e imhotep journal...volume 5, may 2005 essays on ancient egyptian thought volume 6, may 2008 african...

IMHOTEP JOURNALA Discourse Analysis of Value Orientations

in Hip Hop Lyrics

Volume 9, May 2012

By The Students

A Treble Clef

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iscourse Analysis of V

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he Students Volum

e 9 May 2012

(Blank Back of Front Cover)

San Francisco State University

College of Ethnic Studies, Department Africana Studies

Student Publications

Imhotep Magazine

Volume 1, February 2000On Methodology

Volume 2, February 2001On African Philosophy

Volume 3, February 2002On African Education Ancient and Modern

Volume 4, February 2003Ideology of Race and Slavery from Antiquity to Modern Times

Volume 5, May 2005Essays on Ancient Egyptian Thought

Volume 6, May 2008African Rites of Passage

Volume 7, May 2010African Healing Traditions

Volume 8, May 2011African Ancestral Veneration

Volume 9, May 2012A Discourse Analysis of Value Orientations in Hip Hop Lyrics

For further information contact:

San Francisco State UniversityCollege of Ethnic Studies, Department of Africana Studies

1600 Holloway AvenueSan Francisco, California 94132

Tel: (415) 3381054Fax: (415) 4050553

EditorsJustin Metoyer and Christine Burke

Production\ DesignKenric J. Bailey

ContributorsAFRS 111 Black Cultures and Personalities:

2008/9 Academic Year

Faculty Advisor \ Co-EditorSerie McDougal, III, PhD

We would like to express our thanks and appreciation toMadame Chair Dorothy Tsuruta PhD for her leadership and guidance,

as well as the IRA for their support of this publication.

Copyright © 2012 San Francisco State University

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photography, recording or any information storage and retrieval systems, without the prior express written permission of San Francisco State University, College of Ethnic Studies, Department of Africana Studies.

Table of Contents

EDITORIAL ...........…....…....…....…....…....…....…....…......…....…...…4Tandraya Eckert-Berry

INTRODUCTION …...……………………....…………….………….....…6Serie McDougal, III, Assistant Professor

A DISCOURSE ANALYSIS OF VALUE ORIENTATIONS IN HIP HOP LYRICSThe Students

The Conceptualization of Success in Hip Hop Lyrics .….............7By Rejeane Biala

Transitions from Poverty to Wealth in Hip Hop ...……..............16By Brittany Galland

Religion and Spirituality in Hip Hop Lyrics ...…….…..............29By Bria Grant

Brotherhood in Hip Hop Lyrics ..………….......................….....39By Jimmy Commins

African American Interdependence and Collectivism in Political

Hip Hop …................................................................................50By Patrick Tuck

Racial Identity in Hip Hop Lyrics ..………................................59By TanDraya Eckert Berry

Editorial

By Tandraya EckertBerry

Hip hop music is an important cultural component of the African American

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this ninth volume of the Imhotep Journal we implement a Discourse Analysis of Value

Orientations in Hip Hop Lyrics5*9,.,* ("$*:&22* -,,* '3,*#0%(* ;02$,* ".&,%'0'&"%-* '30'*

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given the chance to look at hip hop lyrics in their different context and analyze them in

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In Rejeane Bila’s The Conceptualization of Success in Hip Hop Lyrics, Biala looks at

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3":*&'*&-*1,H%,1*'3."$/3*<0%-)*'02,%'*0%1*#"%,(5*8%*O.&''0%(*P0220%1M-*Transitions from

4 Imhotep Journal

___________________________________________________________

Imhotep Journal)*Q"2$#,*R)*G0(*KCAK

Poverty to Wealth in Hip Hop, she looks at the individual struggle, communalism and

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In Bria Grant’s Religion and Spirituality in Hip Hop Lyrics, she tells us how God and

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Brotherhood in Hip Hop Lyrics, he looks at themes of male collectivism as expressed

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in Political hip Hop, Tuck takes this opportunity to demonstrate a major African

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From this journal we hope you take away the knowledge of hip hop value

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As you make your way through this Imhotep journal, we hope you are introduced to

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Editorial 5

Introduction

By Serie McDougal III, Ph.D.

The student authors of this issue of Imhotep use the method of content analysis to

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hop is in large part an extension of the African oral tradition; a means of conveying

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6 Imhotep Journal

___________________________________________________________


The Conceptualization of Success in Hip Hop Lyrics

By Rejeane Biala

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Like other forms of art, Hip-Hop music was created in response to the environment and

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American experiences are often improperly essentialized into the stereotype of

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paper will explore the various ways hip-hop music presents self-determination and

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7

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hop is the only one of many music genres that captures the attention of a vast amount

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growing popularity, hip-hop music has changed conceptualizations of success from

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content analysis and found that hip-hop artists’ portrayal of violence and graphic

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violence and sexualism, are the most outputted in multimedia over the underground

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8 Imhotep Journal

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Methods

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Results

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Upon analyzing the different phrases one of the themes that success is most

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@"%/*ACe*@$/0.3&22*P0%/*f*g'3*6"%1,.

The Conceptualization of Success 9

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0;,%$,c

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b8*/,'*:30'*("$*/,'*&%*',%*(,0.-)*&%*':"*10(-W*jV01&,-*V";,j*#,)*8M#*"%*

#(*S""2*J5c

Claim

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#"-'*4."H'0D2,*0%1*01".,1*D(*'3,*"44"-&',*-,I5

Theme Two: Career/ Talent

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“Cause it’s about makin ryhmes like no one else can design\ I do everything I can to make myself better\ Live on a steady diet of stages”

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“If you can rap, also dress fresh\ You might win a date with the sweet princess”

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Claim

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#,1&0*0%1*,%',.'0&%#,%')*@"%/*KC*-$D'2(*%"',-*'3,*1&<H!$2'(*"<*"D'0&%&%/*-$!!,--5*

Theme Three: Extravagance and Money

Lastly, another theme that has had many song lyrics associated with it, is

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&'*"%*2$I$.&"$-*'3&%/-*&-*0%*&%1&!0'".*"<*-$!!,--5*\&%,*"$'*"<*d`*-"%/-*301*[$"',-*'30'*

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“And Drizzy got the money, so Drizzy gon’ pay it\ Those my brothers, I ain’t even gotta say it\ That’s just somethin they know”

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“I work too hard to be ballin’ on a budget\ Me and my people do it big out in public\ Cause if you don’t do it Big bitch, you ain’t doing nothing”

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“Girl you got it, let ‘em know that everything big, uh\ Nail done, hair done, everything big”

Claim

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Conclusion

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today’s hip hop on money and ultimately, materialism, African worldview in some

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success, since the audience of hip-hop is greater than any single race, sex, culture, and

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and for the well-known genres of music, they speak to a large audience, and for hip-

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Works Cited

=2D,.'-"%)*S5)*l*,'*02*XKCAKY5*Old school rap (top songs)5*?,'.&,;,1*<."#*** ** 3''4mee:::5022#$-&!5!"#e,I42".,e-'(2,e"21B-!3""2B.04B1KRK`e-"%/-

9,%1,.-"%)*U5*XARR`Y5*O20!E*%0'&"%02&-#*0%1*.04*#$-&!5*Journal of Black Studies, 26XdY)*dCgBddR5*

9,.1)*F5*XKCCRY5*S30%/&%/*&#0/,-*"<*;&"2,%!,*&%*.04*#$-&!*2(.&!-m*AR_Rf* * ** ARR_5*Journal Of Public Health Policy, 30XZY)*dRaBZC`5*1"&mAC5ACa_e* ** L4345KCCR5d`

G03,.)*P5*XKCCaY5*O.,!3'&0%*3&4B3"4m*F&10!'&!-*0%1*-,2<B4."1$!'&"%*&%*4"-'B* ** /0%/-'0*4"2&'&!02*#&I'04,-5*Journal of Black Studies, 36XAY)*AKRBA`C5*

T,',.-"%)*V5*XKCCRY5*N$.%&%/*'3,*'0D2,-5*Bitch Magazine: Feminist Response To Pop Culture)*XZKY)*daBZC5

Rap songs5*XKCAKY5*?,'.&,;,1*<."#*3''4mee:::5D&22D"0.15!"#e!30.'-e.04B* * * songs

?&!30.1-"%)*J5)*l*@!"'')*k5*XKCCKY5*?04*#$-&!*0%1*&'-*;&"2,%'*4."/,%(m** * ** =#,.&!0M-*!$2'$.,*0%1*;&"2,%!,*&%*!"%',I'5*The Journal of Negro Education, 71XdY)*A_aBARK5*?,'.&,;,1*<."#555

@0:(,.)*F5*XKCCgY5*@'$4&1<>.,-3m*9&4B3"4*!$2'$.,*0%1*4,.!,&;,1*0%'&B* * ** &%',22,!'$02&-#*&%*$.D0%*O20!E*("$'35*S"%<,.,%!,*T04,.-*BB** * ** =--"!&0'&"%*>".*N3,*@'$1(*^<*=<.&!0%*=#,.&!0%*V&<,*l*9&-'".()** ** AR`5

N3,*S"%!,4'$02&70'&"%*"<*@$!!,--*****************Ad

The original hip-hop lyrics archives5*XKCAKY5*?,'.&,;,1*<."#*3''4mee:::5* * ** "33205!"#e

N.0H#":)*F5)*N.&0%1&-)*95)*l*P"'")*@5*XARRAY5*@"#,*',-'-*"<*'3,** * * ** 1&-'&%!'&"%*D,':,,%*'3,*4.&;0',*-,2<*0%1*'3,*!"22,!'&;,*-,2<5*Journal of Personality and Social Psychology, 60XaY)*`ZRB`aa5

6.&/3')*k5*XKCCZY5*?&-,*$4*3&4*3"4*%0'&"%m*>."#*1,!"%-'.$!'&%/*.0!&02** * ** 4"2&'&!-*'"*D$&21&%/*4"-&'&;,*-"2$'&"%-5*Socialism & Democracy,

18XKY)*RBKC5

Appendix

Song List

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Transitions from Poverty to Wealth in Hip Hop

By Brittany Galland

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of crime, spatial segregation, and racial poverty that ranked among the highest of any

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___________________________________________________________


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Review of Existing Literature

Hip hop music is used to express stories, experiences, or thoughts through

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form of consumerism, and artists often connect the disadvantages of their formative

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such as poverty, family structure, community violence, child welfare, and education

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Rap and hip-hop served as a starting point from which the [at risk youth] was then

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an at risk youth can express themselves and relate to hip hop music to deal with their

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rap and hip hop, which enjoys extreme popularity among youth of all racial and ethnic

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Ag*****************8#3"',4*J"$.%02

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a universal form of music that creates a strong sense of community to all African-

Americans; this is seen as hip-hop music spreads the same message of poverty, violence

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world, creates a sense of community, empowerment, and inspiration among Africans,

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Methods

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N.0%-&'&"%-*<."#*T";,.'(*****************AR

V(.&!*=.!3&;,c*0%1*H%1*"$'*:30'*-"%/-*'3,(*30;,*4,.<".#,15*^%!,*'3,*0.'&-'-M*-"%/-*

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.,01*'3,*2(.&!-*'"*2""E*<".*-"%/-*.,20'&%/*'"*4";,.'(5*N3,*-"%/-*<"$%1*1,-!.&D,1*,&'3,.*

the artists struggle to the top, the struggle of their lives during poverty, the challenges

they had to overcome during poverty, or their life of wealth coming from a life of

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#"-'*0!!$.0',*&%<".#0'&"%5

Theme One: Individual Struggle

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%,,1-*0%1*-,,E-*/"02-* '30'*0.,*4,.-"%02*/"02-5* 8<*0*4,.-"%*-,,E-* '"* '.0%-&'&"%*<."#*

4";,.'(*'"*:,02'3*<".*'3,&.*":%*&%',.,-'-)*'3,(*0.,*%"'*!"%-&1,.&%/*"'3,.-5*S$2'$.022()*

'3,*'3,#,*"<*&%1&;&1$02&'(*&-*:&1,2(*-,,%*:&'3&%*!"##,.!&02*.045*N3,*<"22":&%/*0.,*

2(.&!02*,I0#42,-*"<*'3&-*'3,#,5

Quotes:

@"%/*u$"',*^%,m*XUI3&D&'*e*J0(*U2,!'."%&!0*eUI3&D&'*SY

“When I was sleepin’ on the trainSleepin’ on Meserole Ave out in the rainWithout even a single slice of pizza to my nameToo proud to beg for change mastering the pain”

@"%/*u$"',*N:"m*X>$%*6&'3*F$#De*F$#D<"$%1,01e**=.,*:,*N3,.,*i,'vY

KC*****************8#3"',4*J"$.%02

“Look at what I worked for, everything I builtWhen I really think about it, it be giving me the chillsCause I’m eating off my music and I’m paying all my billsI think I made it y’all, I don’t need a f*ckin’ deal”

@"%/*u$"',*N3.,,m*X=#D&'&"%e602,*X<,0'5*G,,E*G&22-*0%1*?&!E*?"--Ye** *

* =#D&'&"%Y

“Uh, only hope I had was selling dope!"#$%&$'($)*+&,$-".#/$0+'/#$1/*/$2"*,/*$02"&$"$-/33"*$4%%*5

Claim

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&%1&;&1$02&-#*-3":-*'30'*'3,*0.'&-'-*&%*'3,-,*-"%/-*30;,*-'.$//2,1*<."#*'3,*D"''"#*0%1*

made their way to the top, however this struggle was one that was overcome without

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%"*"%,*0%1*#01,*'3,&.*":%*<".'$%,5*?0'3,.*'3,%*'$.%*'"*!"##$%&'(*".*<0#&2(*'3,-,*

&%1&;&1$02-*-'.$//2,1*0%1*.,0!3,1*-$!!,--*"%*'3,&.*":%5*N3,*0.'&-'M-*/"02*"<*D,!"#&%/*

:,02'3(*:0-*1"%,*<".*'3,&.*":%*D,%,H'*0%1*%"'*<".*'3,*D,%,H'*"<*'3,*!"##$%&'(5*N3&-*

is a more European centered way of thinking, in which the individual must overcome

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'3,#,*&-*&#4".'0%'*D,!0$-,*&'*-3":-*'3,*&%1&;&1$02&-'&!*;&,:*"<*0!3&,;&%/*-$!!,--*0%1*

3":*#0%(*=<.&!0%*=#,.&!0%-*30;,*D,!"#,*'""*4."$1*'"*'$.%*'"*'3,*!"##$%&'(*<".*

3,24*D,!0$-,*'3,(*0.,*0D2,*'"*0!3&,;,*"%*'3,&.*":%5

Theme Two: Communalism

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to wealth’ is seen as the individuals who have overcome poverty and then they

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N.0%-&'&"%-*<."#*T";,.'(*****************KA

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&%1&;&1$02-*:3"*0.,*0D2,*'"*"D'0&%*-$!!,--*'3."$/3*#"%,(*&%*'3,*#$-&!*&%1$-'.(*.,+,!'*

'3,*&1,02*"<*!"##$%02&-#*0-*'3,(*#0E,*/&;&%/*D0!E*'"*'3,&.*!"##$%&'(*'3,&.*4.&".&'(*

0%1*-,,E*-$!!,--*<".*'3,*D,%,H'*"<*'3,*!"##$%&'(5*8'*&-*D,2&,;,1*'30'*'3,*#0&%*4$.4"-,*

<".*-$!!,,1&%/*&-*'"*/&;,*D0!E*'"*"%,M-*<0#&2(5*N3,*!"##$%02&-'&!*0-4,!'*"<*.04*#$-&!*

shows that artists are grateful for those who were in their life during poverty and now

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D,*4"".*0-*:,225*N3,-,*0.'&-'-*:&-3*'"*-30.,*'3,*:,02'3*D,!0$-,*'3,&.*!"##$%&'(*&-*

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&-*%"'*1"%,*<".*,/"'&-'&!02*.,0-"%-5

Quotes:

Song Quote One: ( Blood, Sweat & Tears./ Ace Hood/ Hustle Hard)

“Out here tryna get it, each and every way

Mama need a house, baby need some shoes

Times are getting hard, guess what I’ma do”

Song Quote Two: (Firewater/Tha Alkaholiks/Poverty’s Paradise)

“And when you do make it big give back to the hood

So when you gotta go back it’s still to the good

Stay loyal to your people, show ‘em that you care

Cause in the end you know they be right there, just remember that”

@"%/*u$"',*N3.,,m*XV&<,*=<',.*F,0'3e*\"'".&"$-*O585P5e*N3,*@E(M-*'3,*V&#&'Y

“If the game shakes me or breaks me

I hope it makes me a better man

Take a better stand

22 Imhotep Journal

Put money in my mom’s hand

Get my daughter this college plan so she don’t need no man

Stay far from timid

Only make moves when your heart’s in it

And live the phrase ‘sky’s the limit’”

Claim

N3,* !20&#* '30'* !0%* D,*#01,* <."#* '3,* '3,#,* "<* !"##$%02&-#* &-* '30'* '3,*

0.'&-'-*30;,*:".E,1*-"*30.1*&%*".1,.*'"*D,*-$!!,--<$2*.044,.-*:,.,*:".E&%/*<".*'3,*

D,%,H'*"<*'3,&.*<0#&2&,-*0%1*!"##$%&'(5*63,%*:".E&%/*'3,&.*:0(*<."#*'3,*D"''"#*

$4*'3,*#"'&;0'&"%*D,3&%1*'3,*0.'&-'M-*-$!!,--*&-*'3,&.*<0#&2(5*=2-")*&'* &-*,;&1,%'*'30'*

"%!,*-$!!,--*0%1*:,02'3*&-*0!!"#42&-3,1*&'*&-*D,2&,;,1*'30'*'3,*!"##$%&'(*0%1*<0#&2(*

-3"$21*D,*'3,*#0&%*D,%,H!&0.&,-5*N3,-,*0.'&-'-*:".E*'"*4.";&1,*0*D,'',.*<$'$.,*<".*%"'*

"%2(*'3,#-,2;,-)*D$'*02-"*<".*'3,&.*<0#&2&,-5*N3,(*-3":*'3,*'3,#,*"<*!"##$%02&-#*

D,!0$-,*'3,(*4$'*'3,*%,,1-*"<*'3,*!"##$%&'(*0D";,*'3,&.*":%*%,,1-5*O0-,1*"%*'3,*

-"%/-*<"$%1*'"*-$44".'*'3&-*'3,#,*&'*!0%*D,*-,,%*'30'*!"##$%&'(*&-*20./,2(*;02$,1*&%*

'3,*=<.&!0%*!$2'$.,*0%1*<0#&2(*&-*-,,%*0-*'3,*4.&".&'(*"<*'3,*0.'&-'M-*2&<,5*8'*&-*D,2&,;,1*

'30'*-&%!,*'3,*0.'&-'-*30;,*4"".*-"!&"B,!"%"#&!*D0!E/."$%1-*'30'*'3,(*-3"$21*.,#0&%*

2"(02*'"*'3"-,*.""'-**0%1*/&;,*D0!E*'"*'3,&.*!"##$%&'(5

Theme Three: Racial Identity in Hip Hop Lyrics (Determination)

N3,* '3,#,* "<* 1,',.#&%0'&"%* &-* .,+,!',1* &%* '3,* '.0%-&'&"%* <."#* 4";,.'(*

'"*:,02'3*D,!0$-,* &'*-3":-*'30'*"%,*#$-'*D,*1,',.#&%,1*0%1*#"'&;0',1* &%*".1,.* '"*

0!!"#42&-3*'3,&.*/"025*N3&-*:0(*"<*'3&%E&%/*&-*%"'*&%1&;&1$02&-'&!*D,!0$-,*&'*1",-*%"'*

4."#"',* '3,* -,2<* ";,.* '3,* !"##$%&'()* %".* 1",-* &'* 4."#"',* !"#4,'&'&;,%,--5* 8'* &-* 0*

'3,#,*'30'*1&.,!'2(*-3":-*3":*0.'&-'-*'.0%-&'&"%*<."#*4";,.'(*'"*:,02'35*8'*-3":-*'3,*

inner motivation and mind set of the artists who have had to start out in poverty and

:".E*'3,&.*:0(*'"*-$!!,--5*N3,-,*0.'&-'-*:3"*30;,*0*4"-&'&;,*.0!&02*&1,%'&'(*30;,*3&/3*

-,2<B,-',,#*0%1*0.,*0D2,*'"*-$!!,,1*1$,*'"*'3,&.*0D&2&'(*'"*D,2&,;,*&%*'3,#-,2;,-5*N3,*

artists have a high self-worth and so they know that they can accomplish their dreams

N.0%-&'&"%-*<."#*T";,.'(*****************Kd

D,!0$-,*'3,(*0.,*!040D2,*"<*1"&%/*0%('3&%/*'3,(*:0%'*'"5*=*-'."%/*0--"!&0'&"%*:&'3*

.0!&02*&1,%'&'(*/&;,-*=<.&!0%*=#,.&!0%-*'3,*!"%H1,%!,*0%1*-'."%/*#,%'02&'(*'"*D,*0D2,*

'"*,%;&-&"%*0*1.,0#*0%1*30;,*'3,*-'.,%/'3*'"*"D'0&%*&'5

Quotes:

@"%/*u$"',*^%,m*X=#D&'&"%e602,e\"*F0(-*^<<Y

“I used to sleep hungry in a bed next to roaches

Now I wake up, play a beat and burn a couple roaches

Permanently focused, learning while I’m going”

@"%/*u$"',*N:"m*X@,!'&"%*gCe*k,%1.&!E*V0#0.e*T",*G0%-*F.,0#-Y

“You gotta get up off your ass and get it, man

Thats the only way your pockets gonna expand, I

Tell you everyday, you know what i’m talkin about

Apply yourself to supply your wealth, only

Limitations you’ll ever have are those you

63"-/$.7%&$(%.*#/389$-2.*-2$+#$,/:&+0/3($%&

The move, you know what i’m talkin about

Exercise your ism and don’t depend on no one

Else, cathedral, chuch. Ism`”

Song Quote Three: (Firewater/Tha Alkaholiks/Poverty’s Paradise)

“I know what it feels like to wake up broke

And face another day wit’cha back against the ropes

And I also know how to survive the struggle

When shit gets tough you gotta up your hustle

Set some new goals, raise your selfesteem

24 Imhotep Journal

Don’t let nothin intervene or get in between

If you gotta push weight, keep your money clean”

Claim

N3,* !20&#* '30'* !0%* D,* #01,* <."#* '3,* -"%/-* <"$%1* $%1,.* '3,* '3,#,* "<*

determination is that in order to succeed African Americans must have a strong racial

&1,%'&'(5*=*-'."%/*.0!&02*&1,%'&'(*&-*.,[$&.,1*D,!0$-,*&'*/&;,-*'3,#*'3,*!"%H1,%!,*'"*$4*

.&-,*<."#*0*D0!E/."$%1*"<*4";,.'(*0%1*D.,0E'3."$/3*'30'*"44.,--&;,*,%;&."%#,%'5*8'*

&-*1&<H!$2'*'"*'.0%-&'&"%*<."#*4";,.'(*'"*:,02'3)*D$'*D,!0$-,*'3,-,*0.'&-'-*0.,*#"'&;0',1*

'3,(*0.,*0D2,*'"*#0E,*'3&-*'.0%-&'&"%5*6&'3"$'*0*-'."%/*.0!&02*&1,%'&'(*".*!"%%,!'&"%*'"*

'3,&.*=<.&!0%*.""'-*'3,%*'3,-,*&%1&;&1$02-*:"$21*%"'*30;,*'3,*-,2<B,-',,#*.,[$&.,1*'"*

0!3&,;,*'3,&.*/"02-5*=*-'."%/*!"%%,!'&"%*'"*.0!&02*&1,%'&'(*0%1*-,2<B,-',,#*&-*%,,1,1*

D,!0$-,*&'*/&;,-*'3,#*#"'&;0'&"%*0%1*D,2&,<*'30'*'3,(*!0%*0!!"#42&-3*'3,&.*1.,0#-5*

?0!&02* &1,%'&'(* &-* 0%* &#4".'0%'* 0-4,!'*:&'3&%* .04*#$-&!*D,!0$-,* &'* /&;,-* .044,.-* 0*

4"-&'&;,*;&,:*"%*=<.&!0%*=#,.&!0%-5*N3,*0.'&-'-*'3,%*&%*'$.%*.04*'"*#0E,*"'3,.*=<.&!0%*

=#,.&!0%-*$%1,.-'0%1*'3,&.*#,--0/,*'30'*.0!,*&-*%"'*0*D"$%10.()*&'*&-*-"#,'3&%/*'30'*

$%&',-*0*4,"42,*0%*-3"$21*D,*0*:0(*"<*&1,%'&<(&%/*:&'3*0*/."$4*0%1*/&;,-*4,"42,*'3,*

&%%,.*-'.,%/'3*'"*0!3&,;,*'3,&.*1.,0#-5

Conclusion

N.0%-&'&"%&%/*<."#*4";,.'(*'"*:,02'3*&-*0*1&<H!$2'*'0-E*'30'*#0%(*0.'&-'-*&%*'3,*

#$-&!*&%1$-'.(*30;,*301*'"*";,.!"#,5**8'*&-*&#4".'0%'*'"*D.&%/*0:0.,%,--*'"*'3,*'"4&!*"<*

'.0%-&'&"%&%/*<."#*4";,.'(*'"*:,02'3*D,!0$-,*&'*/&;,-*3"4,*0%1*&%-4&.0'&"%*'"*=<.&!0%*

=#,.&!0%-*'30'*'3,(*!0%*";,.!"#,*4";,.'(*0%1*<$2H22*'3,&.*1.,0#-5*N3,.,*0.,*#0%(*

themes found within the topic of transitioning from poverty to wealth that explain

3":*'3,*-"%/*[$"',-*.,20',*'"*'3,*4.,;&"$-*.,-,0.!3*'30'*30-*D,,%*<"$%15*6&'3&%*'3,*

theme of communalism it was commonly seen that hip-hop artist’s motivation for

'.0%-&'&"%&%/*<."#*4";,.'(*'"*:,02'3*:0-*,&'3,.*'"*-$44".'*'3,&.*<0#&2(*".*/&;,*D0!E*'"*

'3,*!"##$%&'(5*N3&-*.,+,!'-*'3,*-'$1(*1"%,*D(*^2-,%BG!O.&1,*XKCAKY*r*&%*'3&-*-'$1(*

=<.&!0%*=#,.&!0%M-*$-,1*.04*#$-&!*0-*0*<".#*"<*'3,.04,$'&!*-,2<B,I4.,--&"%5*N3,-,*

Transitions from Poverty 25

':"*.,20',*D,!0$-,*'3,*'3,#,*"<*!"##$%02&-#*<"$%1*&%*.04B#$-&!*&-*02-"*<"$%1*&%*'3,*

-'$1(*f*'3,(*0.,*D"'3*$-&%/*.04*0-*0*#,0%-*"<*/&;&%/*D0!E*'"*'3,*!"##$%&'(5*

N3,* '3,#,* "<* &%1&;&1$02&-#* &-* -,,%* &%* 0* -'$1(* 1"%,* D(*9,--* XKCC`Yr* &'* &-*

D,2&,;,1*'30'*=<.&!0%*=#,.&!0%-*<,,2*0*%,,1*'"*!"#4,%-0',*<".*'3,&.*D0!E/."$%1*"<*

4";,.'(*D(*-$!!,,1&%/*&%*'3,*#$-&!*&%1$-'.(5*N3&-*&-*0*'3,#,*!"##"%2(*-,,%*&%*.04*

#$-&!*D,!0$-,*#0%(*"<*'3,*0.'&-'-*.04*0D"$'*D,&%/*'""*4."$1*'"*0-E*<".*3,24*D,!0$-,*

'3,(*:0%',1*'"*b#0E,*&'*D&/c*"%*'3,&.*":%5*?0!&02*&1,%'&'(*&-*0%*&#4".'0%'*'"4&!*0-*

!&',1* &%* '3,* .,-,0.!3*4.,;&"$-2(*1"%,*D(*?"7&,BO0''2,* XKCCKYr* &%* '3&-* .,-,0.!3* &'* &-*

-3":%*'30'*.04*#$-&!*/&;,-*=<.&!0%*=#,.&!0%M-*0*4"-&'&;,*;&,:*"<*.04*0.'&-'-5*=2'3"$/3*

#0%(*"<*'3,*0.'&-'-*&%*'3,*[$"',-*<"$%1*'"*-$44".'*'3&-*'"4&!*1&1*%"'*0!3&,;,*'3,&.*<0#,*

'3."$/3*0!01,#&!-)*'3,(*1&1*0!3&,;,*'3,&.*1.,0#-*D,!0$-,*'3,(*301*!"%H1,%!,*0%1*0*

4"-&'&;,*.,20'&"%-3&4*:&'3*'3,&.*=<.&!0%*&1,%'&'(5*=22*"<*'3,*-"%/-*<"$%1*0.,*<."#*0.'&-'-*

:3"*30;,*!"#,*<."#*0*D0!E/."$%1*"<*4";,.'()*0%1*-"*"%!,*'3,#,-*0.,*&1,%'&H,1*&'*

!0%*D,*$%1,.-'""1*:3(*'3,*0.'&-'*!3""-,-*'"*.04*0D"$'*0*40.'&!$20.*'"4&!5*=.'&-'-*:3"*

30;,*!"#,*<."#*0*D0!E/."$%1* &%*4";,.'(*/,%,.022(*!3""-,* '"*.04*0D"$'* &'*D,!0$-,*

'3,(*:&-3*'"*/&;,*D0!E*'"*'3,&.*!"##$%&'()*/&;,*3"4,*'"*"'3,.-*&%*0*4"-&'&"%*"<*4";,.'(*

that their dreams can come true, and how their individual determination is the reason

<".* '3,&.* -$!!,--5*?04*#$-&!* &-* '.,#,%1"$-2(* &#4".'0%'* '"* '3,*O20!E* !"##$%&'(* B*

,-4,!&022(*'3"-,*<0!&%/*4";,.'(*B*D,!0$-,*&'*/&;,-*'3,#*&%-4&.0'&"%*E%":&%/*'30'*'3,*

%":*:,02'3(*.044,.-*:,.,*"%!,*&%*'3,&.*4"-&'&"%5

Works Cited

P.,#)*F5*U5*XKCC`Y5*N3,*-"$'3*/"'*-"#,'3&%/*'"*-0(m*='20%'0M-*1&.'(** * ** -"$'3*0%1*'3,*-"$'3,.%&70'&"%*"<*3&4B3"4*=#,.&!05*Southern Cultures5*AKXZY)*aaB_d5

9,--)*G5*XKCC`Y5*>."#*D.&!E-*'"*D&22D"0.1-m*9&4B3"4*0$'"D&"/.043(5** * * Mosaic: A Journal For The Interdisciplinary Study Of Literature)*dRXAY)*`AB__5

26 Imhotep Journal

V0:-"%)*Q5)*J0."-7)*V5)*l*O"%1-)*=5*XKCACY5*=.'&!$20'&"%-*"<*420!,)*4";,.'()*0%1** *

race: Dumping grounds and unseen grounds in the rural

* =#,.&!0%*\".'3:,-'5*Annals Of The Association Of American

Geographers, ACCXdY)*`aaB`__5

^2-"%BG!O.&1,)*V5)*l*T0/,)*N5*>5*XKCAKY5*@"%/*'"*-,2<m*T."#"'&%/*0** * *

therapeutic dialogue with high-risk youths through

* 4",'.(*0%1*4"4$20.*#$-&!5*Social Work With Groups, daXKY)*AKZB* * *

* Ad_5

?"7&,BO0''2,)*J5*V5*XKCCKY5*=<.&!0%*=#,.&!0%*("$'3*&%*'3,*\,:** * * *

* G&22,%%&$#m*=%*^;,.;&,:5*Journal of Health & Social

Policy, AaXKY)*ABAK5

?$1"243)*J5*XKCAAY5*T&1&,."%*S0!0"*V0'&%&101*0%1*O20!E*&1,%'&'(*&%*'3,** * *

* .,//0,'"%*"<*F"%*^#0.5*Centro Journal, KdXAY)*dCB* * * *

* ad5

@&##"%-)*?5)*l*S30;&-)*O5*XKCC`Y5*=*3&4B3"4*-02$',*'"*S".,''0*@!"''** * *

* k&%/m*S"%'&%$&%/*'3,*-'.$//2,*<".*<.,,1"#)*L$-'&!,** * * *

* 0%1*,[$02&'(5*New York Amsterdam News, Ad5

N,..&*=10#-)*G5)*l*F"$/20-*>$22,.)*O5*XKCC`Y5*N3,*:".1-*30;,*!30%/,1** * ** D$'*'3,*&1,"2"/(*.,#0&%-*'3,*-0#,m*G&-"/(%&-'&!*2(.&!-*&%*.04** * * music, Journal of Black Studies)*d`X`Y)*RdgBRa_

Appendix

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K5*********\"*F0(-*"<<B*602,

d5*********9$-'2,*90.1B*=!,*9""1

Transitions from Poverty 27

Z5*********9"$-'"%*^21*9,01B*=@=T*?"!E(

a5*********P,'*T0&1B*S$..,%w(*X>,0'5*N.01,#0.E*0%1*i"$%/*?"11(Y

`5*********V&/3'*-4,,1B**P.&,;,-

_5*********S0%**8*2&;,B*J5*S"2,

g5*********UI3&D&'*S*f*J0(*U2,!'."%&!0

R5*********9""1*P"%,*V";,*8'B*J0(*?"!E*X<,0'5*k,%1.&!E*V0#0.Y

AC5*******P""1*V&<,B*k0%(,*6,-'

AA5*******9"#,!"#&%/B*k0%(,*6,-'

AK5*******P.":&%/*T0&%B*V$10!.&-

Ad5*******V0./,*=#"$%'-B*V$10!.&-

AZ5*******P"21*60'!3B*V$4,*>&0-!"

Aa5*******@'.,,'*F.,0#X?,#&IYB*\0-

A`5*******N3,*@E(M-*'3,*V&#&'B*\"'".&"$-*O585P

A_5*******T",*G0%-*F.,0#-B*k,%1.&!E*V0#0.

Ag5*******]4*&%*'3,*=&.B*F$#D<"$%1,01

AR5*******=.,*:,*'3,.,*(,'B*F$#D<"$%1,01

KC5*******N30*=2E03"2&E-*B*T";,.'(M-*T0.01&-,m

28 Imhotep Journal

Religion and Spirituality in Hip Hop Lyrics

By Bria Grant

9&4*9"4*&-*0*#$-&!*/,%.,*'30'*-'0',1*&%*&%%,.*!&'(*\,:*i".E*&%*'3,*AR_C-5*

@&%!,* '3,%* &'* 30-* ,I42"1,1* &%'"* 0*:".21:&1,*43,%"#,%"%5*9&4*9"4* &-* 0*#,0%-*"<*

!"##$%&!0'&"%* 0%1* 0%* 0.'* <".#5* 9":,;,.)* ,;,%* #".,* :&1,2(* .,!"/%&7,1* &-* '3,*

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,;,%*0* 2&<,-'(2,* '30'* &-*0--"!&0',1*:&'3*3&4*3"45*N3,*4,"42,*:3"*!"%'.&D$',*/.,0'2(*

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'3&-*#$-&!*/,%.,* &-*FJ*k""2*9,.!* XO0',()*KCAAY5*N"10(*4"4$20.*3&4*3"4*0.'&-'-*0.,*

F.0E,)*602,)*0%1*i"$%/*J,,7(*L$-'*'"*%0#,*0*<,:5**8%*40.')*'3,-,*0.'&-'-*&%+$,%!,*'3,*

1&.,!'&"%*"<* '3,*!$2'$.,5*N3,*#$-&!* '3,(*!.,0',* &-*#0&%-'.,0#*0%1* .,0!3,-*0*#$!3*

20./,.*0$1&,%!,*'30%*,;,.*D,<".,5*N3,*#$-&!*0%1*0!'&"%-*"<*'3,-,*0.'&-'-*0.,*2""E,1*

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"<*!.&'&!&-#5*63,'3,.*&'*&-*'0./,',1*<".*'3,*,I42"&'0'&"%*"<*:"#,%)*3(4,.B-,I$02&'()*".*

;&"2,%!,)*3&4*3"4*30-*301*&'-*<0&.*-30.,*"<*!"%'.";,.-(5

N3,* 4."D2,#* '30'* :&22* D,* 1&-!$--,1* &%* '3,* 4.,-,%'* .,-,0.!3* &-* 2";,* <".* ".*

D,2&,<* &%* 0* 3&/3,.* 4":,.* 0%1* 3":* '30'* D,2&,<* &-* ,I4.,--,1* &%* 3&4* 3"4*#$-&!5* V";,*

0%1*2";,*2&E,*,I4,.&,%!,-*0.,*0.'&!$20',1*0%1*,I4.,--,1*&%**3&4*3"4*2(.&!-5*9":,;,.)*

#$!3*"<*#0&%-'.,0#*3&4*3"4*2(.&!-*,I4.,--*2";,*4.&#0.&2(*'":0.1*."#0%'&!*40.'%,.-5*

N3&-*4.,-,%'*.,-,0.!3*4."L,!'*:&22*2""E*&%'"*0*1&<<,.,%'*<".#*"<*2";,*D(*$-&%/*!"%',%'*

analysis of hip hop lyrics to search for themes of platonic love for a higher spiritual

4":,.* &%* 0* ;0.&,'(* "<* 3&4* 3"4* 2(.&!-5* N3,* 4"4$20.&'(* 0%1* <"!$-* "%* '3,* '3,#,* "<*

-,I$02&'()*."#0%'&!*2";,)*".*"'3,.*#0&%-'.,0#*3&4*3"4*.,<,.,%!,M-*#0E,*&'*1&<H!$2'*'"*

H%1*4.&".*.,-,0.!3*"%*#".,*420'"%&!*2";,*<".#-5*9":,;,.)*0*!2"-,.*2""E*&%'"*'3&-*'"4&!*

:&22*3,24*"$'2&%,*'3,#,-*'30'*0.,*%"'*'(4&!022(*3&/32&/3',1*:&'3&%*3&4*3"4*!.&'&!&-#5*

This research will reexamine the types of spiritual love expressed in hip hop music

29

___________________________________________________________


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holy hip hop or gospel rap, has increased in popularity throughout the last few years

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.,2&/&"%*0%1*3&4*3"4*#$-&!*'"*!",I&-'5

There is an article that uses multi-level content analysis to look into hip

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dC*****************8#3"',4*J"$.%02

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:0-*02-"*0*!30%/,*&%*<.,[$,%!(*"<*-4&.&'$02&'(*";,.*0*!"$.-,*"<*0*'3,*<,:*(,0.-*'30'*

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%,/0'&;,*"%,-5* 8%* <0!')*"%2(*,&/3'*4,.!,%'*"<* '3,*-4&.&'$02* 2(.&!-*:,.,*%,/0'&;,5*N3,*

4.,-,%'*.,-,0.!3*/&;,-*,I420%0'&"%-*<".*'3,*1&<<,.,%!,-*&%*-4&.&'$02&'(5*8'*02-"*.,20',-*

,;,.('3&%/*D0!E*'"*'3,*=<.&!0%*=#,.&!0%*!"##$%&'(5

Methods

In this research content analysis was used to examine songs for themes of

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^.&/&%02*9&4B9"4*V(.&!-*=.!3&;,5*=<',.*-,0.!3&%/*:&'3*'3,*E,(:".1*bP"1c)*H;,*-"%/-*

:,.,*4&!E,1*X@,,*044,%1&I*=*@,!'&"%*AY5*U;,.(*"'3,.*-"%/*:0-*4&!E,1)*.,4,0'&%/*'3,*

-0#,*0.'&-')*0%1*2""E&%/*<".*2(.&!-*'30'*301*-4&.&'$02*.,<,.,%!,-5*@"%/-*'30'*L$-'*#,.,2(*

301*'3,*:".1*P"1*&%*'3,#*:,.,*0;"&1,15*^%2(*-"%/-*'30'*1&-!$--,1*P"1*&%*0*-4&.&'$02*

#0%%,.*:,.,*!3"-,%5*N3,*%,I'*-,0.!3*:0-*"%*'3,*E,(:".1*bJ,-$-c)*.,4,0'&%/*'3,*-0#,*

4."!,--*0%1*0..&;,1*:&'3*H;,*011&'&"%02*-"%/-*X@,,*044,%1&I*=*@,!'&"%*KY5*N3,*-0#,*

-',4-*:,.,*!"%'&%$,1*:&'3*'3,*:".1-*b8-20#c)*b>0&'3c)*0%1*b6".-3&4c*0%1)*H;,*-"%/-*

:,.,*4&!E,1*,0!3*:".1*X@,,*044,%1&I*=*@,!'&"%*d)*Z)*0%1*aY5**8-20#*:0-*!3"-,%*-"*

'3,.,*!"$21*D,*0*;0.&,'(*"<*.,2&/&"%-5*=2-"*S3.&-'&0%&'(*0%1*8-20#*0.,*'3,*':"*20./,-'*

.,2&/&"%-* &%* '3,*:".21* 0%1* '3,(*30;,* -,;,.02* 4"&%'-*"<* !"%'0!'* XS"#40.&-"%*S30.'m*

S3.&-'&0%&'(*0%1*8-20#Y5*N3,.,*:,.,*0*:&1,*.0%/,*"<*.,-$2'-*<."#*#0&%-'.,0#*0.'&-'*

2&E,*aC*!,%')*'"*2,--*E%":*0.'&-'*2&E,*='#"-43,.,5

?,2&/&"%*0%1*@4&.&'$02&'(*****************dA

Results

Theme One: Religion vs. Society

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'3&%/-*'30'*#&/3'*0--$#,*1"%M'*#&I*:,22*'"/,'3,.5*N3,*<"22":&%/*'3.,,*-"%/*[$"',-*

-'0',*'3.,,*-$D'"4&!-*&%!2$1&%/m*.0!&02*1&-!.,40%!()*-4&.&'$02&'(*&%*#0&%-'.,0#*#$-&!)*

0%1* .,2&/&"$-* ',%-&"%* &%*4"2&'&!-5*N3,.,*0.,*_*"$'*"<*KC* -"%/-* '30'*30;,* '3&-* '3,#,*

4.,-,%'5

Quotes:

Takin elder advice, read the Bible, the Koran Searched scrolls from the Hebrew Israelites Hold on, this ain’t right, Jesus wasn’t White (Common f/ CeeLo, G.O.D. #1)

So here go my single dog radio needs thisThey say you can rap about anything except for JesusThat means guns, sex, lies, video tapesBut if I talk about God my record won’t get played Huh? (Kanye West, Jesus Walks #6)

The Question is not whether Islam can embrace Democracy, thequestion is, can democracy embrace Islam (The Brotherhood, Taking Charge #14)

Claim

In Common’s song he refutes the idea that Jesus Christ was of Anglo-Saxon

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[$,-'&"%* !0%* D,* '&,1* &%* '3,* &%<0#"$-* #0-',.* .0!,* &1,0)* '3,* &1,0* '30'* 63&',-* 0.,*

-"#,3":*#".,*-$4,.&".*'"*"'3,.*.0!,-5*8%*'3,*]%&',-*@'0',-*'3,*20./,-'*.0!&02*1&;&1,*

dK*****************8#3"',4*J"$.%02

!0%*D,*-,,%*D,':,,%*63&',*=#,.&!0%-*0%1*=<.&!0%0*=#,.&!0%-5*N3,*-,!"%1*[$"',*

1&-!$--,-*'3,*0!!,4'0%!,*&--$,-*:&'3*.,2&/&"%e-4&.&'$02&'(*0%1*#0&%-'.,0#*#$-&!)*#".,*

-4,!&H!022(* .04*".*3&4*3"4*#$-&!5*N3,* 20-'*[$"',*1&-!$--,-* 0*#".,*4"2&'&!02*D0''2,)*

D,':,,%*'3,*]%&',1*@'0',-*0%1*'3,*.,2&/&"$-*;&,:-*"<*8-20#5

Theme Two: Gods Love

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0.'&-'-*30;,*!"#42,',2(*1&<<,.,%'*'"%,-*0%1*-'(2,-5*N3,-,*-"%/-*-30.,*0*!"##"%*'3,#,*

"<*P"1M-*2";,)*,&'3,.*<".*'3,#*0-*&%1&;&1$02-*".*<".*"'3,.-5*N3,.,*0.,*Z*"$'*"<*'3,*KC*

-"%/-*'30'*H'*'3&-*'3,#,5

Quotes:

“Our lives are the worst, on top of that, we brokeThat’s the main reason why God, love us the most (Nas, God Loves Us #2)

Listen you can call me what you want, black and uglyBut you can’t convince me the Lord don’t love meWhen my CD’s drop, they sell the bestYou call it luck, why can’t it just be I’m blessed (50 Cent, God Gave Me Style #4)

See what we now know is nothing comparedto the love that was shown when our lives were spared (Lauryn Hill, Tell Him #16)

Claim

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?,2&/&"%*0%1*@4&.&'$02&'(*****************dd

!"#,*:&'3*2&;&%/*&%*0%*&#4";,.&-3,1*!"##$%&'(*'30'*0.,*!3022,%/&%/5*@"#,*"<*'3,-,*

4."D2,#-*!0%*30;,*0%*,<<,!'*"%*0*4,.-"%-*".*/."$4*"<*4,"42,M-*#&%1*-,'*".*:&22*4":,.5*

9":*!0%*"%,*D,2&,;,*&%*'3,*/""1%,--*"<*0*3&/3,.*4":,.*:3,%*"%,*&-*/"&%/*'3."$/3*

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theme of Gods unconditional love for people represents a sense of hope that Gods

follower process, the idea is even more explicate in less fortunate communities or

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African American impoverished community, which is whom some of the hip hop

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Theme Three: God as the Ultimate Leader

This theme represents exactly what it states, God as a leader in the lives

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:3"*!0%*/$&1,*'3,#5*N3,.,*0.,*`*"$'*"<*KC*-"%/-*'30'*30;,*'3&-*'3,#,*4.,-,%'5*

Quotes

;%,$+#&<0$:&+#2/,$1+02$'/$(/0I feel his hand on my brainWhen I write rhymes I go blind and let the Lord do his, thang (2 pac, Ghetto Gospel #3)

ioung Islamic brother, you with Christ, the world is cool

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Do what, ever the Lord tells you, and the reward is good

(Bone Thugs, Its Still Love #7)

I was made to worship and adore you—enjoy you

Put you on a pedestal and lay there before you

The more you do work in me the more I can’t ignore you

(The Ambassador, We Worship You #21)

Claim

This larger than life attitude that the artists express represents the larger

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like how having a parent or guardian provides some type of security for a young

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ultimate leader also means he has the most powerful of all leaders there is no one else

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4.0&-&%/*0%1*:".-3&4&%/*3&#5

Conclusion

The present research project as stated earlier is the use of content analysis to

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-,40.0'&"%*"<* -4&.&'$02&'(*0%1*#,1&0)* 02-"* '3,*D0''2,*D,':,,%* 8-20#*0%1* '3,*]%&',1*

@'0',-5*N3,*<0!'*'30'*-"!&02e4"2&'&!02*&--$,-*!"%+&!'*:&'3*.,2&/&"%*!0$-,-*D,2&,;,.-*"<*'3,*

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#".,*"<*0*3&11,%*4.0!'&!,*0%1*2,01-*'"*0*2"--*&%*'3,*D,2&,<5*P"1M-*$%!"%1&'&"%02*2";,*

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for this theme was that Gods’ love gives hope to people that would otherwise feel

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!0%*'&,*&%*:&'3*'3,*"'3,.*':"*'3,#,-5*8<*P"1*&-*'3,*$2'&#0',*2,01,.*"<*'3,*:".21*0%1*3,*

2";,-*,;,.("%,*-"*&%1&;&1$02-*:3"*D,2&,;,-*&%*/""1*!0%*D,*0--$.,1*'30'*&<*'3,(*.,#0&%*

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more together than separated; they also tend to have stronger faith in unseen spirits

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Works Cited

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O0.%,-)*@5*V5*XKCCgY5*?,2&/&"%*0%1*.04*#$-&!m*=%*0%02(-&-*"<*D20!E*!3$.!3*$-0/,5** * Review of religious research5*P02;0)*8Vm*?,2&/&"$-*?,-,0.!3*=--"!&0'&"%)***8%!5

O&22D"0.15*XKCAKY5*?lOe9&4*9"4*@"%/-5*:::5O&22D"0.15!"#5*

90..&-)*S5*@5*XKCACY5*Gods, God, & soul food: Young black spirituality in rap music5*** S".02*P0D2,-)*>Vm*T."u$,-'*F&--,.'0'&"%-*0%1*N3,-,-5

N3,*U!"%"#&-'5*XKCCRY5*V,'*%0'&"%-*-4,0E*4,0!,5*The Economist Newspaper Limited5

6&2-"%)*k5*XKCAKY5*S3.&-'&0%*3&4*3"4m*N3,*$%E%":%*/,%.,5*O."%I)*\im*N3,*O."%I**J"$.%025*

Appendix

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Section 2 JESUS

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Section 4 Faith

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Brotherhood in Hip Hop Lyrics

By Jimmy Commins

Themes in Music are found in every aspect of life; whether they are love,

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from the African oral tradition, most of the music in this genre relates to the African

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value common among hip-hop that is deeply rooted in traditional African culture

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has remained an important part of African American culture today comes from the

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Regardless of the context it clearly remains an important African value orientation

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*****************dR

___________________________________________________________



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goal is to see past the usual depiction of African American rappers as hardened, hyper-

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Since many of the hip-hop artists grew up in a low socio-economic positions, when

they have come upon success and wealth they express the desire to share that feeling

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aspects of hip-hop culture and clearly indicates the validity of his points through

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Methods

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Brotherhood in Hip Hop Lyrics ZA

ResultsTheme: Brotherhood through Death

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The artist is using the fact that death is present in all lives to connect the audience and

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Quotes:

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C, Silkk and the Shocker, I MISS MY HOMIES

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\0-) LET MY NIGGAS LIVE

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C-Murder, Master P, MY HOMIE

Claim

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this song allows the artist to connect to his listeners through the potential for shared

42 Imhotep Journal

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the artist to help the listener with similar experiences, understand that they are not

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'"*,%1*0%1*4"--&D2(*1,0'3*!"$21*!"#,*4.,#0'$.,2(5*\"'*"%2(* &-* '3,*0.'&-'*$-&%/*3&-*

own death as a way to connect people through the idea of death, he is also using a

!"##"%*'3.,0'*'"*'3,*!$2'$.,*D(*'3,*$-,*"<*'3,*:".1*b4&/5c*9,*$-,-*0*!"##"%*,%,#(*

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0%"'3,.*:0(*'30'*1,0'3*!0%*D,*$-,1*'"*!.,0',*0*-,%-,*"<*D."'3,.3""1*'3."$/3*!"##"%*

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;,.(*.,025*G0%(*4,"42,*<,0.*1,0'3*0%1*'3,*0.'&-'*&-*$-&%/*'30'*'"*!.,0',*0*!"%%,!'&"%*

'"*3&-*0$1&,%!,5*9,*3&#-,2<*&-*-!0.,1*"<*1,0'3*D,!0$-,*3,*D.&%/-*0*b!3."#,*/0'c*'"*

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D.&%/&%/*0*/$%*'"*-3":*'30'*1,0'3*&-*:0&'&%/*<".*("$*:3,'3,.*("$*0.,*.,01(*".*%"'5*N3&-*

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'3,#*0-*-"#,"%,*:3"*:0'!3,-*";,.*'3,#5

!"#$#(%450/"#5"002%/"5067"%890'0$-9%:-*+96,/;

@,;,%* "$'* "<* ':,%'(B,&/3'* -"%/-* .,<,.,%!,* D."'3,.3""1* '3."$/3* ,!"%"#&!*

1&<H!$2'(5**U!"%"#&!*1&<H!$2'(*&-*0*4.,;02,%'*'3,#,*'3."$/3"$'*#$!3*"<*.04*0%1*3&4*

3"45*N3&-*&%!2$1,-*/.":&%/*$4*&%*0*4"".*%,&/3D".3""1*'30'*'3,*0.'&-'*<,,2-*0*!"%%,!'&"%*

'")* '3,*.&-,*<."#*'30'* 2&<,-'(2,*0%1*'3,*1,-&.,*'"*/,'*"'3,.-*"$'*"<*'30'* 2&<,-'(2,5*8'* &-*

Brotherhood in Hip Hop Lyrics Zd

0%"'3,.*:0(*0%*0.'&-'*!"%%,!'-*'"*'3,&.*0$1&,%!,*0%1*!.,0',-*0*-,%-,*"<*D."'3,.3""1*

'3."$/3*0*-30.,1*,I4,.&,%!,5

Quotes:

b=%1* '3,* /3,''"* 0&%M'* %"* L"E,e* !0$-,* ,;,.(* #"'3,.<$!E&%/* 10(* 0%"'3,.*

%&//0* /,'-* -#"E,155555e*O$'* (M022* %&//0-* 2""E* 0'* 0* %&//0* 3$-'2&%/* 2&E,* &'-*

<$%%(e*D$'*&*/"'*'"*<,,1*'3,*<0#&2(c*G0-',.*T)*NEVER ENDING GAME

b8*:0-* '"21* &'M-*022* 2";,e*D$'*:3,.,M-* '3,* 2";,*:3,%*8*%,,1* &'e*902<* '3,-,*

%&//0-*8*#,,')*0.,*1&-/$-',1*0%1*/.,,1(e*302<*'3,-,*%&//0-*0.,*:,0E)*0%1*

,I4,!'&%/*0* <.,,D&,e*N30'M-*:3(* 8*/.&%1*1"/)* &'-* <".*#(*":%*/""15c*V&2M*

Head, YOU MY DOG RIGHT

b8M#*'.(%0*-3":*2";,*D$'*4,"42,*'0E,*'3,*D01*0%1*4.";"E,e*&<*8*/&;,*'3&-*

D$#*0*1"220.*:&22*3,*,0'*&'*".*-#"E,*&'v*kB?&%")*DOIN’ BAD

Claim

N3,*$-,*"<*,!"%"#&!*1&<H!$2'(*&%*'3,*-"%/*NEVER ENDING GAME allows

'3,*;&,:,.*'"*-,,*'3,*3$-'2,*'30'*0*4,.-"%*30-*'"*2&;,*:&'3*'"*/0&%*#"%,(*'"*b<,,1*'3,*

<0#&2(5c*N3&-*&-*0*;,.(*-'."%/*#,--0/,*"<*D."'3,.3""15*8'*-3":-*,!"%"#&!*30.1-3&4*0-*

0*'""2*'"*H2',.*"$'*4,"42,*("$*1"%M'*:0%'*'"*0--"!&0',*:&'35*=22*"<*'3,*4,"42,*:3"*-,,*

'3,*-'.$//2,*0-*b<$%%(c*0%1*/,'*&%*'3,*:0(*"<*<,,1&%/*'3,*<0#&2()*0.,*"D-'0!2,-*'30'*

30;,*'"*D,*";,.!"#,*'"*/,'*:30'*("$*<,,2*&-*%,!,--0.(5*N3,*0.'&-'*&-*$-&%/*'3&-*&1,0*

'"*!.,0',*0*-,%-,*"<*/,%$&%,*<0#&2(*'&,-5*N3,*<0#&2(*&-*#".,*&#4".'0%'*'30%*0%("%,*

,2-,*&%*'3,*2(.&!-*"<*'3&-*-"%/5*N3,*%,!,--&'(*'"*/0&%*#"%,(*&-*"%2(*<".*'3,*4."H'*"<*

'3,*<0#&2(*0-*0*:3"2,5*N3&-*022":-*4,"42,*'"*!.,0',*0*.,02*D."'3,.3""1*"<*<0#&2(*'&,-5*

It eliminates the fake people who get in your way and shines light on the people

:".'3*,%1$.&%/*'3,*-'.$//2,*<".5*N3,*-"%/*YOU MY DOG RIGHT has a very different

#,--0/,*"%* '3,* &1,0*"<* ,!"%"#&!* -'.$//2,5*N3&-* 0.'&-'* &%',.%02&7,-* &'* 0%1*#0E,-* &'*

44 Imhotep Journal

022*0D"$'*3&#5*=22*"<* '3,*b/.,,1(c*4,"42,*'30'*-$.."$%1*3&#*0.,*-&#42(*!3022,%/,-*

'30'*3,*30-*'"*";,.!"#,*&%*".1,.*'"*'0E,*!0.,*"<*3&#-,2<5*N3&-*#&/3'*%"'*-,,#*2&E,*

0%*&1,0*"<*D."'3,.3""1*D$'*0*1,,4,.*,I0#&%0'&"%*-3,1-*2&/3'*"%*&'5*N3,*"%2(*:0(*'"*

30;,*'3,*0D&2&'(*'"*4.";&1,*<".*'3"-,*("$*!0.,*0D"$'*&-*D(*4$''&%/*("$.-,2<*&%*0*-'0D2,*

,!"%"#&!*4"-&'&"%5*N3,*&1,0*"<*D,'',.&%/*("$.-,2<*:&'3"$'*'3,*%,,1*'"*.,2(*"%*"'3,.-*

&-* 0* ;,.(* -'."%/* &1,0* '30'* !0%* !"%%,!'* 4,"42,5* 8'* &-* 0* !"##"%*/"02* '30'*#0%(* 0.,*

'.(&%/*'"*/0&%*0%1*'3&-*-"%/*&-*1,-!.&D&%/*3":*'30'*!0%*3044,%5*i"$*30;,*'"*b/.&%1c*

'"*#0E,*&'*<".*("$.-,2<5*N3&-*-3":-*'30'*'3,*0.'&-'*:0%'-*4,"42,*'"*#0E,*&'5*9,*:0%'-*0*

!"22,!'&;,*/."$4*"<*4,"42,*'"*.&-,*<."#*:3,.,*'3,(*0.,5*i"$*!0%M'*b,I4,!'*0*<.,,D&,c*&<*

("$*0.,*/"&%/*'"*1"*-"#,'3&%/*<".*("$.*b":%*/""15c*i"$*30;,*'"*:".E*<".*:30'*("$*

:0%'5*N3."$/3*'30'*&1,0*'3,*0.'&-'*&-*!"%%,!'&%/*0*/."$4*"<*4,"42,*:3"*:&-3*'"*D,'',.*

'3,#-,2;,-5*N3,* 20-'* -"%/* "<<,.-* 0%"'3,.* 1&<<,.,%'* ;&,:*"%* ,!"%"#&!* 1&<H!$2'(5* 8%*

'3&-*!0-,)*'3,*0.'&-'*&-*,I4.,--&%/*3":*3,*&-*'.(&%/*'"*D,'',.*0*4,.-"%*'30'*30-*2,--*'30%*

3&#-,2<5*N3,*4."D2,#*:&'3*'3&-*&1,0*&-*'30'*3,*1",-*%"'*E%":*b:&22*3,*,0'*&'*".*-#"E,*

&'c*:3&!3*&-*D.&%/-*$4*0*#".02*1&2,##05*9,*&-*#0E&%/*0*!"%-!&"$-*,<<".'*'"*'3&%E*<".*

3&-*<,22":*D."'3,.*D$'*1",-%M'*:0%'*'"*!.,0',*-"#,'3&%/*D01*<".*'3,#5*=-*3,*-0(-*3,*

&-*b'.(%0*-3":*2";,c*D$'*'3,*.,0!'&"%*3,*/,'-*<."#*'30'*!0%*D,*D015*9,*:0%'-*4,"42,*

'"*!"#,*"$'*"<*'3&-*1&<H!$2'*40-'*'30'*3,*-,,#-*'"*30;,*!"#,*<."#5*9,*&-*L$-'*:"..&,1*

'30'*4,"42,*1"*%"'*30;,*'3,*.&/3'*#,%'02&'(*'"*,-!04,*'30'*2&<,-'(2,5*N3,*0.'&-'*3&#-,2<*

&-*'.(&%/*'"*!.,0',*0*D."'3,.3""1*D"%1*:&'3*'3,*4,"42,*3,*<,,2-*!"%%,!',1*'"*0-*0*.,-$2'*

"<*-30.,1*40-'*!&.!$#-'0%!,-)*,I4,.&,%!,-*0%1*<,,2&%/-5*

Brotherhood through Devotion

\&%,* "$'* "<* ':,%'(B,&/3'* -"%/-* .,<,.,%!,* D."'3,.3""1* '3."$/3* 1,;"'&"%5**

Devotion is the knowledge that no matter what the situation is; certain people will

3,24*("$*"$'5*N3,.,*&-*%"*,%1*'"*3":*#0%(*1&<<,.,%'*:0(-*0*4,.-"%*!0%*-3":*1,;"'&"%5*

8'*&-*'3,*0D&2&'(*'"*'.$-'*-"#,"%,*<$22(*0%1*30;,*%"*1"$D'*'30'*%"*#0'',.*:30'*("$*!0%*

1,4,%1*"%*'30'*4,.-"%5*N3&-*&-*,I,#42&H,1*&%*'3,*<"22":&%/*,I0#42,-5*

bi")* 8* -,%1* '3&-* '"*022*#(*F^Pe*N"*#(*.,02*%&//07* '30'*0.,* '.$,*F^Pe*

Brotherhood in Hip Hop Lyrics 45

\&//07*:3"*:&22*D$-'*/$%-*<".*'3,(*F^Pe*\&//07*:3"*:&22*-4&'*"%,*<".*

'3,(*F^Pc*?,1#0%)*D.O.G.S

b6"$21*("$*'0E,*0*D$22,'*<".*("$.*3"#&,e*8*/"'* '.$-'*$4*&%*#(-,2<*!0$-,*

#"-'*'3,-,*<""2-*0.,*2&;&%/*43"%(5c*N.$*<*<,0'5*O&/*,1)*WOULD YOU TAKE A BULLET FOR YOUR HOMIE

b8<*8*1&,1)*:"$21*("$*!.(e*\,,1)*6"$21*("$*4.";&1,e*&<*8*/"'*D,,<*:"$21*

("$*D,*-[$,,7&%*-&1,*D(*-&1,e*&<*8*<0!,*'&#,)*:"$21*("$*/&;,*#,*0*420!,*'"*

3&1,e*:"$21*("$*-%0E,*#,*<".*404,.)*2""E*&%*#(*,(,-c*S".#,/0)*R U MY NIGGA?

Claim

N3,*&1,0*"<*1,;"'&"%*0%1*D."'3,.3""1*/"*30%1*&%*30%1)*,-4,!&022(*&%*'3,*2(.&!-*

"<*.04*0%1*3&4*3"45*>."#*4,"42,*D0!E&%/*("$*$4*%"*#0'',.*:30')*'"*4,"42,*!0.&%/*0D"$'*

:3,'3,.*".*%"'*("$*0.,*1,01*1,;"'&"%*&-*,;,.(:3,.,*&%*'3,-,*2(.&!-5*8%*'3,*-"%/*D.O.G.S

?,1#0%*!"%%,!'-*1,;"'&"%*'"*;&"2,%!,5*8%*3&-*,(,-*'.$,*1,;"'&"%*0%1*D."'3,.3""1*&-*

D."$/3'*"%*D(*'3,*0!'*"<*;&"2,%!,*'30'*0*bF^Pc*:&22*1"*<".*("$5*N3&-*&-*0*;,.(*1,,4*

1,;"'&"%*D,!0$-,*&'*&-*0-E&%/*<".)*4"--&D2()*("$.*2&<,*'"*<,,2*!"%%,!',1*'"*-"#,"%,5*8<*

a person will kill for you they automatically have gained a sense of trust and family

'&,-*'"*("$5*N3&-*&1,0*&-*<$.'3,.*,I42".,1*D(*'3,*-"%/*Would you take a bullet for your

homie5*8%*'3&-*-"%/)*'3,*0.'&-'*&-%M'*0-E&%/*<".*0*<.&,%1*'"*!"##&'*;&"2,%!,*<".*'3,#)*

&%-',01*3,*0-E&%/*&<*'3,*4,.-"%*:&22*-$..,%1,.*'3,&.*":%*2&<,*'"*-0;,*3&-5*N3&-*&-*02-"*

!"%%,!',1*'"*;&"2,%!,*D$'*&%*0*1&<<,.,%'*:0(5*N3,*1,;"'&"%*/",-*40-'*'3,*0!'*"<*E&22&%/*

0%1*&-*#01,*,;,%*-'."%/,.*D(*'3,*0!'*"<*1(&%/5*8<*("$*0.,*%"'*0*b43"%(c*<.&,%1*("$*

:&22*4$'*("$.-,2<*0'*.&-E*"<*1(&%/*<".*("$.*<.&,%1-*0%1*'30'*&-*0*D."'3,.3""1*'30'*2&;,-*

<".,;,.5*8<*0*<.&,%1*:&22*1&,*<".*("$*:30'*#".,*1"*("$*%,,1*'"*-,,*'3,*'.$,*D."'3,.3""1*

'30'*30-*D,,%*!.,0',15*8%*'3,*-"%/*R U my nigga, Cromega uses a different approach

'"*1,;"'&"%5*=2'3"$/3* '3&-* &1,0*1",-* &%;"2;,*;&"2,%!,*-&#&20.* '"* '3,*"'3,.* ':"* &'* &-*

%"'*&'-*!,%'.02*'3,#,5*N3,*!,%'.02*'3,#,*"<*'3&-*-"%/*&-*'3,*E%":2,1/,*'30'*%"*#0'',.*

46 Imhotep Journal

:30'*'."$D2,*("$*/,'*&%'")*0*<.&,%1*30-*0*:0(*'"*3,24*("$5*N3&-*-3":-*'30'*D."'3,.3""1*

!0%*D,*-,,%*'3."$/3*1,;"'&"%*0-*0*%,,1*'"*30;,*-"#,"%,*&%*("$.*2&<,*%"*#0'',.*:30'5*

63,'3,.* &'* &-*1,0'3)*!"%!,02#,%')*".*#"%,(* '3,*"'3,.*4,.-"%*:&22*D,* '3,.,* '"*3,24*

("$*"$'5*N3&-*-"%/*02-"*D.&%/-*&%'"*;&,:*'3,*<0!'*'30'*D."'3,.3""1*0%1*1,;"'&"%*1"%M'*

-'"4*0<',.*1,0'35*63,%*0*4,.-"%*1&,-*'3,*<.&,%1*&-*-'&22*,I4,!',1*'"*D,*2"(025*N3&-*&1,0*

"<*D."'3,.3""1*&-*;,.(*-'."%/5*8'*-$.40--,-*"$.*43(-&!02*D,&%/*0%1*,I',%1-*'"*,;,.(*

0-4,!'*"<*0*4,.-"%)*&%!2$1&%/*1,0'35*N3&-*4"&%'-*'"*0*-4&.&'$02*!"%%,!'&"%*0!."--*'3,*

D."'3,.3""1*'30'*!"$21*D,*'.0!,1*D0!E*'"*'.01&'&"%02*=<.&!0%*0I&"2"/(5

Conclusion

=<',.*0%02(7&%/*3&4B3"4*2(.&!-*'30'*.,20',*'"*D."'3,.3""1)*&'*30-*D,!"#,*!2,0.*

'30'*&'*.,#0&%-*<".,<."%'*&%*=<.&!0%*=#,.&!0%*;02$,-5*O."'3,.3""1*&-*4.,;02,%'*$%1,.*

0* %$#D,.* "<* 1&<<,.,%'* !&.!$#-'0%!,-5*F,0'3* &-* 0* ;,.(* 4":,.<$2* ,I4,.&,%!,)*:3&!3*

!0%* D.&%/* 4,"42,* !2"-,.* 0%1* -'.,%/'3,%* '3,* '&,-* "<* D."'3,.3""15* 8'* #0E,-* 4,"42,*

.,02&7,*:30'* '3,(*30;,*!"$21*D,*/"%,* &%*0*-,!"%1*0%1* '"*044.,!&0',* '3"-,*:3"*0.,*

-'&22*0."$%15*@&%!,*b'3,*/3,''")c*0-*#0%(*0.'&-'-*30;,*.,<,..,1*'"*'3,*%,&/3D".3""1-*

&%*:3&!3*'3,(*30;,*/.":%*$4*!0%*D,*10%/,."$-)*&'*&-*&#4".'0%'*'"*30;,*4,"42,*:3"*

:0'!3*"$'*<".*,0!3*"'3,.)*-"2&1&<(&%/*'3,*&#4".'0%!,*"<*D."'3,.3""15*G"-'*"<*'3,*0.'&-'*

:3"*2(.&!-*:,.,*,I0#&%,1*'02E*0D"$'*!"#&%/*<."#*0*2":*,!"%"#&!*4"-&'&"%*&%'"*0*

;,.(*!"#<".'0D2,*"%,5* 8'* &-* '(4&!022(* '3,*1,-&.,* '"* -30.,* '3,*1.0#0'&!* &#4.";,#,%'*

of economic standing with those whom the artist feels tightly connected with as

0* .,-$2'*"<*=<.&!0%*D."'3,.3""15*@&%!,* '3,(* '3,#-,2;,-*30;,*!"#,* <."#*0*1&<H!$2'*

,!"%"#&!*4"-&'&"%)*'3,(*0.,*:,22*0:0.,*"<*'3,*'.&D$20'&"%-*'30'*!"#,*:&'3*&'*:3&!3*0.,*

%"'*:30'*'3,(*:0%'*<".*'3,&.*3"#&,-5*V0-'2()*1,;"'&"%*044,0.,1*'"*D,*!2"-,2(*.,20',1*

'"*D."'3,.3""1*&%*'3,*#&%1-*"<*'3,*0.'&-'-5*F&-420(-*"<*2"(02'(*".*1,;"'&"%*4.";,*'3,*

-'.,%/'3*"<*'3,*D."'3,.3""1*0%1*0!'$022(*4,.4,'$0',*&'5*F,;"'&"%*02-"*&#42&,-*0*2,;,2*

"<*-,2+,--%,--)*:3&!3*420!,-*'3,*%,,1-*"<*'3,*"'3,.-*&%*'3,*/."$4*";,.*"%,-,2<)*:3&!3*

&-*#01,*!2,0.*&%*'3,*2(.&!-*'30'*-4,0E*"<*-0!.&H!&%/*'3,&.*2&<,*<".*0%"'3,.5*N3&-*-3":-*

'3,* &#4".'0%!,* "<* '3,* D."'3,.3""1* D,!0$-,* &'* &-* ;02$,1* ";,.* '3,* 0.'&-'-* ":%* 2&;,-5*

Brotherhood and communalism are positive aspects of hip-hop music that are often


";,.2""E,1*<".*'3,*&22,/02*".*;&"2,%'*0-4,!'-5*O."'3,.3""1*30-*D,,%*!,%'.022(*.""',1*&%*

O20!E*-"!&,'(*<".*3$%1.,1-*"<*(,0.-*0%1*:&22*!"%'&%$,*'"*D,*4.,1"#&%0%'*<0!,'*"<*'3,*

=<.&!0%*=#,.&!0%*,I4,.&,%!,5

Appendix

# Artist

A* N?]*<e*O&/*U1

2 Method Man and Redman

d* @:&77*O,0'7*<e*O0D()*S0--&1()*J010E&--)*T5*F&11()*@%""4*F"//j*?"%021*8-2,(

4 Redman

a* kB?&%"

`* @%""4*F"//*<e*SBG$.1,.)*G0/&!

7 Insane Clown Posse

g* ?"1%,(*^*l*J",*S""2,(

9 TRU

AC* 6$BN0%/*S20%*<e*\0-

AA* KT0!

AK* G0-',.*T*<e*T&#4*S)*@&2EE*'3,*@3"!E,.

Ad* FGh*<e*O&/*@'0%)*V""-,)*k0-&%")*F.0/"%

AZ* G0-',.*T

Aa* @&2EE*<e*SBG$.1,.)*G0-',.*T

A`* aC*S,%'*<e*U#&%,#)*\"'".&"$-*O585P5

A_* UBZC

Ag* FGh

AR* O"%,*N3$/-B\B90.#"%(

KC* G0-',.*T

KA* F07*F&22&%/,.

KK* nB?"

Kd* @!0.<0!,*<e*V&2M*J0(

48 Imhotep Journal

KZ* 6$BN0%/*S20%

25 Cormega

26 Snoop Dogg

K_* i"$%/*n,,

28 Lil’ Head

Works Cited

^:0.,)*G5*XKCACY5*O."'3,.2(*2";,r*3"#"-"!&02&'(*0%1*D20!E*#0-!$2&%&'(*&%*/0%/-'0*** ?045*Springer Science and Business Media)*KKBdd5

T0(%,)*i5*=5*XKCC`Y5*b=*/0%/-',.*0%1*0*/,%'2,#0%c5*City University of New York,

08XCdY)*KggBKR_5

@#&'3,.#0%)*P5*XARR_Y5*S"##$%&!0'&;,*4.0!'&!,-*&%*'3,*3&4B3"4*%0'&"%5*The Journal of Black Studies, 28XAY)*dBKa5

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African American Interdependence and Collectivism in Political Hip Hop

By Patrick Tuck

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African and African American worldviews are indicators that Black psychology has a

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the African culture’s most fervent addition to American culture for indications of

interdependence and collectivistic ideals should yield results telling of African

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___________________________________________________________


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cultures as well as hip hop music from around the world in hopes to connect the

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amount of representation of hip hop on the internet is simple evidence of how much

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interdependence within the African culture, she evaluates how different parts of the

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from the music and political energy from their counterparts on the other side of the

African American Interdependence aA

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Methods

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Results

Theme One: Interdependence as a Negative

Contradictory to what this research originally proposed, many political hip-

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KC*-"%/-*0%02(7,1)*301*-30.,1*'3&-*'3,#,5*N3,*<"22":&%/*2(.&!-*.,+,!'*'30'*.,2(&%/*"%*

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52 Imhotep Journal

"<*4";,.'(*".*<,0.*"<*;&"2,%!,5**N3&-*-,%'&#,%'*-*,I4.,--,1*&%*'3,*<"22":&%/*[$"',-m

bS0$-,*&%-&1,*'3,*L$%/2,)*,&'3,.*("$*1"*".*("$*1&,ei"$*/"'*'"*D,*0:0.,)*("$*

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#,*-',4WS0%M'*'.$--*&'c*XT$D2&!*U%,#()*S0%M'*N.$--*8')*@"%/*xaY5

b&'M-*0*10#%*-30#,)*s!0$-,*'3,(*<".#*'3,*40!EW"<*'3"-,*:3"*.,4.,-,%'*#(*

-4"')* (,'* '3,(* 20!EW'3,* -E&22* '"* /,'* .0:*:&'3*:".1-* 0%1* !"21* -3""'* s,#W

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%,--)*%"*/"02-*".*1.,0#-W%"*!.,0'&;&'(M-*,I0!'2(*3":*&'*-,,#-c*X>.,,-'(2,*

>,22":-3&4)*@$%-3&%,*G,%)*@"%/*xAaY5

Claim

Each song refers to interdependence whether with association to society, their

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that even though the rappers are speaking of interdependence in a negative light, the

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Perhaps interdependence is so deeply rooted in the African culture that individualism

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'3,*.044,.*,I420&%-*'30'*'3,(*0.,*'.(&%/*'"*3,24*'3,*2&-',%,.5

African American Interdependence ad

Theme Two: Individualism as a Negative

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interdependence as a positive aspect within political hip-hop lyrics, there are many

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XN3,*F&-4"-0D2,*9,.",-*"<*9&43"4.&-()*V0%/$0/,*"<*Q&"2,%!,)*@"%/*xARY5

Claim

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"<*=<.&!0%* 2&<,*0%1* '3,*!0$-,*"<*40&%*0%1*-$<<,.&%/)*".*,;,%*0%*b=.#0/,11"%5c*O(*

proposing that individualism is the cause of these negative parts of society, these

rappers are implying dissatisfaction with capitalist society and those who are very

54 Imhotep Journal

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"'3,.M-*%,,1-*&%-',01*"<*<"!$-&%/*"%*"%,-,2<5

Theme Three: Shift Towards Collectivism to Better Future

The most prevalent theme out of the set of political hip-hop lyrics analyzed

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,#4'(*W8*4$'*D0!E*"%*#(*!04*0%1*8*-'0.'*3,01&%M*D0!EW8*.,0!3*&%'"*#(*4"!E,'*

0%1*8*30;,*0*3,0.'*0''0!EW:,22*0-*8M#*1&//&%M*1,,4*8*-!.,0#*b"3*%"ycW'3,.,M-*

%"'3&%M*&%*'3,*4"!E,'*D$'*0*/.,0'*D&/*3"2,W63&2,*8*:0-*D$-(*'3&%E&%M*&<*3,*

:"$21*D$(*-#0!EW'3,*L&%/2,*&%*#(*4"!E,'*&'*-2&44,1*'3."$/3*'3,*!.0!E-W%"*

"%,*30-*'3,*!30%/,*0%1*&'M-*<$!E&%M*$4*#(*3,01WO$'*%":*8*E%":*'3,*.,0-"%*

:3(*8*301*'"*D$(*'3,*'3.,01yc*X@4,0.3,01)*9"2,*&%*'3,*O$!E,')*@"%/*xAAY5

African American Interdependence 55

Claim

All of the lyrics display implications of working together for common

/"02-)*:3&!3*0.,*'3,*-"!&,'(M-*!"22,!'&;,*%,,1-5*U0!3*-"%/*,I4.,--,1*0*1,-&.,*'"*:".E*

'"/,'3,.*'"*#";,*<".:0.1)*D$'*%"'*'"*:".E*'"/,'3,.*'"*-'"4*0*!,.'0&%*"$'-&1,*<".!,5*N3&-*

.,-,0.!3*-$//,-'-*'30'*'3,*=<.&!0%B=#,.&!0%*!$2'$.,*',%1-*'"*D,2&,;,*'30'*#&-<".'$%,-*

0%1*-3".'!"#&%/-*0.,*%"'*-"2,2(*1$,*'"*"$'-&1,*<".!,-)*D$'*'30'*&'*#0(*02-"*D,*1$,*'"*

&%0!'&;,%,--*".*3,-&'0'&"%*'"*'0E,*40.'*&%*0*-"2$'&"%*-,,E&%/5

Conclusion

N3&-* .,-,0.!3* 30-* <"$%1* '30'*#"-'* 4"2&'&!02* 3&4B3"4* .,+,!'-* %,/0'&;,2(* "%*

&%',.1,4,%1,%!,*0%1*&%1&;&1$02&-#)*0%1*.,+,!'-*4"-&'&;,2(*"%*!"22,!'&;&-#5*63&2,*'3,*

=<.&!0%B=#,.&!0%*!$2'$.,*#0(*D,2&,;,*'30'*.,2(&%/*"%*"'3,.-*1",-*%"'*3,24*"%,-,2<)*

'3,(*02-"*D,2&,;,*'30'*:".E&%/*'"/,'3,.*'"*-"2;,*0*/"02*&-*D,'',.*'30%*<"!$-&%/*"%*"%,M-*

":%*/"02-5*9&4*3"4*#$-&!)*0%1*-4,!&H!022(*4"2&'&!02*3&4*3"4*#$-&!)*0.,*&%-4&.,1*D(*

,;,.(10(*2&<,5* *9":,;,.)*3&4*3"4*#$-&!*02-"*&%-4&.,-*,;,.(10(*2&<,5*F$,*'"*3&4B3"4*

#$-&!M-*-"!&02*-&/%&H!0%!,*&%*=<.&!0%B=#,.&!0%*!$2'$.,)*'3,-,*!"22,!'&;&-'&!*'3,#,-*

are shaping the perceptions of consumers of hip-hop, while shaping their cultural and

-"!&02*1,-&.,-5*N3,-,*4,.!,4'&"%-*D,!"#,*1,,42(* .""',1*0%1*,<<,!'* '3,*0!'&"%-*0%1*

1,-&.,-*"<*,;,.(10(*2&<,)*#0E&%/*3&4*3"4*0%*,;,.*!30%/&%/)*0%1*&%-4&.&%/*0.'5

6".E-*S&',1

S0.-"%)*V5*?5*XKCCRY5*b8*0#*D,!0$-,*:,*0.,mc*S"22,!'&;&-#*0-*0*<"$%10'&"%02** * characteristic of African American college student identity and academic

* 0!3&,;,#,%'5*Social Psychology of Education, 12*XdY)*dK_BdZZ5

9$%',.)*S5F5*l*J"-,43)*\5*XKCACY5*?0!&02*/."$4*&1,%'&H!0'&"%*0%1*&'-*.,20'&"%-*'"** ** &%1&;&1$02&-#e&%',.1,4,%1,%!,*0%1*.0!,B.,20',1*-'.,--*&%*=<.&!0%*** *=#,.&!0%-5*Journal of Black Psychology, 36*XZY)*ZgdBaAA5

56 Imhotep Journal

^-$#0.,)*95*XKCCRY5*O,0'*-'.,,'-*&%*'3,*/2"D02*3""1m*S"%%,!'&;,*#0./&%02&'&,-*"<**** '3,*3&4*3"4*/2"D,5*Journal of American & Comparative Cultures, 24*XABKY)*A_ABAgA5

@3"%,E0%)*@5*XKCAAY5*@30.&%/*3&4B3"4*!$2'$.,-m*'3,*!0-,*"<*\&/,.&0%-*0%1*=<.&!0%**** =#,.&!0%-5*American Behavioral Scientist, 55*XAY)*RBKd5

Appendix

Song Name Artist AlbumbF"&%M*"$.*":%*F0%/c* * J$%/2,*O."'3,.-* * F"%,*O(*'3,*>".!,-*"<** ** * * * * * * \0'$.,b@'.0&/3'*^$'*'3,*J$%/2,c* * J$%/2,*O."'3,.-* * @'.0&/3'*^$'*'3,*J$%/2,bO.""E2(%c* * * G"-*F,<** * O20!E*"%*O"'3*@&1,-b>,0.*\"'*"<*G0%c* * G"-*F,<** * O20!E*"%*O"'3*@&1,-bO."'3,.-*P"%%0*6".E*8'*^$'c* T$D2&!*U%,#(* * >,0.*"<*0*O20!E*T20%,'bS0%M'*N.$--*8'c* * * T$D2&!*U%,#(* * =4"!02(4-,*RAm*N3,*U%,#(*Strikes Back

bV"!"#"'&"%c* * * hBS20%* * * ?,'$.%*>."#*G,!!0b6,04"%*hc* * * hBS20%* * * ?,'$.%*>."#*G,!!0bN3,*V&/3'c* * * S"##"%* * V&E,*60',.*>".** * * Chocolate

b@"$2*T":,.c* * * S"##"%* * U2,!'.&!*S&.!$-bV";,*&-*F0*@zz'c* * @4,0.3,01* * 9"#,b9"2,*&%*'3,*O$!E,'c* * @4,0.3,01* * 9"#,bN,%%,--,,c* * * =..,-',1*F,;,2"4#,%'* d*G"%'3-)*a*i,0.-)*0%1*K** ** * * * * * * F0(-*&%*'3,*V&<,*^<obT,"42,*U;,.(10(c* * =..,-',1*F,;,2"4#,%'* d*G"%'3-)*a*i,0.-)*0%1*K** ** * * * * * * F0(-*&%*'3,*V&<,*^<ob@$%-3&%,*G,%c* * * >.,,-'(2,*>,22":-3&4* N"*63"#*&'*G0(*S"%!,.%bN"2,.0',c* * * >.,,-'(2,*>,22":-3&4* * 8%%,.*S&'(*P.&"'-bGSM-*=!'*V&E,*N3,(*F"%M'*k%":c* k?@B^%,* * *k?@B^%,b6".21*T,0!,c* * * k?@B^%,* * P3,''"*G$-&!m*N3,*O2$,4.&%'** of Hip Hop

Song Name Artist Album

African American Interdependence 57

bV0%/$0/,*"<*Q&"2,%!,c* F&-4"-0D2,*9,.",-*"<*9&43"4.&-(* 9(4"!.&-(*&-*'3,*P.,0',-'** * Luxury

bS02&<".%&0*],D,.*=22,-c* F&-4"-0D2,*9,.",-*"<*9&43"4.&-(* 9(4"!.&-(*&-*'3,*P.,0',-'** * Luxury

58 Imhotep Journal

Racial Identity in Hip Hop Lyrics

By TanDraya Eckert Berry

63,'3,.* &'* &-* /0%/-'0M* .04)* 4"2&'&!02)* !"##,.!&02* ".* $%1,./."$%1)* 022* .04*

in some ways showcases the ways that rap artists see themselves, their cultures

0%1* !"##$%&'&,-5*?0!&02* &1,%'&'(* &-* '3,* .0!&02* D0!E/."$%1* '30'* 0* 4,.-"%* &1,%'&H,-*

:&'35*?0!&02* &1,%'&'(* &-* &1,%'&H,1*0-*0%* &#4".'0%'*!"%-'.$!'*.,20',1* '"*4-(!3"-"!&02*

outcomes for African Americans, including self-esteem, psychological distress,

[$02&'(*"<*2&<,*0%1*0''&'$1,*'":0.1-*,1$!0'&"%*XS"E2,()*KCC_Y5*?0!&02*81,%'&'(*0''&'$1,-*

30;,*D,,%*E%":%*'"*D,*b-'."%/*4.,1&!'".-*"<*4-(!3"2"/&!02*1&-'.,--*0%1*:,22BD,&%/c*

XS"E,2(*l*S304#0%)*KCCRY*X45ARdY5*6&'3*?0!&02*81,%'&'(*D,&%/*-$!3*0*-'."%/*4,.-"%02*

0%1*!$2'$.02*&--$,)*'3&-*.,-,0.!3*4."L,!'*30-*D,,%*!"%1$!',1*'"*$%1,.-'0%1*3":*.0!&02*

&1,%'&'(*&-*,I420&%,1*&%*.04*#$-&!5*=-*'3,*4"-',.*!3&21.,%*<".*'3,*D20!E*!"##$%&'()*'3,*

:0(*'30'*.044,.-*'02E*0D"$'*'3,&.*-,2;,-*,I4.,--,-*'"*'3,&.*!"##$%&'(*3":*'3,(*-3"$21*

-,,*'3,#-,2;,-)*0-*&%1&;&1$02-*0%1*0-*!"##$%&'(*#,#D,.-5*N3&-*&-*&#4".'0%'*D,!0$-,*

'3,-,*2(.&!-*0.,*'3,*#"1,2-*0%1*,I0#42,-*"<*3":*4,"42,*-3"$21*0%1*0.,*-$44"-,1*'"*0!'5*

N3,-,*0.,*'3,*/$&1,2&%,-*'30'*#0%(*("$%/*4,"42,*<"22":*&%*3":*'3,(*2&;,*'3,&.*2&;,-5*

N3,-,*2(.&!-*.,+,!'*"%*3":*-"#,*#,#D,.-*"<*'3,*O20!E*!"##$%&'(*-,,*'3,#-,2;,-5**

The limitations of research on this topic is that much of the research and information

do not come directly from the artists; it comes from researchers that have already

4."!,--,1*'3&-*&%<".#0'&"%*&%*'3,&.*H%1&%/*0%1*&%',.4.,',1*&'*&%*'3,&.*":%*:0(5*8'*&-*

unwise to make an over- generalization on an entire group of people, such as the Black

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In what light do they paint how the Black community should act and if this really is

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59

___________________________________________________________


"<*.04*#$-&!*0%1*'3,&.*".&/&%-*0%1*<."#*'3,.,)*!"%1$!'*0*:".1*-,0.!3*:&'3*b?0!&02*

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Existing Research

The existing research on this topic ranges from political and hip hop in

.,20'&"%*'"*.0!&02*&1,%'&'(*'"*3":*3&4*3"4*#$-&!*,<<,!'-*.0!&02*&1,%'&'(5*P"-0M-*XKCACY*

addresses the fact that many rappers expressed their political opinion in rap songs

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&1,%'&H!0'&"%*<".*.044,.-5*N3,*0%02(-&-*,I42".,-*3":*^D0#0*:0-*1,4&!',1)*,#D.0!,1*

and defended from scrutiny in hip-hop; he also mentioned how political views in

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found that there is incomplete knowledge on the topic on hip hop and racial identity

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afore mentioned articles state that hip hop has a positive effect on racial identity,

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later there is still a large distrust of law enforcement in Los Angeles, all created from

Racial Identity `A

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,%',.4.&-,5* bi"$%/-',.-* -'0.',1* -4".'&%/* D&/* %0#,BD.0%1* !2"'3,-* 0%1* -%,0E,.-* '30'*

!0#,*:&'3*L$-'*0-*D&/*0*4.&!,B'0/c*XG&22%,.*ARRA)*4/5KAY5**9,*:."',*<$.'3,.*0D"$'*3":*

'3,*RCM-*30-*.,'$.%,1*'"*'3,*".&/&%02*=<.&!0%*2""E-*0%1*-'(2,-5*N3,%*G&22%,.*XARRAY*

,I420&%-*'30'*b!$2'$.02*,I4.,--&"%*02-"*!"#,-*'"10(*'3."$/3*#$-&!5*G"-'*%"'0D2,*&-*

Rap, which offers positive messages to youth, who often don’t have access to a formal

,1$!0'&"%)*0%1*:3&!3*',0!3,-*'3,#*'"*,I42".,*'3,&.*3,.&'0/,)c*XG&22%,.*ARRA)*4/5*KAY*

0%1*'30'*.04*420(-*0*20./,*40.'*&%*'3,*!30%/,*&%*.0!&02*&1,%'&'(5**9,2D&/*XKCAAY*,I420&%-*

'3,*.0&-,*"<*.04*#$-&!*&%*'3,*]E.0&%,*0%1*&'-*."2,*&%*?0!&02*81,%'&'(5*N3&-*0.'&!2,*H.-'*

'0E,-*0*-',4*D0!E*<."#*'3,*#$-&!*&'-,2<*0%1*<"!$-,-*"%*'3,*:0(-*'3,*-!,%,-*<$%!'&"%)*

40(&%/*-4,!&H!*0'',%'&"%*'"*'3,*."2,-*=<.&!0%*#$-&!&0%-*420(*&%*'3,*4."1$!'&"%*0%1)*0-*

:&22*D,!"#,*,;&1,%'*<."#*'3,*,'3%"/.043&!*10'0)*2,/&'&#&70'&"%*"<*3&4B3"4*&%*k30.E&;*

X9,2D&/*KCAA)*45*dA`Y5*N3,*.04*-!,%,*&-*#$!3*1&<<,.,%'*&%*'3,*]E.0&%,*-&%!,*'3,*@";&,'*

]%&"%*2&E,-*'"*'3&%E*"<*'3,#-,2;,-*0-*0*s!"2".D2&%1M*%0'&"%*XG&22%,.)*KCAAY5*b=<.&!0%*

#$-&!&0%-*0'',#4'*'"*<"./,*!"%%,!'&"%-*:&'3*2"!02*#$-&!&0%-*&%*k30.E&;*'3."$/3*3&4B

3"4*#$-&!*0-*0*O20!EB&1,%'&H,1*/,%.,*:&'3&%*:3&!3*'3,(*30;,*-"#,'3&%/*'"*-0(5*O20!E*

-E&%*!"2".*&'-,2<*f*.0'3,.*'30%*#$-&!02*,I4,.&,%!,*".*,;,%*&%',.,-'*&%*FJ&%/*0%1*.044&%/*

f*&-*,%"$/3*"<*0*:0(*'"*,%',.*&%'"*'3,*k30.E&;*3&4B3"4*-!,%,-c*XG&22%,.*KCAA)*45*dK`Y5*

G&22%,.*XKCAAY*,I42".,-*'3,*0!!,4'0%!,*"<*1&<<,.,%'*.0!,-*'3."$/3*'3,*D2,%1,1*%,':".E*

"<* '3,* .04* !"##$%&'(5*=22* "<* '3,* ,I&-'&%/* .,-,0.!3* 1&.,!'2(* .,20',* '"* '3&-* .,-,0.!3*

404,.)*D,!0$-,*'3,(*1,#"%-'.0',*'3,*&%+$,%!,*"<*3&4*3"4*#$-&!*"%*.0!&02*&1,%'&'(5

Methods

>".*'3&-*.,-,0.!3*404,.*0*:".1*-,0.!3*:0-*!"%1$!',1*'"*2"!0',*2(.&!-5*N3,*-&',*

^33205!"#*:0-*$-,1*'"*-,2,!'*'3,*-"%/-*$-,1*&%*'3&-*.,-,0.!3*404,.5**N3,*H.-'*:".1*

62 Imhotep Journal

-,0.!3*:0-*b?0!&02*81,%'&'()c*<."#*'3&-*-&',*!0#,*'3,*-"%/*G,--0/,*'"*'3,*O20!E*G0%*

D(*N,!3*\R%,5*63&2,*&'*&-*'3,*'"4&!*"<*'3,*.,-,0.!3*404,.)*;,.(*2&''2,*.,-$2'-*'30'*-3":*

$4*301*'3,*.&/3'*!"%',I'*<".*'3&-*404,.5*N3,*%,I'*:".1*-,0.!3*:0-*b?0!,cr*'3,*.,-$2'-*

<".*-"%/-m*?0!,*60.*D(*8!,*N)*]2'&#0-*T020D.0-*D(*8##".'02*N,!3%&[$,)*0%1*\,/."*

6&'*0%*,/"*D(*@02'*\*T,405*N3,*%,I'*:".1*-,0.!3,1*<".*'3&-*:0-*b81,%'&'()c*'3,*.,-$2'-*

<".*'3&-*:0-*'3,*-"%/m*>z*'30*T"2&!,*D(*\565=5*N3,*-,0.!3*"<*81,%'&'(*'$.%,1*"$'*'"*

D,*30.1,.* '30%*,I!,4',1*D,!0$-,* '3,*:".1*:0-*$-,1* &%* -"*#0%(*1&<<,.,%'*!"%',I'-*

'30'*.,022(*%,,1,1*'"*D,*0%02(7,1*<".*'"*-,,*&<*&'*0442&,1*'"*'3,*'"4&!5*N3$-)*'3,*-,0.!3*

!"%'&%$,1*:3,.,* '3,* -"%/*=4"!02(4-,* D(*6(!2,<* J,0%*:0-* <"$%15* N3,* %,I'*:".1*

-,0.!3*:0-*"%*'3,*43.0-,*bO20!E*S"##$%&'(5c*N3&-*43.0-,*:0-*1,',.#&%,1*%,!,--0.(*

D,!0$-,*&'*!"$21*D,*0*1&.,!'* 2&%E*'"*3":*.044,.-*.,0!3,1*4,"42,* 2"!022(5* *N3,*-"%/*

.,-$2'-*:,.,m*N.044,1*D(*N$40!)*]-*D(* 8!,*S$D,)*?,;"2$'&"%*"<* '3,*#&%1*]2'&#0',*

>".!,5*N3,*20-'*:".1*-,0.!3,1*<".*&%*'3&-*.,-,0.!3*404,.*:0-*'3,*:".1*bO20!E)c*<."#*

'3&-*-&',*!0#,*'3,*-"%/-m*=22*<022-*F":%*D(*k0%(,*6,-')*RR*4."D2,#-*D(*J0(Bn)*G(*

T.,-&1,%'*&-*O20!E*D(*i"$%/*J,,7()*S30%/,-*D(*N$40!)*S0$-,*8M#*O20!E*D(*@'(2,-*T)*8<*

8*.$2,1*'3,*6".21*D(*\0-*>'5*V0$.(%*9&22)*O20!E*0%1*T."$1*D(*N.0/,1(*'3,*8%',22&/,%'*

9""12$#)*63&',*=#,.&!0*D(*U#&%,#)*\585P5P5=*D(*G"4.,#,*>'5*N$40!*l*G"$-,*

G0%)*G$.1,.*'"*UI!,22,%!,*D(*k0%(,*6,-'*0%1*J0(Bn)*O20!E*'"*'3,*>$'$.,*D(*F,<*J,<)*

KCCC*0%1*O,("%1*D(*O&/*k.&')*P"./,"$-*D(*k0%(,*6,-')*O20!E*9&-'".(*D(*G0-',.*

T*>'5*?"#,")*O20!E*?,4$D2&!0%*D(*\0-*>'5*J0(Bn)*0%1*8*S0%*D(*\0-5*N3&-*20-'*-,0.!3*

4.";,1*'"*D,*'3,*#"-'*-$!!,--<$2)*0%1*:3,.,*'3,*#"-'*#0',.&02*:0-*<"$%15*N3,-,*:,.,*

'3,*':,%'(BH;,*-"%/-*!3"-,%*<".*'3&-*.,-,0.!3*4."L,!'*"%*?0!&02*81,%'&'(*&%*9&4*9"4*

V(.&!-5

Results

Theme One: Reject of Authority

N3,*.,L,!'&"%*"<*0$'3".&'(*&-*0*!"##"%*'3,#,*,I4.,--,1*&%*'3,-,*-"%/-5*8%*

many songs, the rappers are making negative comments towards the government and

20:*,%<".!,#,%'5*N3,(*-3":*0*!"##"%*1&-'.$-'*0$'3".&'(*&%*.,20'&"%-3&4*'"*'3,*O20!E*

!"##$%&'(5*=$'3".&'(*&-*%"'*-,,%*0-*0*4"-&'&;,*".*3,24<$2*.,-"$.!,*'"*O20!E*4,"42,r*

Racial Identity `d

'3,(*0.,* 2""E,1*0'*0-*%,/0'&;,*0%1*30.#<$25*N3,.,*0.,*_*"$'*"<*Ka*-"%/-* '30'*30;,*

,I4.,--,1*'3&-*'3,#,5*N3&-*'3,#,*&-*,I4.,--,1*'3."$/3*'3,-,*2(.&!-m

P.,0',-'*9&')*N$40!)*S30%/,-m*bS"4-*/&;,*0*10#%*0D"$'*0*%,/."eT$22*'3,*

'.&//,.)*E&22*0*%&//0)*3,M-*0*3,."eP&;,*'3,*!.0!E*'"*'3,*E&1-m*:3"*'3,*3,22*

!0.,-v*e"%,*2,--*3$%/.(*#"$'3*"%*'3,*:,2<0.,yc

N3,* G0.'(.)* 8##".'02* N,!3%&[$,)* ]2'&#0-* T020D.0-m* bG0%(* "<* '3,*

<"$%1,.-*"<*'3&-*%0'&"%*:,.,*'3,#-,2;,-*G0-"%-eN30'*&-*%"'*0*V,<'*:&%/*".*

?&/3'*:&%/*!"%-4&.0!(*'3,".(e8'*&-*0*:&1,2(*E%":%*0%1*0!!,4',1*<0!'e@"*

'3,%*,I420&%*'"*#,*3":*0*%0'&"%*<"$%1,1*D(*#,%e63"*%"'*"%2(*$%1,.-'""1*

'3,*2"%/*0%1*!"#42&!0',1*3&-'".(*"<*U$."4,eO$'*02-"*'30'*"<*=<.&!0eS"$21*

4,.#,0',*-$!3*0*2&,*&%*!"%;&%!&%/*'3,*=#,.&!0%*4$D2&!eN30'*"%,*.0!,*"<*

#,%*:0-*-$4,.&".*0%1*"%,*&%<,.&".c

G(*O,0$'&<$2*F0.E*N:&-',1*>0%'0-()*k0%(,*6,-'*>'5*k&1*S$1&)*P"./,"$-*

b>0!,*&')*J,."#,*/,'*#".,*'&#,*'30%*O.0%1"%e=%1*0'*'3,*0&.4".'*'3,(*!3,!E*

022*'3."$/3*#(*D0/e=%1*',22*#,*'30'*&'M-*.0%1"#eO$'*:,*-'0(*:&%%&%/)*'3&-*

:,,E*30-*D,,%*0*D01*#0--0/,e8*%,,1*0*3044(*,%1&%/*0%1*0*%,:*D,/&%%&%/e

=%1*0*%,:*H'',1)*0%1*-"#,*L"D*"44".'$%&'&,-*'30'M-*2$!.0'&;,eN3&-*'3,*.,02*

:".21)* 3"#&,)* -!3""2*H%&-3,1eN3,(*1"%,* -'"2,* ("$.*1.,0#-)* ("$*1$%%"*

:3"*1&1*&'e8*'.,0'*'3,*!0-3*'3,*:0(*'3,*/";,.%#,%'*'.,0'-*=8F@e8*:"%M'*D,*

-0'&-H,1*'&2*022*#(*%&//0-*/,'*&')*/,'*&'vc

Claim

Based on the theme, it is evident that there is a larger amount of distrust of

0$'3".&'()*,I4.,--,1*D(*.044,.-5*8%*'3,*O20!E*!"##$%&'(*'3,.,*&-*0*20./,*0#"$%'*"<*

1&-'.$-'*"<*0$'3".&'(5*\,/0'&;,*"4&%&"%-*0D"$'*0$'3".&'(*30;,*D,,%*4.,-,%',1*&%*2(.&!-*

<".*(,0.-*0%1*0.,*-'&22*D,&%/*;"&!,1*'"10(5

64 Imhotep Journal

Theme Two: Appreciation of Blackness

N3,*-,!"%1*'3,#,*<"$%1*&-*'3,*044.,!&0'&"%*"<*O20!E%,--5*8%*'3,-,*-"%/*'3,.,*

:3,.,*0%*";,.:3,2#&%/*0#"$%'*"<*O20!E*044.,!&0'&"%5*@"%/-*0D"$'*D,&%/*4."$1*'"*

D,*O20!E)*4."$1*"<*!$2'$.,)*0%1*4."$1*"<*"%,M-*!"##$%&'(*0.,*1,#"%-'.0'&;,*"<*'3&-*

'3,#,5*N3&-*044.,!&0'&"%*"<*O20!E%,--*1,#"%-'.0',-*'3,*4"-&'&;&'(*!"#&%/*<."#*'3,*

3&4*3"4*!"##$%&'(* '":0.1-*.0!&02* &1,%'&'(5* *N3,.,*0.,*`*"$'*"<*KC*-"%/-* '30'*30;,*

,I4.,--,1*'3&-*'3,#,5*N3&-*'3,#,*&-*,I4.,--,1*'3."$/3*'3,-,*2(.&!-m

Intelligent Hoodlum, Tragedy the Intelligent Hoodlum, Black and Proud:

b=-*2"%/*0-*:,*H/3'*0%1*/"*022*"$'*<".*,0!3*"'3,.eO20!EM22*D,*'3,*!"2".*"<*

#(*D."'3,.-e>&%1*("$.*0%!,-'".-*0%1*:30'*'3,(*1&1eS0$-,*&%',22&/,%'*D20!E-*

D$&2'* 4(.0#&1-e@,,E* 0%1* "D'0&%)* ("$M22* H%1* 1,-!.&4'&"%-eT(.0#&1-*:,.,*

D$&2'*D(*U/(4'&0%-e63"*4$'*$4*420%'0'&"%-*'"*:".E*'3,*<0-',-'eG"'3,.-*0%1*

-&-',.-*.04,1*D(*-20;,#0-',.-eP0#,1*D(*'3,*1,;&2*0%1*-:&<'*'02E,.-e=%1*'&22*

'3&-*10(*#(*D."'3,.-*0.,*-2,,4:02E,.-eN.&!E,1*D(*'3,*1,;&2*'"*<,,2*&%<,.&".e

8%*022*.,02&'(*#(*4,"42,*0.,*-$4,.&".e>.,,1"#*"<*-4,,!3)*8*-!.,0#*&'*2"$1e

T."$1*'"*D,*D20!E*!0$-,*D20!E*8M#*4."$1c

N3,*?,!,--&"%)*i"$%/*J,,7()*G(*T.,-&1,%'* &-*O20!Em*bP"''0*-'0(*'.$,*'"*

:3"*("$*0.,*0%1*:3,.,*("$*!0#,*<."#eS0$-,*0'*'3,*'"4*:&22*D,*'3,*-0#,*

420!,*("$*30%/*<."#e\"*#0'',.*3":*D&/*("$*!0%*,;,.*D,e*>".*:30',;,.*<,,*

".*4$D2&!&'()*%,;,.*2"-,*("$.*&%',/.&'(c

O20!E-M*G0/&!)*@02'*\*T,40)*\,/."*6&'*0%1*U/"m*bT$'*-"#,*<0&'3*&%*("$.*

.0!,e8M#*D20!E)*0%1*8M#*4."$1*'"*D,*0*=<.&!0%B=#,.&!0%*-"$2*-&-',.e]-&%M*

#(*#&%1*0-*0*:,04"%)*0*2,'302*&%L,!'&"%c

Claim

N3,*9&4*9"4* !"##$%&'(* 420!,-* &#4".'0%!,* "<* D,&%/* 0%1* <,,2&%/* 4"-&'&;,*

0D"$'* "%,-M* .0!,5* N3&-* 4"-&'&;&'(* &-* .,20(,1* '"* '3,*O20!E* !"##$%&'(* '30'* '3,(* '""*

Racial Identity 65

-3"$21*D,*4."$1*"<*'3,&.*.0!,5*N3&-*044.,!&0'&"%*"<*O20!E%,--*&-*0%"'3,.*4"-&'&;,*'3,#,*

,I4.,--,1*0D"$'*.0!&02*&1,%'&'(*'3."$/3*.04*#$-&!5

Theme Three: The “Struggle”

N3,*'3&.1*'3,#,*&-*'3,*b@'.$//2,)c*'3&-*'3,#,*.,4.,-,%'*'3,*10&2()*10(*'"*10()*

-'.$//2,*'3,-,*.044,.-*0%1*022*4,"42,*<0!,5*N3,*-'.$//2,*&-*-"#,'3&%/*,;,.("%,*30-*'"*

1,02*:&'3*022*'3,*'&#,5*N3&-*'3,#,*&-*,I4.,--,1*D(*'3,*-'.$//2,*"<*30;&%/*2&''2,*'"*,0')*

2&;&%/*0."$%1*;&"2,%!,*0%1*<0!&%/*.0!&-#*,;,.(*10(5*N3,.,*0.,*a*"$'*"<*Ka*-"%/-*'30'*

30;,*,I4.,--,1*'3&-*'3,#,5*N3&-*'3,#,*&-*,I4.,--,1*'3."$/3*'3,-,*2(.&!-m

k5?585N*6$7*9,.,)*O&/*k.&')*KCCC*D,("%1m*b=&%M'*&'*!.07()*-!0.,1*'"*30;,*

0*D0D(e9":*!0%*8*4."',!'*&'*<."#*'3,*-0#,*-'.,,'-*'30'*#01,*#,veS"%!.,',*

/201&0'".*D2""1*-3,1*";,.+":&%c

60'!3* '3,* N3."%,)* k0%(,* 6,-'* * 0%1* J0(Bn)* G$.1,.* '"* UI!,22,%!,m*

b&-* &'* /,%"!&1,veS0$-,* 8* !0%* -'&22* 3,0.* 3&-* #0#0* !.(ek%":* '3,* <0#&2(*

'.0$#0'&7,1e@3"'-*2,<'*3"2,-*&%*3&-*<0!,*0D"$'*4&.0%30B-&7,1eN3,*"21*40-'".*

!2"-,1*'3,*!"21*!0-E,'c

P.,0',-'*9&')*N$40!)*S30%/,-*m*b8*-,,*%"*!30%/,-)*022*8*-,,*&-*.0!&-'*<0!,-e

G&-420!,1*30',*#0E,-*1&-/.0!,*'"*.0!,-e6,*$%1,.)*8*:"%1,.*:30'*&'*'0E,-*

'"*#0E,*'3&-e^%,*D,'',.*420!,)*2,'M-*,.0-,*'3,*:0-',1c

Claim

?044,.-*0<<,!'*.0!&02*&1,%'&'(*D(*1,#"%-'.0'&%/*'3,*,;,.(10(*-'.$//2,5*N3&-*

-3":-*022*#,#D,.-*"<*'3,*!"##$%&'(*'30'*:,.,*'3,(*!"#,*<."#*&-*0*-'.$//2,)*0*/.,0'*

0#"$%'*"<*4,"42,*!0%*.,20',*'"*'30'*0%1*&1,%'&<(*:&'3*&'5

Conclusion:

8%*'3&-*.,-,0.!3*8*1&-!";,.,1*'3.,,*'3,#,-*0D"$'*.0!&02*&1,%'&'(*&%*.04*#$-&!5*

66 Imhotep Journal

N3,*H.-'*'3,#,*:0-*0*.0!,*D0-,1*.,L,!'&"%*"<*0$'3".&'(r*#,0%&%/*'30'*'3,.,*&-*-"#,*

1,/.,,* "<* 1&-'.$-'* "<* 0$'3".&'(* ,I4.,--,1* D(* .044,.-5* N3,* %,I'* '3,#,* <"$%1* :0-*

044.,!&0'&"%* "<* D20!E%,--r*#,0%&%/* '3,* 3&4* 3"4* !"##$%&'(* 420!,-* &#4".'0%!,* "%*

D,&%/*0%1* <,,2&%/*4"-&'&;,*0D"$'*"%,-M* .0!,5*N3&-*4"-&'&;&'(* &-* .,20(,1* '"* '3,*O20!E*

!"##$%&'(* -$!3* '30'* '3,(* '""* -3"$21* D,* 4."$1*"<* '3,&.* .0!,5*N3&-* 044.,!&0'&"%* "<*

D20!E%,--*&-*0%"'3,.*4"-&'&;,*'3,#,*,I4.,--,1*0D"$'*.0!&02*&1,%'&'(*'3."$/3*.04*#$-&!5*

N3,*'3&.1*'3,#,*<"$%1*:0-*'3,*b-'.$//2,)c*0%1*'3,*!20&#*&-*'30'*.044,.-*0<<,!'*.0!&02*

&1,%'&'(*D,&%/*1,#"%-'.0'&%/*'3,*,;,.(10(*-'.$//2,5*N3&-*-3":-*022*#,#D,.-*"<*'3,*

community that where they come from is a struggle; a great amount of people can

.,20',* '"* '30'* 0%1* &1,%'&<(*:&'3* &'5*N3&-* 044.,!&0'&"%* "<*O20!E%,--* &-* .,20',1* '"* '3,*

=<.&!0%* :".21;&,:* !30.0!',.&-'&!)* !"22,!'&;&-#)* D,&%/* 0!!,4'&%/* "<* "%,-M* -,2<* 0%1*

/."$45* * V&E,* 044.,!&0'&"%* "<*O20!E%,--)* '3,* -'.$//2,* &-* 02-"* 0* !"22,!'&;,* ;&,:r* '3,*

-'.$//2,-*%"',1*&%*'3,*2(.&!-*0.,*'3,*4."D2,#-*"<*022*4,"42,*&%*'3,*O20!E*!"##$%&'(5*

63,%*&'*!"#,-*'"*'3,*.,L,!'&"%*"<*0$'3".&'(*'3,.,*&-*0*3&/3*4":,.*1&-'0%!,*D,':,,%*

'3,*4,"42,)*=<.&!0%*=#,.&!0%-)*0%1*'3,*/";,.%#,%'5*N3&-*3&/3*4":,.*1&-'0%!,*&-*02-"*

0*40.'*"<*=<.&!0%*6".21;&,:)*D,!0$-,*L$-'*2&E,*40.,%'-)*4,"42,*0.,*"<',%*,I4,!',1*'"*

.,-4,!'*0$'3".&'(5*T,"42,*-'&22*-,,*0$'3".&'(*0-*0%*"D-'0!2,*D,!0$-,*"<*'3,&.*-E&%*!"2".5*

As a race that is rewarded for rejecting their culture, it is a positive movement that

.044,.-*,I4.,--*'"*,;,.("%,*'3,*&#4".'0%!,*"<*D,&%/*4."$1*"<*:3"*'3,(*0.,*0%1*%"'*

'$.%&%/*'3,&.*D0!E*"%*'3,*D20!E*!"##$%&'(5*=!!"#42&-3,1*=<.&!0%*=#,.&!0%*.044,.-*

/&;,*4,"42,*-"#,"%,*'"*2""E*$4*'"5**=%1)*&<*'3,(*0!!,4'*'3,#-,2;,-*-"*!0%*'3,*4,"42,*

"<*'3,*!"##$%&'(5*>&%022()*'3,*-'.$//2,**/&;,-*4,"42,*3"4,*'30'*"%,*10(*'30'*!0%*!"#,*

'3."$/3*'3,&.*'"$/3*-&'$0'&"%-*0%1*D,*-$!!,--<$25**

Works Cited

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68 Imhotep Journal

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