“Traditionally, hip-hop culture has been very skeptical of American government. Much hip-hop music [...] serves a sort of "watchdog" function” (Riggs, Tectonic). Since groups like Boogie Down Productions and Public Enemy introduced political rap music during the late Eighties, a certain branch of this sub culture took over the mission they inherited from their predecessors, namely artists like Gil Scott Heron and groups like the Last Poets. Those rap musicians consider their task as artists to give expression to their function as part of the national conscience. “Lyrics from different artist range from anti-American to revolutionary to more sobering ideas that encourage listeners to simply stay aware and involved” (Riggs, Obama). What they all have in common is that they were more often than not directed at American presidents. The list of examples is long and even dates back to the Reagan-era, but especially George W. Bush was a very prominent target.
It can be assumed that this list will soon also include Barack Obama, whose race for the presidency and his election as the United States of America's 44th president have created a lot of controversy. Many different conceptions and notions have come into existence around the person Obama and his political career – before and after the Inauguration. His views on critical issues, his aims as a president, his whole philosophy have found a broad response across any social and intellectual boundaries. Especially in mass media, the presence of Obama is enormous and has contributed a lot to his pop-star-like-status. A comparison that holds even more truth if uttered in regard of the many songs inspired by and dedicated to Barack Obama. His impact on music is unprecedented and the effects it had on the various genres are manifold. While he was embraced with little question from the mainstream, giving some a new audience, while providing others a new word to rhyme with, it have been such non-primarily mainstream genres like Hip-Hop music1 that made their critical voice heard.
Table of Contents
1. Introduction
2. KRS-One
3. Nas
4. Dead Prez
5. Mr. Lif
6. Brother Ali
7. Conclusion
7.1 The Nature of the Corpus
7.2 The Right to Criticize
7.3 Different Opinions within Rap Music
Research Objectives and Themes
The primary objective of this paper is to explore the diverse range of perspectives regarding Barack Obama within rap music and to identify common underlying themes among these critical artistic expressions. By analyzing specific song lyrics and public commentary from various artists, the study examines how the rap scene engages with the political figure of Obama and the broader implications of his presidency for the culture.
- The watchdog function of hip-hop culture towards American government
- Critical analysis of Obama's presidency as portrayed in contemporary rap
- The intersection of racial identity, politics, and historical skepticism
- The influence of mass media and political systems on lyrical expression
- The role of individual responsibility and cynicism versus optimism in rap lyrics
Excerpt from the Book
3. Nas
Grown up in one of the most notorious neighborhoods in New York City, the Queensbridge Housing Projects, Nasir Jones has been confronted with the daily urban struggle since his child hood in the early eighties. Racism, violence and crime afflicted his life to a great extent and have found mention in his music ever since his highly acclaimed debut on Main Source's “Breaking Atoms”. During the last two decades of his musical career, the self titled 'Street Disciple' has managed to play a major role in rap music and remain relevant. Contrary to many like minded artists, he even made the voyage into American mainstream music without losing any of the credibility or respect gathered during his early years. Nas has become an institution in rap music and his voice is of great importance to especially the younger African-American generation.
Right from the beginning, he has not made a secret of his sympathies for Obama and supported his campaign in many ways, including concerts, appearances in talk shows and even a whole song on his last studio album, a piece entitled “Black President”.
The song's main motif and very beginning are two lines by Tupac Shakur, “and although it seems heaven sent / we ain't ready to see a black President“ (2Pac), an encouraging but still realistic prediction, followed by, and standing in direct contrast with, Obama's “Yes We Can”-slogan, the enthusiastic prediction per se. Yet instead of elaborating this contrast and the notions that might have led to the use of these samples, Nas begins the first verse by drawing a picture of the deficits he and his neighborhood have to suffer from.
Summary of Chapters
1. Introduction: Outlines the historical skepticism of hip-hop towards government and introduces the research aim of analyzing rap artists' diverse opinions on Barack Obama.
2. KRS-One: Examines the artist's skeptical view of Obama, emphasizing his warnings against emotional politics and the continuation of the Bush-agenda.
3. Nas: Analyzes the artist's complex perspective, balancing support for Obama with realistic critiques of the structural deficits facing his community.
4. Dead Prez: Discusses the duo's radical, cynical stance, dismissing modern political systems and questioning the impact of having a black president.
5. Mr. Lif: Explores the artist's constructive cynicism, focusing on systemic corruption and the challenge Obama faces in cleaning up political messes.
6. Brother Ali: Highlights the artist's surprisingly benevolent view and his emphasis on individual responsibility and grassroots change.
7. Conclusion: Synthesizes the findings, noting a prevalence of cynical or destructive criticism over constructive engagement across the analyzed corpus.
7.1 The Nature of the Corpus: Discusses the selection of artists and the surprising silence of some traditionally vocal rap musicians regarding Obama.
7.2 The Right to Criticize: Reflects on the hesitancy of many artists to critique Obama and the peculiar role of white artists in the debate.
7.3 Different Opinions within Rap Music: Summarizes the range of political positions in the scene, from propaganda to open cynicism, and the lack of internal debate.
Keywords
Rap Music, Barack Obama, Political Critique, Hip-Hop Culture, Skepticism, Social Issues, Race, Authenticity, Mass Media, Systemic Change, Lyrics, Political Activism, US Government, Public Opinion, Cultural Analysis
Frequently Asked Questions
What is the primary focus of this paper?
The paper examines how various rap musicians perceived and represented Barack Obama and his presidency within their lyrical content, ranging from support to outright cynicism.
What are the core themes addressed in the analysis?
Central themes include the watchdog role of hip-hop, the skepticism regarding political systems, racial identity, and the tension between political hope and the reality of systemic limitations.
What is the central research question?
The research asks what the range of opinions on Obama in rap music is and whether there are any common notions or patterns among these artistic expressions.
Which scientific methodology is employed?
The study utilizes a qualitative analysis of song lyrics and interviews from specific rap artists to map their political and social critiques.
What does the main body of the work cover?
It provides detailed case studies of artists like KRS-One, Nas, Dead Prez, Mr. Lif, and Brother Ali, evaluating their specific perspectives and the metaphors they use.
What are the characterizing keywords of the research?
Key terms include Rap Music, Barack Obama, Political Critique, Skepticism, Authenticity, and Cultural Analysis.
How do artists like Dead Prez differ from others in the corpus?
Dead Prez adopts a far more radical and conspiratorial tone, dismissing the two-party system entirely as "two sides of the same coin."
What is the significance of the "John Hanson" reference in the analysis of Dead Prez?
It serves as an example of how the group uses historical comparisons to challenge the narrative of Obama as the first "colored" president.
Why did Brother Ali have a different perspective on the racial conversation?
As a Caucasian artist from the Midwest with a biracial family, his background provided a unique viewpoint that acknowledged positive changes in race discourse.
- Quote paper
- Florian Arleth (Author), 2009, The Critical Reception of Barack Obama in American Rap Music, Munich, GRIN Verlag, https://www.grin.com/document/149572
