Shut Up and Dribble

Soul, Hip-Hop, and Rap -the conscience of America

Strange, whenever there is a conversation about diversity, equity, and inclusion -it implies that it is accomplished when White spaces accommodate the token Black, Brown, Red, or Yellow person. Ironically, integration has always been defined as when persons of color come into White Spaces. But when Whites were required to come into Black spaces, they fled. White flight, often paid for with public funds (HUD/FHA), has historically produced and continues to produce "Vanilla suburbs and Chocolate cities."    In our modern era, gentrification preserves White spaces by displacing poor Blacks. But Whites have always had a strange fascination for all things Black, Brown, Red, or Yellow. Voyeuristic excursions into the ghettos were and continue to be in vogue. They called it slumming, checking out the "Dark" villages, their music, culture, and essence -but only for a moment, only for the night. In these moments -White America would come to grips with the reality of segregated, displaced, humiliated, down casted people. Or at least, what they thought were such. Little did they know, or even now would admit, that they were, in effect, confronting their inner selves, insecurities, and self-righteous indignations as they projected their won stuff into these other spheres. And thus, these spheres, particularly in the music genre known as soul, hip-hop, and rap, are and continue to be the conscience of America.   

As a Black in academia, corporate, industrial, or almost any other institutional setting in America, we must navigate in White spaces. And given the paltry number of us in these spaces -whenever we are not present, our absence is more than noticed; it is often a source of concern for White supervisors. This is particularly so when we are senior personnel in these spaces. How dare we have other lives, other things that are more important than being on display in White spaces? Do we not know that we must be there to preserve the illusion of inclusion?    Ever notice how many Blacks in White spaces always have their music with them, in the ear, turned up loud, and bumping?    Thank God for Soul, Hip-hop, and Rap -the soothing sounds that calm a troubled spirit. What is so special about these sounds?

 

Soul, Hip-Hop, and rap -bring together all the other genres of the Black diaspora. Here you will find gospel and jazz, blues, and improve. Here you will find the heart, mind, and, yes, soul of Black existence. Soul is the essence, the embodiment of spirituality, rationality, actuality, and totality of the Africans in America. It reflects the cultural consciousness, pride, intensity, sensitivities, and emotional fervor of a people who continue to rise, strive, and remain agents of their own destiny. Here the vision and the promise, the history and dilemmas, the future and the dreams of Black people wrapped up in rhyme timed to a funky beat—harmonically gifted voices blended in rhapsodies that transcend time, space, and circumstances. I mean, think about it -the Temptations, the Supremes, Miracles, Commodores, Earth, Wind and Fire, Sly and the Family Stones, Aretha Franklin, Diana Ross, Patti Labelle, Smokey Robinson, Stevie Wonder, and Teddy Pendergrass -and this is just the tip of those great mountains of talent. This mountain that not only survives but helps a people survive; a mountain that not only reveals but attests to the greatness of that people; a mountain that moved a people, caused America to pop their fingers, and rock their worlds.   

In 1967, when 24-year-old Aretha Franklin taught America how to spell "RESPECT," she challenged blacks to be confident, independent, empowered, and sassy. This message, rejecting sexism, racism, homophobia, and misogynistic objectification of Blacks in general, but the Black woman in particular, became the anthem for the civil rights movement.   Posthumously, Otis Reddings "Sitting on the Dock of the Bay " was released a year later. Here too, the soul of Black America was revealed as he brought Black rhythm and blues together with funk, folk, and our realities. But Otis and his Bar-keys were killed in a tragic plane crash. He never saw his song top the Pop and R&B charts. In 2011, Kanye West and Jay-Z sampled "Otis" "try a little tenderness" and won the Grammy for Best Rap performance for a song in 2012 

When the Staple Singers in 1971 stepped out on the stage and sang "Respect Yourself," they spoke for a community of "Black Folk" that was frustrated with the world. This was a direct rejection of a world that was dismissive of, afraid of, and simultaneously obsessed with all things Black. Reminiscent of an earlier period known as the Harlem Renaissance, Blacks again asserted their value, resolve, and need to teach their young and reclaim their heritages by, first and foremost, "respecting themselves." Funk exploded all across America.   

Just a year later, chronicling the confused, mixed-up world of the '70s, the Stylistics released their hit song "People Make the World Go Round." And what was their message for America and a troubled world:

 Trashmen didn't get my trash today
Oh, why? Because they want more pay
Buses on strike want a raise in fare
So they can help pollute the air

But that's what makes the world go 'round
The up and downs, a carousel
Changing people's heads around
Go underground young man
People make the world go 'round

Wall Street losin' dough on ev'ry share
They're blaming it on longer hair
Big men smokin' in their easy chairs
On a fat cigar without a care

But that's what makes the world go 'round
The up and downs, a carousel
Changing people's heads around
Go underground young man
People make the world go 'round

Herold Melvin and the Blue notes were among the most popular Philadelphia soul groups of the 70s'. their music, spanned soul, R&B, doo-wop, and disco.  Among this group of stars was none other than Teddy Pendergrass. Just before he left the group to launch his phenomenal career as a soloist, he led the group in what has become a timeless classic, "Wake Up Everybody." This song, released in 1975, is resonating today on the right. Have you ever wondered why so many on the right are obsessed with "Woke"? Let's consider this classic, for it is spelled out here. 

Wake up everybody no more sleepin in bed
No more backward thinkin time for thinkin ahead
The world has changed so very much
From what it used to be so
There is so much hatred war an' poverty

Wake up all the teachers time to teach a new way
Maybe then they'll listen to whatcha have to say
Cause they're the ones who's coming up and the world is in their hands
When you teach the children teach em the very best you can

The world won't get no better if we just let it be
The world won't get no better we gotta change it yeah, just you and me

Wake up all the doctors make the ol' people well
They're the ones who suffer an' who catch all the hell
But they don't have so very long before the Judgement Day
So won'tcha make them happy before they pass away

Wake up all the builders time to build a new land
I know we can do it if we all lend a hand
The only thing we have to do is put it in our mind
Surely things will work out they do it every time

The world won't get no better if we just let it be
The world won't get no better
We gotta change it yeah, just you and me (yeah, yeah)

Change it, yeah (change it, yeah) just you and me
Change it, yeah (change it, yeah) can't do it alone
Need some help, y'all (y'all)
Can't do it alone (can't do it alone)
Yeah (yeah)

Wake up, everybody
Wake up, everybody
Need a little help, y'all (yes I do)
Need a little help (say it, boy)
Need some help, y'all (uh-huh)
To change the world
From what it used to be

Can't do it alone
Can't do it alone
Need some help, yeah
Need some help, yeah

Wake up, everybody
Get up, get up
Get up, get up
Wake up, come on, come on

Wake up, everybody
Teach a new way
Maybe then they'll listen
To what you have to say

You preachers
Start preachin' what you teach
Teach the truth
Wake up, preachers

All liars (all liars)
Politicians
Stop lyin' (stop lyin')

Why don't somebody
Help the poor people
Help the babies

You businessmen
Start treatin' (start treatin')

What race, creed or color
Everybody we need each other

Wake up, everybody
Well, you see

No more sleepin' in bed
No more backward thinkin'
Time for thinkin' ahead

Wake up, all you teachers
Time to teach a new way
They're the ones that suffer
Each and everyday

Teach the children
Teach the babies
Teach the children
They are the ones who's coming out

 

When Spike Lee was looking for a song to connect to his 1989 film -Do the Right thing, he came to Public Enemy, and they produced "fight the Power."  Public Enemy had been blazing a trail with such albums as "It Takes a Nation of Millions to Hold Us Back" and "Fear of A Black Planet." This song is ranked number two in Rolling Stone's 500 greatest Songs of All Time list. Why -let us consider it. Fight the Power incorporates and makes real so much of black Culture, reclaims civil rights, and brings together black gospel and, of course, the funk of James Brown. Fight the Power is a revolutionary song, calling for Blacks to stop swinging and realize that they must transcend the liberal notion of racial equality and understand that we are not the same. You see, equality means ever comparing yourself to another, which parents would say their children are the same. And while, as a parent, I may love all my children, I love them uniquely, separately, and individually. They are not the same. They are all special. And so are we. We must challenge the power structure to "give us what we want, what we need," not whatever is left on the table of greed. The song is a call for intelligent activism and reminiscent of the first song of blacks in America (We would rather die on our feet than live as slaves on our knees" we must have freedom or death, and we are never the less -  still  Black and Proud. 

 

Neither America nor the world was ready for Tupac when he dropped into our world. Tupac, whose mother and family were heavily involved in the Black Panthers Black Liberation Army. Tupac is among the best-selling musical artist in the world. His records sold over 75 million worldwide. To understand his overwhelming influence, consider the top 8 of his greatest hits:

·         1. 'Keep Ya Head Up' – Strictly for my N.I.-.-. A.Z

·         2. 'How Long Will They Mourn Me?'...

·         3. 'Letter 2 My Unborn' – Until the End of Time. ...

·         4. 'Hit 'Em Up' – Greatest Hits. ...

·         5. 'California Love' – All Eyez on Me ...

·         6. 'Changes' – Greatest Hits ...

·         7. 'Trapped' – 2Pacalypse Now ...

·         8. 'Dear Mama' – Me Against the World ..

Today, nearly 3 decades after his death on September 13, 1996, Tupac Shakur still is one of the most iconic figures in hip-hop. His music reflects the contradictory realities of being black, proud, and despised in America. Tupac's music captures the anger and ecstasy, the frivolity and the sublimity, the essence and the insanity of being a Black man. A man whose very life continues to be a character, a caricature, a fantasy. Strangely many consider 2Pac to be the essence of a "thug angel." One who never transcends the streets, the gangster, the drug starved, pimp, hustler. All the mimes that racist America must create to protect themselves from all that is Black. But it was 2PAC who redeemed the black criminal who romanticized T.H.U.G.L.I.F.E., but many do not know that it is an acronym for "The Hate U Give Little Infants F*** Everybody. 2PAC realized that the Black body had long been criminalized, racial profiling, racially biased policing and sentencing, and the cradle-to-prison pipeline were all byproducts of a racist America. So when he signed to the record label -Death Row, he was at once the hottest and most dangerous performer in America. And, of course, he realized that "All Euyez (were) on Me's. I could go on for DayZ, but who can forget his tribute to his mother 'Dear Mama," which acknowledged the tremendous impact this black woman had on his life. Nevertheless, this single mother from a low-income setting filled him with love, tenderness, determination, and hope. Dear Mama, indeed. 

 

There is no dearth of examples we can draw upon. The realities, love, sacrifice, hope, despair, dreams, empowerment, and visions found in Soul, Hip-Hop, and Rap have given America its essence, realities, and conscience. Thank you..