these endless name-drops in b-boying, graff, DJing and MCing history... it's so confucsing and you don't get much of a sense of anyone's style or how this really all was distinct from modern hip hop culture... I'm glad we have had what multimedia stuff we've been able to use in class... Wish we could have more, though, on one hand, I want to understand hip hop culture like I understand all the sub culture of the rock and jazz world, and I realize that all of that is thr product of more than half my life learning names and styles... maybe I'll never really understand hip hop that way... what can I do about it? I guess it's better than if I were trying to fake the funk... :)

Hip Hop Turns 30-- Whatcha celebrating for?

I wanted to include the transcript from my chat about the “Hip hop turns 30” article by Greg Tate because I think it sums up what I would say about the article… I lost a bit of the transcript though because the chat was so long I guess the chat module truncates at a certain length, it starts with Eric and I discussing how hip hop has ‘declined’ into consumerism and what to make of it’s present in context of it’s roots….

>> how bout this
Eric Lindner>> in terms of where it has come from day 1 - we
should celebrate
Eric Lindner>> what it has turned into, we should mourn
Sean Moore>> how about this:
Sean Moore>> we should remember where it came from, analyze where
it is, and celebrate where it has potential to go?
Eric Lindner>> hmm
Sean Moore>> BUT
Sean Moore>> how well does that lend to the average hip hop consumer?
Sean Moore>> how well does that become accepted by inner city
kids where the question is still survival?
Eric Lindner>> how bout this
Eric Lindner>> lol
Eric Lindner>> that moiney that these records make
Eric Lindner>> need to fix
Sean Moore>> is the analysis of hip hop culture is necessarily
separate from the vibrancy of it?
Eric Lindner>> the inner city
Eric Lindner>> lol
Sean Moore>> right on... I can agree with that
Eric Lindner>> sicne they can breed it
Eric Lindner>> they can fix it
Eric Lindner>> IT being the images
Eric Lindner>> that are now in kids minds of themselves
Sean Moore>> what would hip hop look like if the inner cities
were uplifted?
Eric Lindner>> probably not be rapping about violence, bitches
and hoes anymore
Eric Lindner>> i mean, have u heard that song - this is off topic
- but its called do your chains hang low
Eric Lindner>> one of the few rap songs ive heard recently with
nothing bad in it
Eric Lindner>> its a song about your chains hanging low
Sean Moore>> but what do you think that line means?
Eric Lindner>> the bigger the chain, the better
Sean Moore>> I mean, I haven't heard the song, but it sounds
like the old call of "how authentic are you?"
Eric Lindner>> no not at all, its just some dumb song about the
bigger your chain is the better
Sean Moore>> It's an interesting claim on the bottom of the 2nd
page that hip hop connects the african world
Sean Moore>> I've only recently heard some south african hip
hop... it's good, but it seems pretty distinct from american
pop
Eric Lindner>> yeah i remeber seeing that
Eric Lindner>> so what do you feel the main points are in this
article
Eric Lindner>> we just went over one
Eric Lindner>> but i know theres another
Sean Moore>> For me I think it's analysis about what's good and
what's
Sean Moore>> "corporate
Sean Moore>> " about hip-hop
Eric Lindner>> ahhh, yes. makes sense
Eric Lindner>> HH has been engulfed by the corporate world
Eric Lindner>> in reading the article, its pretty clear
Sean Moore>> hrm.. I wonde rif hip hop has partially engulfed
the corporate world--
Eric Lindner>> the entertainment industry defitnitely got a shock
when it boomed
Eric Lindner>> well
Eric Lindner>> if you think about it, corporate engulfed it because
those white people who graduated college used it as a backbone
for $$
Eric Lindner>> in the past readings, that can be noticed
Sean Moore>> I wonder if the hypersexuality and misogyny and
bling-bling in hip-hop is a product of the corporatization
or if that was the logical extension of the original seed
of hip hop
Eric Lindner>> oh no doubt it is
Eric Lindner>> i agree with that
Eric Lindner>> i think its like this:
Sean Moore>> is which,,,
Sean Moore>> (you agreed with an either/or)
Eric Lindner>> eneratinment industry took over the HH world and
made it bloom. HH then, in turn, turned it into that first
quote we discussed
Eric Lindner>> its like.... mold
Eric Lindner>> it gets started and then feeds off what it starts
on and consumes it
Eric Lindner>> if that makes sense haha
Eric Lindner>> best analogy i could think of
Sean Moore>> I like this quote:
Sean Moore>> "If we woke up tomorrow and there was no hiphop
on the radio or on television, if there was no money in hiphop,
then we could see what kind of culture it was, because my
bet is that hiphop as we know it would cease to exist, except
as nostalgia. It might resurrect itself as a people's protest
music if we were lucky, might actually once again reflect
a disenchantment with, rather than a reinforcement of, the
have and have-not status quo we cherish like breast milk
here in the land of the status-fiending."
Eric Lindner>> that goes back to your point in the beginning
Sean Moore>> Yeah, but now I'm *right* ! :)
Eric Lindner>> oh shut up lol
Eric Lindner>> i think the ego is taking up spac ein this room,
i may have to leave ;) jk
Eric Lindner>> hmm
Sean Moore>> Hey man, I'm just doing my game...
Eric Lindner>> i saw a quote i liked, let me go find it
Eric Lindner>> Picking up where Amiri Baraka and the Black Arts
Movement left off,
Eric Lindner>> George Clinton realized that anything Black folk
do could be
Eric Lindner>> abstracted and repackaged for capital gain.
Eric Lindner>> there
Eric Lindner>> i think the fortunate white corporate america
fed off of this
Eric Lindner>> and turned it into what it is now
Sean Moore>> That paragraph mentions Biz Markie... who's that?
Eric Lindner>> never heard of him
Eric Lindner>> i know outkast
Eric Lindner>> i find them annoying
Sean Moore>> I would say fortunate black "entrepeneur artists"
too.... look at Hammer or P Diddy
Eric Lindner>> yeah but
Sean Moore>> I like some of OutKast's stuff, I'm only really
familiar with Speakerboxxx/Love Below
Eric Lindner>> they wouldnt be where they were today without
that exploitation
Sean Moore>> I think it's all exploitation our revolution, there's
not a lot of ground between the poles there... what do you
think?
Sean Moore>> our --> "or"
Eric Lindner>> in the prior readings, again, it went over how
the corporate american used it as a money maker (it being
HH music)
Eric Lindner>> its exploitation
Eric Lindner>> civil rights had just ended , what late 60's ?
Eric Lindner>> im so bad wiht my history dates sometimes
Eric Lindner>> rap came big not to long after 1970
Eric Lindner>> excuse me, HH music
Sean Moore>> well yeah...
Eric Lindner>> i mean
Sean Moore>> and those weren't dormant years
Eric Lindner>> where anythign black was bad, which was a shame
Eric Lindner>> they were missing out on alot
Sean Moore>> dude... I lost my conection, sorry
Eric Lindner>> its all good
Eric Lindner>> ur in here 3 times lol
Sean Moore>> those were the years of the black arts movement
and black power... the civil right movement didn't end when
King and X were shot
Eric Lindner>> nope
Sean Moore>> it was more about class inequality in the early
70s I think
Sean Moore>> You better get used to me, then...
Eric Lindner>> i almost thinks its like, since the white corporate
exploited it and introduced it to young americans
Eric Lindner>> all over, it kind of slid its way into the younger
generations
Eric Lindner>> becaue the older americans had specific social
Eric Lindner>> where anything black was bad, which was a shame
Sean Moore>> Yeah, but the artists were definitely all about
trying to make their 5 cents per record too...
Eric Lindner>> specific social norms*
Eric Lindner>> yup
Eric Lindner>> anyways, i think its not revolution
Sean Moore>> I think the prospect of money made a lot of artists
lose the political edge
Eric Lindner>> i think a revolution was just enDING
Sean Moore>> hrm...
Eric Lindner>> thus being a product of exploitation
Sean Moore>> that's cool, an interesting point...
Eric Lindner>> anyways i think we are past our time limit
Sean Moore>> what I get out of that is the question of whether
or not Hip Hop boomed when political activism was fading
out anyway in history
Eric Lindner>> hey with our grade on the last chat, i know i
spoke with TV in the chat room the day after you guys chatted
Eric Lindner>> did he see that??
Sean Moore>> (the 80s were a pretty sad decade, in my opinion,
in a lot of sub-cultures as far as activism goes...)
Eric Lindner>> and i have no idea in regards to what you just
typed
Sean Moore>> he must have...
Eric Lindner>> the 80s was like... people crying out for attention
lol
Eric Lindner>> if i wore some of that shit i would have shot
myself