criticism hiphop.

nal

9/24/06 5:05 PM

Hip-Hop Criticism
Criticism involves aesthetically scanning a work of art for the purpose of unearthing its beauty. Within any art form you have various modes of expression, dimensions of beauty, and basic elements of design. This provides clues by which one may use to investigate. However, the elements of a work are the basic to any creation just as the line, shape, pattern, and value are basic to drawing. One who is a seasoned art critic must be able to perceive how the basic elements of the work of art, are being applied in a Hip-Hop Creation. Before we discuss what a critic does in their criticism, I would like to bring into being a substructure to Hip-Hop Criticism. I will do this by way introducing fundamental components to any artistic creation. As I just briefly mentioned, Hip-Hop has basic common properties that runs through it and this allows the Hip-Hop Critic to analyze and study the song. This is a brief run down of the definition of the terms that I use to analyze the elements and properties of a song. (However this terminology and their properties may be broadened and adapted.) Technical qualities are the how to and the way in which it is created, i.e., production, symbolism, analogies, metaphors, catchy phrases or hooks, delivery voice articulation (adlibbing) continuity of thought and lyrical skills.

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Expressive qualities are what the work tells us, such as mood, language choice ideal, idea, psychological, political, compassion communicated and emotion. Compositional properties are how the artist composes the song such as rhythm, rhythmic patterns, harmonic functions, melodic, repetition, upbeat, timing, thematic scheme, unity, dominance and variation.

Sensory properties are listening and identifying specific elements like the screams, noise, hand clap, cries, unusual sounds created with samples or instruments, the usage of unsuspected instruments, the usage of real instruments, sound effects. Singing, talking, drum beat, samples of old songs, play out samples of old songs, etc.

There are some other elements that are expected of an artist. One of which is Originality which usually validates the artists self worth. However, for this original type of artistry it is hard to get a record deal. Depending on when the artist has arrived on the musical scene. This artist does not follow the industry trend that is current, and for one to be this type of artist they must separate themselves from the humdrum of the industry. For example, Bone Thugs & Harmony, Erika Badu, Goodie Mob, representing the Southern sound, and many others would qualify in this division. Moreover, this type of artist has to be ready in season and out of season and by definition they cannot compromise their integrity i.e., crossover. Therefore, a seasoned Hip-Hop critic should be able to discern the value of an original artist but unfortunately the paradox is that they may suffer more than most to get a deal. But once they arrive they become legendary, better than most. Seeing that the industry does not like to set the

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trend but follow it. The music industry is in a state of apathy, though a group may have platinum hits, it does not say they have qualified as an original artist and are worthy of this praise.

Sampling;
In an experience flow is from something to something, as one part leads into another and as one part carries on what went before each gains distinctiveness in itself John Dewey Art As Experience

I am going to attempt to examine the integrity of sampling and its creative context. Sampling has been seen as one of the weak points to the rap genre. There was a time when music could not be created without the aid of live musicians. Not until Hip-Hop came did our association and changed of how we make music. Some of the old school musicians dont think rap music is a real art form due to sampling issues. Even the renown photographer Gordon Parks stated in a television interview.

Its no harm in mixing beauty with rap... But you should put some strings and saxophone and than maybe people might listen to what you have to say Photographer Gordon Parks)

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What Mr. Park is indirectly specifying is similar to what John Dewy work implies in the book Art as Experience which referenced a quote from Tolstois in which he implied about the insincere poetry; That much material is borrowed artist feeding like cannibals upon one another I can agree that the constant borrowing of the same identical sample begins to get cannibalistic. For instance the sample by the Isley Brothers In Between The Sheets, at one point in raps history, was getting played out on the rap scene. However, when a person makes a statement that Hip-Hop is not original, they may be referencing material such as the above mentioned. Although, some make unqualified statements about sampling that should not sway our working knowledge of the art of sampling. If we look back into our history the very first rap groups that got most of the attention like Curtis Blow, GrandMaster Flash etc. they did not really do any sampling. As a matter of fact, lawsuits on sampling did not happen until around 1991, according to the New York Journal March 16 1991. In addition, the lawsuits were about not getting permission from the record labels. They faced lawsuits because they were so anxious about getting a record deal that they never stopped to educate themselves on copyright laws.

Sampling is a digital conversion of analog sound waves into a digital code Sampling is a copyHow a Musicologist views Digital Sampling Issues Judith Greenberg Finel

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However, many rap song have been samples that artists rapped over and have become successful. The process of converting the old into the new has kept the 70s & 80s music popular. At times, it has given an old school singer, who would have otherwise been permanently retired, renewed ambition to make a come back. In addition, when the process of sampling becomes habitual an artists creative integrity may be compromised. Moreover just fairly recently sampling has taken a new turn from overt sampling to a more disguised form of sampling. For example one may sample a horn or a scream and no one will ever detect the song in which the sample was taken from. Determine whether one recording has sampled another requires forensic method different from those used in traditional copyright infringement Many of the elements that are considered insignificant in conventional copyrights infringement cases take on greater importance in the detection of sampling Judith Greenberg Finelli How a Musicologist Views Digital Sampling Issues

As briefly mention earlier that Hip-Hop has go a lot of bad press due sampling because some people feel that sampling is stealing. However, when one realizes that America became the fertile ground in which the black music experience has evolved from experience to experience like from spiritual to gospel to blues to jazz to funk and hip-hop. This continuity of evolution did not stop due to our oppression that we have suffered here in America. We continued to seek a way to express our feeling, needs, joy misery and accomplishments. This diamond making process created a collective consciousness that had to be developed through a collective suffering the crucible of slavery has forge the new art of Hip-Hop. We have

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established our art through our experience and we can only conclude that this experience is still evolving. Therefore, for one to say that a rapper is stealing is to only kill or do harm to your own existence as a community. Furthermore, when we look at other schools of thought such as Fine Art world. Picasso one of the worlds so called greatest artists that ever lived borrowed from African works of art. When trying to expand his artistic experience Picasso integrated the way African masks abstracted and simplified the facial details into geometric shapes. By doing so Picasso was able to create newness and add to his artistic wanting. This inspiration from the pass helped to make the future. Also anyone who desires to learn anything must first look back at the past. Hip-Hop is very aware that it existence is due to the past musical artistry. For example, if I was to write a paper on medical discoveries I would have to go to the library a do research and look up previous peoples contribution to the medical field. This is not called stealing when you quote your sources. Europe learned their medical knowledge from Africa and if it were not for Africa European culture would not have developed as they have today. Furthermore, Hip-Hop artists do not try to hide the fact that they are building off of the past. We need to look at sampling in its true context; on one hand it is a great flattery; and a continuation of the African experience. On the other hand any over indulgence in the act of sampling can put your artistic integrity is in question. The process of sampling does not take away from the distinctiveness of Hip-Hops individual identity of Black music. The art form is apart of the common black experience, so it can be unified in the collective life. No one can ever totally isolate the black music experience, for it is a living moving breathing entity that seeks its own expression. Sampling is the attribute of this truth that there is no such thing as a single existence but each part gives way to the significance of the integration of all parts. Therefore,

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when an artist has his own individual experience, his experience may be similar to the original artist of the song in which he has chosen to sample. This is the main reason why the artist picks the particular song to sample. The law of attraction pulled him or her toward the track, which caused them to borrow it as a catalyst to there own experience.

Becoming A Critic

Criticism is judgment material out of which judgment grows is the work the object but it is this object as it enters into experience of the critic by interaction with his own sensitivity and his knowledge and funded store for past experiences. By. John Dewey It is better that the critic be born with the spirit of his generation and culture. This artist perceives through his senses. The information that he hears is processed into cognitive knowledge. This is why society blames Rap Music for various problems in society. However, the Hip-Hop fan or writer who presumes to be a true critic must understand what the hype is all about. For the critic does not get licensed by a group to become a citric. One evolves into it brought out by an obsession and daily intercourse with the entity of Hip-Hop. Criticism is developed by the perceptual skill of the critics ability of inquiry. Case in point some people when they hear a new song they immediately listen to the music to see if they can dance to it. Other people immediately listen to what is being said and how it is being said. The critic listen to everything, however, the order depends on the individual. This musical and lyrical intelligence is gained over a period of time. However, criticism

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is a series of questions. The art of inquiry should sharpen your perception so you will be able to discern the over all quality and makeup and distinguish the strengths and weaknesses verses your own experiences, i.e. prejudices. The following is a breakdown of the components of Hip-Hop criticism:

1st. Identifying: Labeling (the process of identifying though it is kindred to describing). In which the person listens to what is being said. What type of music is it? Is it a sample or original track? Is it a new sound? Is it to fast or slow, what is the mood? Does it give a hardcore sound? Is their harsh, soft, etc.? (One does not make or prescribe judgments while labeling)

2nd. Description: defining the various elements and designs. For example the track has a Tribe Called Quest feel. Their is some mood of an old school flare in it, do to the scratching in the music. The lyrics are filled with complex combinations, is it a battle rap? Is it a freestyle rap? 3rd. Meaning: subject matter of the song, i.e.... content of the rap. Does the song say anything? Does the explicit lyrics add or take away from the message? What about word usage could the artist chose better words to enhance the message? What is the point they are trying to communicate? Is the meaning, that they are the best rhyming group ever? Are they trying to speak about racism in America?

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4th. Interpretation: is to deconstruct subject matter and components of the work of art. Interpretation is also based on the subjects content and the aesthetic perception the critic/ viewer. Interpretation is not the critics judgment of the artwork. However, interpretation is never unquestionable because it is always subject to debate and individual or public scrutiny. Though a critic may sit in the seat of authority no one interpretation is beyond reproach.

Interpretation is the most involved and lengthy portion of the criticism process. For interpretation is seeking for some reconciliation of the entire body of work. Interpretation takes a sensitive touch, time, and great inspection. For it is an opportunity to empathize and participate in the artistic creations of another. The aim is to provide some insightful personal view of the work in hopes to bring out some meaning and critique through criticism. For example interpretation questions may ask. What does it mean for this artist to rap about this? Why would he pursue this topic? What message is he sending? Why? What did it represent about the community in which it came from in a particular time and space. Historical relevance. This interpretation analysis may even compare one Rap song to another conceptually, stylistically, and lyrically. Interpretation hinges upon the big idea it pushes to the limits of meaning and may attempt to reason out the beauty and understand the role of the song and value, not just monetary but culturally, aesthetically, historically, socially, spiritually, and economically.

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I will give a brief critique of the song because a detailed critique may, be quite lengthy. Retrospect For Life off of the album One Day Itll All Make Sense.

Knowing you the best part of life do I have the right to take yours cause I created you irresponsibly, subconsciously knowing the act I was a part of the start of something Im not ready to bring into the world Had myself believing I was sterile I look at your mothers stomach and wonder if you were a boy or a girl Turning this womans womb into a tomb But she and I agreed a seed we dont need You wouldve been much more than a mouth to feed But someone I would have fed this information I read The someone, my life for you, I wouldve had to lead Instead I lead you to death

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Im sorry for taking your first breath, first step and first cry But I wasnt prepared mentally or financially Having a child shouldnt have to bring out the man in me Plus, I wanted you to be raised within a family I dont wanna go through the drama of having a babies momma Weekend visits and buying Js aint gonna make me a father For a while bearing a child is something I never wanted to do For me to live to forever I can only do that through you Nerve, I got to talk about them niggas with a gun Must a really thought I was God to take the life of my son I could have sacrificed going out To think my homies who did it, I used to joke about From no on, Iam use self-control instead of birth control Cause $315 aint worth your soul

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Three hundred...Common, from Retrospect For Life

I will begin my critique of this song with Identifying. Identifying: Listen to the song and mentally underscore the various elements, which are significant in the songs composition. 1. Life, Birth, Death, Education, truth, God, robbery, quest, inward look, reflections, boyhood, manhood, adulthood, and fatherhood, murder, abortion, organ, beat, and recycled sample for chorus, etc. Description: to represent or give an account. 1. Chorus: I never dreamed youd leave in Summer A recycled Stevie Wonder lyric. 2. Drum beat: Slow and steady enough to follow the message. 3. Church Organ: spiritual vibration within the work. 4. Internal Exploration of life, death, murder, God. 5. Philosophical Questions of the reason for life, weakness in self and manhood, making a transition, Meaning/Subject Matter: 1. Spiritual awareness. 2. Reflections of boyhood and the realization of manhood. 3. Abortion and the contradiction that comes along

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with it. 4. Social Awareness. 5. Stevie Wonder hook to convey a somber feeling. 6. Philosophical inquiry of life and death. Interpretation: Analyze and translate the meaning of the rap through Investigation and to give personal interpretation of the creation. - Responding critically to the work of art requires background knowledge. - Historical Context is determining the intent of the works of art within their historical context, school of thought, style, and culture. Context: Sociopolitical and Spiritual Historical Context: Original topic about the black males struggle between becoming a man/father and abortion. Its an important contribution to consciousness of Hip-Hop. Interpretation The interpretation of this song speaks to the philosopher in all of us. Common is pulling from an inward struggle of a man facing his self and a inner condition that he has created. This battle is a masculine battle with his identity as a onetime player that had little awareness of his actions and consequences. He brings out the beauty of anguish of having to make a transition into Fatherhood but yet

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still questioning his Manhood. Subconsciously doing this because of some inward deficiency. Had myself believing I was sterile, and, having a child shouldnt have to bring out the man in me. show self-delusion. One has to wonder if this is an attempt to deliberately grow up. He says, Subconsciously knew the act I was apart of. In a strange sense he is a co-creator of his situation. The song intensifies when he reflects on his boyhood mentality and judgmental perception of his friends that got their girlfriend pregnant, To think my homies who did it I use to joke about. Life became divine comedy for Common because he is now on the other end of his own jokes. Also the song drives home the human attempt of arrogance judgmental perceptions of other

blacks when he states, Nerve I got to talk about the niggas with a gun, must have really thought I was God to take the life of my son. This was a realization of his quest for God, i.e. truth. When he presumed that he was not as bad off as other people whom he once looked down on. His question of what is murder or when is it justified. For if a man kills for food the crime is out of necessity but if he paid for an abortion then it would have been a crime out of convenience because he did not want to make the transition into adulthood to fatherhood when he stated the self revealing statement, I could have sacrificed going out. Over all this is a youthful/ adult look at life and the attempt to clearly understand what is happening emotionally when a young man is between selflessness and selfishness. A spoken confession of his fears and doubts of manhood.

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Becoming a Critic
Criticism is essentially based upon judgment and perception of the critic. One cannot separate themselves from their experiences and purely view and respond to the artistic material without their perception being shaded with their experiences. This will no doubt bring about some form of personal intermixture with any interpretation. For instance, if a so-called Jews were to see a painting with German soldiers marching with a swastika on their hats, would he give a good and just critique of the work of art? The question needs no answer for common sense tells us it is impossible. So when one desires to be a Hip-Hop critic he cannot alone do the job for we need to honor that his perception is smudged with his experiences. However, this not to suggest that this is corrupt, it is only to suggest that we be inclusive about method of criticism. So, the best way to judge or give a critique of Hip-Hop is to create a panel of critics to discuss and scrutinize all aspects of ones criticism. To give one person, a magazine, or a group sovereign influence or dictum over this genre is to give them indisputable power. In addition, this point is even clearer when we look at black independent film producers and the Oscars or Academy Awards. These are privately owned or based companies that create a panel to determine who gets an Oscar or an award and who doesnt. One must question each variable. For example, how many people are on the panel and what is the racial/gender break down of the committee. When Steven Spielbergs movie, The Schindler List, received an

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award but Spike Lees movie, Malcolm X, just got a nomination was a great illustration of Americas larger white population being out of touch concerning the black holocaust and its heroes. Thusly the white choice became the final affirmation and the only magistrate of what is great art because the minorities vote goes unnoticed. That is why the boycotts and protests breakout in order to get the world to recognize the artistic biases. The white people experiences are more centered towards the Schindlers List but that doesnt mean that the black experiences in the movie Malcolm X should be discounted. The point here is that you cannot make a person or group see your position. You can only hope to sway them through sound reasoning. For perspective equals experience and experiences equals individual reality. Perception is never wrong, for perception is just what you see from where you are standing. To say that perception is wrong is to say that where a person is standing is wrong. For instance, lets say there were two men standing in the forest. One man is standing at the north end and the other man is at the south end of the forest. They are in two different geographical locations in the forest. However, if a tree falls between the two of them, and the man standing to the south says, The tree fell to my right, and the man to the north says, The tree fell to my left, then who is right and who is wrong? Neither of them is wrong, for each man saw the tree fall according to his position. Now that position makes up his experience. There is no such thing as universal good or bad, ugliness or beauty. This is nothing more than perception of the mind. However, these are used as instruments to measure ones personal experience. So, no critic can say there judgment or interpretation is final. For a criticism of a work of art is not of private interpretation. It is always subjected to culture, society, and personal experience. The error of some Hip-Hop critics is when individuals or Hip-Hop

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citizens submit to a Marxist reality. Which means allowing a power structure to set the standards of beauty. Case in point is in Hip-Hops Genesis. When New York gave birth to this phenomena they dominated and became the power structure of Hip-Hop. Inadvertently, by way of motherhood, they set the measurements of beauty. For in the early eighties when HipHop was still fairly in its infant stage everyone had a New York sound to their artistry.

Geographical Aesthetics
The concept of Geographical Aesthetics is when a regional initiation of beauty becomes a national artistic paradigm. New York controlled the Hip-Hop standard of beauty, i.e. fashion, slang, etc.... for the primary portion of Hip-Hops life span. The reason why they monopolized the definition of beauty was because they cultivated the Hip-Hop personality first. It was only a natural evolution to assume that the people living where it was erected would be the first ambassadors, to the nation, of the art form. MCs that originated in New York were assumed to be a model of what an artist should be and sound like. During my introduction to the art form of Hip-Hop, I started off with a bias view of other rappers from different geographical regions. For a long time all of the best MCs, I thought, came from New York. But, I did not realize that I had a Marxist reality about HipHop, until I had a conversation with a friend. I would like to share this as a lesson of the Marxist mindset that I had. I remember declaring to my close friend that the New York

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artisans have the best lyrical ability. He said that I was narrow-minded and conforming to a New York aesthetic, because everyone I mention was from the New York vicinity. He also said, During the formation of Hip-Hop most rappers were from New York. I asserted, No, its not just about locale, its mostly because I like well developed lyrical skills. Yeah, I know what you mean, he retorted, The rhythm and lyrics sound good in the way they flow. Although, I recall when Hip-Hop was fairly new, pre-west coast i.e., majority of MCs came out during that time sounding like they were form New York. I said, OK, whats your point? He replied, My point is that before the west coast really got on the map everybody was intolerant towards a non-New York aesthetic. So, most people or groups that came out felt compelled to sound like New York artisan to be formally accepted. When Hip-Hop went to Los Angeles, they were no longer bound to a New York measurement of beauty. So, instead of conforming to the power structure the natural evolution of Hip-Hop formed according to their region. I thought about it for a moment and said, So, let me get this straight! What your saying is that the style of rapping in New York was basically the rule of measurement to all other regions. When Hip-Hop went to the west coast they had no problem not sounding like the artists from the east. Hip-Hop aesthetics had to changed. No longer was Hip-Hop subjected to New York standards of beauty. This quickly reminded me of my art training from school. When this question was posed to me, Why is White/European Art placed upon a pedestal and all other cultures art is simply appreciated, but never referred to as High Classical art? I didnt know the answer. I went to the library and looked in a book entitled, The Worlds Greatest Art and every piece in there was European.

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In the Fine Arts, European Art stresses elements and principles of design and enforces the application of them in the artwork. However, if you look at African and Asian art you do not see European standards applied to their work. Does this mean that African and Asian art are not High Class? So, we cannot say that the east coast has better aesthetic principles because they emphasize lyrical skill. If we look at the west coast it seems as if they stress life experience as their modus operandi and definition of beauty. Confucius said, Music represents the spirit of a community. Music on the west coast exposed a the great American tragedy of the ghetto. However, the music on the east coast was rather limited. It seemed as if Hip-Hop went to the west coast and down south, then metamorphosis took place and exposed the plague of the bowels of America. This is the tragedy of urban ghetto life i.e., N.WA, Tu Pac, Ghetto Boys, Goodie Mob, Master P. etc. Speaking of the west and southern Aesthetics, there was a bunch of New York/east coast criticism floating around at one point saying that a person from the west coast should not sound like or resemble the aesthetic or flow of a east coast/New York MC. This is very interesting because the more you think about it, there was never rivalry among R&B singers, and certainly no beefs over geographical origins. Why does a Hip-Hop artist beef about geographical similarities? This can be attributed to the aggressive nature and raw origins of Hip-Hop. It has the tendency of impressing battle lyrics, as the meat of the content, within the rhyme scheme. This became a measurement of beauty on the east coast/New York, while New York dominated the art form. They assumed that it was their exclusive art form. Hip-hop is a black form of expression within this crucified culture. Although, we have various MCs from the west coast who also enjoy success on the east coast, such as Souls of Mischief, Del da

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Funky Homosapien, Rass Kass, Alcoholics, and King Tee etc., they have many of the same artistic outgrowths as the east coast artists. The west coast did not plagiarize the east coast style; they were just building upon the foundation of the east coast pioneers of the Hip-Hop genre. Since east coast rappers established the general standards of beauty for Hip-Hop, it is natural that the west coast would hold themselves to the same standards at some point. Though they are not obligated to New York aesthetics, seeing that standards of beauty often differ regionally. This can be seen even in my hometown of Washington, D.C. Where Go-Go music is the regional aesthetic of choice. In addition, a rapper from the south and the north, like Bone Thugs and Harmony, Outcast, Master P, etc., have greatly contributed to a regional aesthetic being appreciated nationally. The slang and microcosmic aesthetics caught the attention of the nation. As for differences in the standards of beauty, they can only apply on a territorial bases. Moreover, you have no other choice but to respect them because they kept it real locally and blew up nationally. Are their once regional standards of beauty becoming an accepted standard of beauty else where? Staying true to your hometown sound is a good practice and it also says a lot about you why your art spills over regional barriers to national borders.

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