How Hip-hop Connects the World

In a slightly different direction than my initial post, I have decided to focus on what makes hip-hop so relatable and accessible across different cultures around the world. Different regions and cultures have varying applications and methods of appreciation for the art form referred to as hip-hop.

            What I find interesting is the cluster of similar characteristics that hip-hop carries globally. As explained by Dr. Halifu Osumare from UC Davis, there are a few levels of accessibility that hip-hop provides for people who may perceive themselves as outcasts in some way. She refers to these points of relatability as “connective marginalities;” including class, historical oppression, culture, and youth rebellion. Just from a glance, it becomes clear how these are clear components of hip-hop whether it is old or new, familiar or foreign.

            Osumare continues to drive this point home by comparing our beloved American gangsta rap with gangsta rap from Brazil. This provides a perspective to observe the marginalities proposed above in a different culture’s interpretation of an American art form.

            From what I can gather about Racionais MC’s is that they are a Brazilian incarnation of N.W.A with a slightly less abrasive approach to raising consciousness. With N.W.A there was often a message, but that message was sometimes layered under so much description of experience that it may be perceived as glorifying a lifestyle. On the other hand, Racionais MC’s seem to be more focused on enlightening the public, where N.W.A may have been more focused on shock value.

            Though there are differences between N.W.A and Racionais MC’s, there are also clear similarities in the context of the connective marginalities that Osumare suggests are at the core of hip-hop, globally. Racionais MC’s represent those in a marginal socio-economic class and a historical experience of oppression simply by hailing from the favelas around Sao Paulo. This can be compared to the N.W.A.’s representation of Compton, CA. Compton had not been represented by an influential voice until N.W.A demanded that the world listen.

            The other marginalities are easier to explain without examples. Culture permeates through global hip-hop the same way it does for skateboarding or rock music. Ultimately, there are variations to fashion trends and such trivial details, however, there is consistently an aroma of counter-culture. No hip-hop around the world is created with the idea of conforming to status quo (of course individuals will conform to what they believe is cool, we are speaking in terms of the essence of hip-hop), to be hip-hop is to be original. In the end, youth tend to feel marginalized and underappreciated by larger society, and they often are. This sense of counter-culture paired with youth rebellion makes hip-hop a great tool for teens across the world to get under adults’ skin.

            What do you like about hip-hop? What don’t you relate to in hip-hop? What are the connections of other music genres in the global arena? Leave a comment below and let me know what you think!

What is a G.O.AT?

In the context of Hip-Hop, there is a popular term that is thrown around anytime some new budding MC gains notoriety in the culture. There are references to various artists being the G.O.A.T, or Greatest Of All Time. But what really makes an artist great? What characteristics constitute an artist's legacy to be considered at the premium level over a span of time? This is a topic I will cover more in depth over the span of this semester, however, I would briefly like to explore this concept right now.

      If you are not completely familiar with the competitive nature of Hip-Hop, it essentially developed as a form of poetic dueling when you think about it. As it grew over time, instead of "battling" in person, the contest became more ambiguous and personal. If you were to listen to this genre, following the timeline, you would notice the trend of rappers claiming to be the best, greatest, richest, and so forth.

      My concern is over the potential logistics about this never ending competition. Is it possible to create a rubric for the purpose of critiquing a potential G.O.A.T candidate. I assert that it is indeed possible. If we can contend athletes as the G.O.A.T in their sport based on arbitrary statistics. why can't we create arbitrary statistics to keep track of the poets of rap?

    Here are a few categories I propose as areas to judge a G.O.A.T candidate:
1. Lyrical Capability- Does the artist display complex, meaningful, or otherwise provoking lyrical capability?
2. Influence- Does the artist have an inarguable influence on the development and maintenance of Hip-Hop culture?
3. Mass Appeal- Does the artist make music that appeals to masses rather than niche fan bases?
4. Album Sales- The hard facts. How many albums actually sold in stores?
5. Innovation- Does the artist display the ability to be original, innovative, or otherwise progressive in the culture of Hip-Hop?
6. Musical Talent- Does the artist play instruments or compose music at an above average level?
7. Work Ethic- Does the artist work exceptionally high in their art, business, or other forms of advancement of Hip-Hop culture?

   Leave a comment below and let me know what you think. Who do you think is the G.O.A.T? Is it possible to define? Is there a category missing from my list?