“Reflections on Hip Hop” by Eric Dyson

NB: We do not resell your papers. Upon ordering, we do an original paper exclusively for you.

NB: All your data is kept safe from the public.

Table of Contents

Introduction
Prison and Hip-Hop
Conclusion
Works Cited

Introduction

In his book Know What I Mean? Reflections on Hip Hop, Eric Dyson explores hip-hop and considers a variety of facets of this culture and its impact on the development of the American society and other subcultures. One of the most interesting and meaningful arguments the author provides is that the culture reflects the way African Americans see themselves as prisoners of the society.

As Dyson puts it, black males understand who they really are in prison “because the society throws you few other options, means that you’re already in a kind of psychological and spiritual prison” (14). It is necessary to note that the author makes a strong argument and proves that black males explore their identity through prison experiences.

Prison and Hip-Hop

Going to Prison

In the first place, it is necessary to note that prison is seen as the most important factor affecting development of black males’ identity and three types of experiences are singled out. Admittedly, these people see prison as one of two options as they have to live in “poverty-stricken neighborhoods” and get a “low-wage employment” or “a life of imprisonment” (Baxter and Marina 98).

Hip-hop performers romanticize prison experiences and depict them as a necessary route for a black male (Masciotra 64). Dyson stresses that this stage of hip-hoppers’ life is the beginning of their great life as people are “already in a kind of psychological and spiritual prison” (14). Therefore, their way to prison is not frightening at all as they are already enclosed in a cell.

Returning from Prison

Another important stage is returning home. In terms of hip-hop culture, black male can never start valuing freedom until they feel the emotions of returning home from prison. This experience also makes black males feel a part of a larger group as Dyson names it “a gang, a crew… a tribe” (15). Therefore, there is a certain transition from one particular group to the other where roles are clear and taken for granted (Dobrin 172).

Those pertaining to this culture feel safe as they know the route from their own experience or from other people’s (especially hip-hop performers’) experience. Notably, storytelling is crucial for the hip-hop culture and it develops black males’ identities very often (Hill 252). The impact the hip hop culture has on development of African Americans’ identities will be discussed in detail below.

In prison

Finally, one of the most important stages is being in prison. Dyson states that being “locked up” and taken away from relatives and friends is often painful but it strengthens inmates’ character (15). It is noteworthy that Dyson’s argument is very precise and comprehensive at the same time as black males are ‘locked up’ in prison and the larger American society by existing conventions.

It is possible to infer that they see themselves as underprivileged people who are doomed to be incarcerated both physically and metaphorically. Basically, prison is seen as a school of life for a ‘righteous’ black male. Inmates learn how to survive and become real men. Notable, prison is often seen as another ghetto where African Americans are placed by the society. Hip-hop performers and those sharing values of this culture bear in mind a simple truth that prison is a way to become stronger and able to survive in a bigger world.

Identity and Masculinity

As has been mentioned above, these three stages of life affect development of a black male’s identity. Dyson notes that black males “shape a large part of their identity” in prison (14). Again, while sharing stories, they contribute to creation of a particular type of identity. Of course, in these stories, reality is somewhat distorted and people start valuing quite specific qualities. For instance, these people have to feel they are different from the society and they have to share the same background (come from poor neighborhoods).

Black males as well as representatives of other races adopt the image of the real male who is against the system (Forman 4). It is noteworthy that lots of under-privileged whites and Hispanic people easily adopt hip-hop culture and strive for sharing the same identity codes (Hess 372). It is important to add that many educators use hip-hop songs to address the youth (Alim 162). Kelly suggests that this is a way to speak the same language with students and shape (at least, slightly) their identities (53).

More so, hip-hop has become a global culture for those who are deprived of benefits of life within the system. Dyson argues that this way of life is created by the society and, for black males, “a necessity is turned into a virtue” (14). For instance, Australian hip-hop performers use the same cues and identify themselves with African Americans (Dominello 40). Interestingly, hip-hop culture also affects development of Chinese subcultures (Liu 146). Therefore, it ceased to be a culture of black males only as it has been reaching loads of other races and even social groups.

Apart from identity, hip-hop culture is associated with black males’ masculinity. Dyson argues that masculinity and “the black male body is constantly assaulted by the withering force of injustice” (16). Clearly, a variety of hip-hop songs contain mentioning of masculinity or the way a guy should act and even look like (Arthur 106). Alim also notes that hip-hop culture often marginalizes women who are seen as somewhat inferior (“Does Hip Hop Hate Women” 22).

Feminist scholars stress that hip-hop culture undermines creative power and participation of women in development of this subculture (Durham 118). Dyson also claims that masculinity is often associated with certain violence due to prison experiences shared by black males (17). This element of the culture has drawn a lot of attention of researchers who argue that violence in songs often transforms in domestic violence (Cundiff 72). Thus, black males believe they have the right to use violence against their partners as it is a way to reveal their masculinity.

Conclusion

On balance, it is possible to note that Dyson provides a strong argument that hip hop culture is based on prison experiences. Black males share their stories and develop particular identity and masculinity. The author suggests that this culture creates certain comfort zone for those who see themselves as underprivileged individuals who are against the society rather than within it.

Numerous researchers come to similar conclusions and even try to shape young people’s identities. Admittedly, hip hop culture is a product of a combination of socioeconomic and historical factors. The American society is still divided into many groups and people within these groups feel they have to develop conventions and follow certain rules to survive.

Works Cited

Alim, H. Samy. “Critical Hip-Hop Language Pedagogies: Combat, Consciousness, and the Cultural Politics of Communication.” Journal of Language, Identity, and Education 6.2 (2007): 161-176. Print.

—. Does Hip Hop Hate Women?: A Community Dialogue about Hip Hop and Gender Politics. n.d.

Arthur, Damien. Hip Hop Consumption and Masculinity. n.d.

Baxter, Vern Kenneth and Peter Marina. “Cultural Meaning and Hip-Hop Fashion in the African-American Male Youth Subculture of New Orleans.” Journal of Youth Studies 11.2 (2008): 93-113. Print.

Cundiff, Gretchen. “The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis on Audience Perceptions of Misogynistic Lyrics and the Issue of Domestic Violence.” The Elon Journal of Undergraduate Research in Communications 4.1 (2013): 71-93. Print.

Dobrin, Sidney I. Race and the Public Intellectual: A Conversation with Michael Eric Dyson. n.d. Web.

Dominello, Zachariah. “Keepin’ It Real, Mate: A Study of Identity in Australian Hip Hop.” Griffith Working Papers in Pragmatics and Intellectual Communication 1.1 (2008): 40-47. Print.

Durham, Aisha. “Hip Hop Feminist Media Studies.” International Journal of African Studies 16.1 (2010): 117-135. Print.

Dyson, Michael Eric. Know What I Mean?: Reflections on Hip-Hop. New York, NY: Westview Press, 2007. Print.

Forman, Murray. “General Introduction.” That’s the Joint!: The Hip-Hop Studies Reader. Ed. Murray Forman and Mark Anthony Neal. New York, NY: Routledge, 2011. 1-9. Print.

Hess, Mickey. “Hip-Hop Realness and the White Performer.” Critical Studies in Media Communication 22.5 (2005): 372-389. Print.

Hill, Marc Lamont. “Wounded Healing: Forming a Storytelling Community in Hip-Hop Lit.” Teachers College Record 111.1 (2009): 248-293. Print.

Kelly, Lauren Leigh. ” Hip-Hop Literature: The Politics, Poetics, and Power of Hip-Hop in the English Classroom.” English Journal 102.5 (2013): 51-56. Print.

Liu, Xuexin. “Across the Borders: Hip Hop’s Influence on Chinese Youth Culture.” Southeast Review of Asian Studies 32.1 (2010): 146-153. Print.

Masciotra, David. Working on a Dream: The Progressive Political Vision of Bruce Springsteen. New York, NY: Bloomsbury Publishing USA, 2010. Print.

Click Here To Order Now!