vol.3 hip-hop criticism

8/4/2019 Vol.3 Hip-Hop Criticism

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riticism hiphop.final 9/24/06 5:05

“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 (ad-

libbing) continuity of thought and lyrical skills.




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




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 it’s 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 don’t think rap music

is a real art form due to sampling issues. Even the renown photographer Gordon Parks stated

in a television interview.

“ It’s 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)




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 Tolstoi’s 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 copy”How a Musicologist views Digital Sampling Issues”

Judith Greenberg Finel




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 70’s & 80’s 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 artist’s 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




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-Hop’s 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

it’s 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,




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 critic’s 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




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 hard-

core 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?




4th

. Interpretation: is to deconstruct subject matter and components of the work of art.

Interpretation is also based on the subject’s content and the aesthetic perception the critic/

viewer. Interpretation is not the critic’s 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.




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 It’ll 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 I’m not ready

to bring into the world

Had myself believing I was sterile

I look at your mother’s stomach

and wonder if you were a boy or a girl

Turning this woman’s womb into a tomb

But she and I agreed a seed we don’t need

You would’ve 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 would’ve had to lead

Instead I lead you to death




I’m sorry for taking your first breath,

first step and first cry

But I wasn’t prepared mentally or financially

Having a child shouldn’t have to

bring out the man in me

Plus, I wanted you to be raised within a family

I don’t wanna go through the drama

of having a babies’ momma

Weekend visits and buying J’s

ain’t 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, I’am use self-control

instead of birth control

Cause $315 ain’t worth your soul




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 you’d 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




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. It’s 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 one-

time 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




still questioning his Manhood. Subconsciously doing this because of some

inward deficiency. “Had myself believing I was sterile, and, having a child

shouldn’t 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.




“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 doesn’t. 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 Spielberg’s movie, “The Schindler List”, received an




award but Spike Lee’s movie, “Malcolm X”, just got a nomination was a great illustration of

America’s larger white population being out of touch concerning the black holocaust and it’s

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 doesn’t 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, let’s 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 one’s 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




citizens submit to a Marxist reality. Which means allowing a power structure to set the

standards of beauty. Case in point is in Hip-Hop’s 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 Hip-

Hop 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-Hop’s 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. MC’s 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 MC’s, I

thought, came from New York. But, I did not realize that I had a Marxist reality about Hip-

Hop, 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




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, it’s 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 MC’s came

out during that time sounding like they were form New York.” I said, “OK, what’s 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 culture’s art is simply appreciated, but never referred to as “High

Classical” art?” I didn’t know the answer. I went to the library and looked in a book entitled,

“The World’s Greatest Art” and every piece in there was European.




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 Boy’s, 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 MC’s from

the west coast who also enjoy success on the east coast, such as Souls of Mischief, Del da




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.

vol.3 hip-hop criticism

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