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Re−examining prejudice

Published: Monday, March 15, 2010

Updated: Monday, March 15, 2010 08:03

University of California, San Diego has the smallest African−American population of the nine−campus University of California (UC) system: a meager three percent. It has been a statistic which as of late many black students have been very cognizant of.

On the night of Feb. 25, a noose was found hanging in Geisel Library on the University of California, San Diego (UCSD) campus. The incident triggered demonstrations by outraged students on campus and also drew widespread condemnation from professors and administrators who saw this as a despicable act of racial hatred. Admittedly, the motives behind this incident have yet to be confirmed as racially motivated; however the incident undeniably invoked vivid imagery of this country's violent racial history and understandably outraged and intimidated African−American students on campus. This was also only one in a string of other racial incidents on the UCSD campus, including a joint fraternity party that made a mockery of Black History Month by hosting a "Compton Cookout," encouraging guests to wear rapper−style clothing, including baggy clothes, jerseys, chains and gold teeth. Guests were also encouraged to start fights and drama, and chicken, watermelon and purple drink were the extent of the food that was to be served. For me, this is where a more nuanced controversy begins, one inextricably linked to popular media and specifically to rap music.

The ascendance of commercial rap in my lifetime has meant the projection of a narrow slice of African American life onto a larger American narrative. A widespread fascination with gangster elements of black culture present in rap music has led to the rapid homogenization of this musical genre. On the radio waves, where there was once a great diversity of voices and experiences in hip−hop, there are now almost exclusively artists boasting about criminal pasts and sexual exploits (there is of course a vibrant hip−hop culture outside the bounds of commercial hip−hop music).

It's interesting to note that over 70 percent of rap is purchased by white listeners; that is to say that the majority of its listeners presumably have limited experience with the content of the music they are listening to. The consequence of this statistical reality is disastrous: Many people see only a fraction of black life in poor urban centers as depicted in commercial rap with nothing against which to contrast it. This leaves listeners with a misleading and dangerous notion: that they understand the spectrum of life experiences "in the hood" through rap.

Here's a simple example to illustrate my point. Have you ever heard a rap song on the radio about the strong religious foundations of a particular community a rapper grew up in? How about the dynamics of public education at under−funded schools an entertainer attended? Or the importance of a strong nuclear family throughout an artist's life? As a listener of commercial rap, I would be pressed to find rhymes that speak to these points — let alone songs, even albums, dedicated to them. I would argue that these select topics are of equal, if not greater, importance than predatory gangster culture in the lives of many of the chosen commercial rappers of our day.

It is accurate to say that a majority of African Americans live in urban environments and also fair to suggest that the subjects harped upon by mainstream rappers are realities in many urban centers. It is, however, completely absurd to characterize the modern African American experience through mainstream rap culture; experiences of young African Americans within and outside of urban areas are complex and varied. As obvious as this may seem, this reality is frequently missed and in this instance, at UC San Diego, it was missed in an overtly racist manner.

In this framework it is then not surprising that fraternities at UC San Diego would host a joint party regurgitating stereotypes about black culture and assume that this behavior would not be scrutinized. These developments beg the question of whether there is a causal relationship between a lack of racial and ethnic diversity and prejudicial behaviors such as those unfolding at UC San Diego. Regardless, the actions of ignorant students at UC San Diego need to be understood both within the context of a school atmosphere in which racial incidents have been frequent but also within a larger culture wrought with black stereotyping. Joshua Reed−Diawuoh is a freshman who has not yet declared a major.

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Joshua Reed-Diawuoh is a freshman who has not yet declared a major.

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9 comments Log in to Comment

Author
Fri Mar 19 2010 02:26
The article is simply a critique on events that occurred at UC San Diego and the context in which they occurred. The fact that students at a fraternity acted within a larger society drunk on black stereotyping does not take away from their own agency and responsibility in this matter. This event is merely symptomatic of pervasive trends in terms of the portrayal of African Americans in mainstream media and in particular commercial radio. The discussion of commercial rap (which is not limited to but characterized by a select range of issues) by no means summarizes race relations within this country and is not the principle source or sole cause of racism in this society. Commercial rap is however intertwined in 21st century race relations and in this instance, an essential part of the recent events regarding the fraternity party at UCSD.
Martha
Tue Mar 16 2010 23:53
The black student population at UCSD is 1.3% not 3%. No amount of rounding will get you 3%

As the previous post nailed it, your script is certainly scapgoating, showing that you believe by using Mr. Jones and the Hip-Hop community as the cause, that this will provide a smoke screen and the audience is so stupid that they will accept your thesis that it wasn't anyone's fault at UCSD.

The victims (the black community) will not allow you to stand in Mr. Jones and the Hip-Hop community as whipping boys for the white UCSD fraternity.
.
...The life of a whipping boy was usually one of sorrow and pain, but, sometimes they were rewarded by the princes they served.. From Wikipedia, the free encyclopedia

Whipping boys of the past: Rochester of the Jack Benny Show, along with Amos and Andy, Steppin Flectcher, Our Gang and many more - to numerous to include here.

Your speak is similar to directing a fire truck to move north to extinguish a fire when the fire is actually located south.

.

Anonymous
Tue Mar 16 2010 23:48
The black student population at UCSD is 1.3% not 3%. No amount of rounding will get you 3%

As the previous post nailed it, your script is certainly scapgoating, showing that you believe by using Mr. Jones and the Hip-Hop community as the cause, that this will provide a smoke screen and the audience is so stupid that they will accept your thesis that it wasn't anyone's fault at UCSD.

The victims (the black community) will not allow you to stand in Mr. Jones and the Hip-Hop community as whipping boys for the white UCSD fraternity.
.
...The life of a whipping boy was usually one of sorrow and pain, but, sometimes they were rewarded by the princes they served.. From Wikipedia, the free encyclopedia

Whipping boys of the past: Rochester of the Jack Benny Show, along with Amos and Andy, Steppin Flectcher, Our Gang and many more - to numerous to include here.

Your speak is similar to directing a fire truck to move north to extinguish a fire when the fire is actually located south.

.

Anonymous
Tue Mar 16 2010 01:13
I enjoyed reading this interesting article on African Americans in America. However, I must agree with the first and last comments on here. Long before rap musics blacks had a much tougher time in America, not to mention that the commercial success of rap music has opened up a passage into the middle class and upper class working world for many blacks. The transitions from the noose to the compton cook out to hip hop work well in term of the writing. However, the violent and cowardly act of closet racism pertaining to the noose raises a different discussion than the outward ignorance shown by the frat with comedic motives. However, neither of these acts will reach the blacks in the ghetto who suffer from the violence often discussed in hip hop. Just some thoughts from a concerned brother, but I am glad to see that people are talking about this. It is a new day.
Anonymous
Mon Mar 15 2010 18:06
whoops, I meant the first person to post, but actually everyone made good points, especially the contributor of the article, its a complicated issue, I hope my insights shed some light.
Anonymous
Mon Mar 15 2010 18:05
The last person to post made an excellent point about rap music. It seems that people in intellectual circles, who are often removed from harsh racism, biggits, and the "hood" life, gravitate towards rap music because that is THEIR major source of info regarding urban violence and "blaxploitation." Also, recently most "commercial hip-hop" heard on the radio discusses drinking and the club scene far more than violence (I admit it does include a lot of sex). Now, if one would like to argue the danger of popular black music, I think the better argument is the detroment it does to black youth. Young blacks take much of their direction from the music on the radio. It seems like poor black kids are interested in "swag" and the "Gucci" movement: "BURR!" Things like this distract blacks from the important pursuits in life and make them a joke to bro'd out frat kids more than the actual music. As far as white listeners, whites deffinitely listen Mos Def, Talib Kweli, Tupac, Kanye West and those types of rappers far more then blacks. Also, as far as the overly violent rap like Hell-Rell, Uncle Murder and other rappers like that. They are not widely popular or commercial and the fact about gangster rap is that most kids who listen to that and start acting like thugs are the types to get punched in the face and told to go home when they come around the thugs in their neighborhood. Also, urban crime has exhisted long before rap and exhists in areas of the world where peple do not listen to rap. Crime may sometimes occur due to rap music, but one would spend one's time far better trying to deal with social issues such as poverty, drug abbuse, disease, family dynamics, and sub-standard living conditions than rap music. For example, many American cities have had vast crime reductions earlier this decade when the best lyricists in rap music stuck to overly gangster songs about crimes and murder like Papoose. Now, crime is rising again due to the economy, but poor black kids are into jerking and club music, not thugged out hardcore rap. Also, many cities had their highest murder rates in the 1970's and 1980's way before a prevalance of any rap on the radio nationwide. I am a "hip-hop head" and I think popular rap music right now sucks, but people need to not look at baloney for answers about racism and prejudice. Rich white frat kids grow up with out the influence of blacks, accept for a few who often feel the need to show their blackness, which often gets manifested from popular black culture, but I am sure that far more black youths idolize Obama than any rapper. Also, white kids love Weezy more than blacks. This is getting a little disjointed and I am almost done, and I really enjoyed the article because black plight is real, but attention needs to go to the right place. Bad schools, black leadership, and especially the court system and federal aid system do far more to endanger and retard the growth of the black population than popular black rap music.
Anonymous
Mon Mar 15 2010 16:55
I would agree that there is a wide spectrum of topics discussed in hip-hop music especially outside of commercialized radio. The important point is that music that deviates from certain norms that have been established in commercial rap is hard (certaintly not impossible) to find pointing to larger trends in rap music. "Pressed to find" does not mean impossible by any means.
Anonymous
Mon Mar 15 2010 16:47
Mos Def, The Roots and other artists such as these are not being played on mainstream radios as much as say Lil Jon or Lil Wayne. In fact, I can't even recall the last time I heard one of these artist being played on the radio. So yes, you are correct in saying that some songs like "Jesus Walks" do have a religious theme, but progressively songs like that are not being broad-casted onto the mainstream radio nowadays.
Anonymous
Mon Mar 15 2010 15:20
In your unequivocal demonization of "commercial hip-hop music" you make broad, generalizing sweeps. Yes, many popular hip-hop artists do rap about "criminal pasts and sexual exploits," but there are in fact many who rap about other things as well. If it's difficult for you to find one rapper or one verse discussing family, religion or schools you're obviously not trying very hard; he may be a loud, brash and somewhat annoying, but Kanye West has extremely popular songs about all of these subjects ("Jesus Walks" and "Hey Mama" just to name two). Other artists ranging from Lupe Fiasco to Mos Def to The Roots to even Jay-Z, Young Jeezy or Tupac Shakur all deal with a wide range of topics concerning the African American experience--and yes!--even positive aspects of inner city life.

Before you cast the net of blame across all of popular hip-hop take a second and think about what you're actually talking about: a frat party. I think that says it all. I don't want to make any accusations about fraternity life, but even here at Tufts many frat parties have been called out for "inappropriate" themes. It's a frat party with a "clever" title: of course they didn't think they'd get called out for their behavior.

The argument of how African American life is viewed by white or middle-class (however you want to classify it), commodified by Hollywood and record companies, and turned into a vicious cycle of stereotypes is an argument or discussion for another day, but here you're using "commercial hip-hop music" as your scapegoat.

Eliminate rap (or don't let white people listen to it) and you'll solve racism? I don't think so.

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