Hip-hop and urban America: An unhealthy relationship

A few days ago, at some ungodly hour, two friends and I had the grand idea to begin discussing the merits of hip-hop/rap music and the culture that surrounds it. As with all good late-night debates, it ended a few hours later with nothing resolved. The process of discussion, however, is always enlightening, and the topic is sufficiently important that I feel it deserves treatment in this space.

One of the more unfortunate aspects of this particular issue is the initial disconnect between those who claim to "appreciate" hip-hop music and those who do not. From a purely aesthetic perspective, I neither enjoy the genre, nor do I listen to it. This is usually met with the accusation that, "Since you don't listen to rap music and understand it, you can't have a valid opinion on it." This statement, though, is just as erroneous as the classic feminist barb that men cannot have opinions on abortion because it is not their problem. In both of these cases, the issue at hand is one with significant societal consequences that can be seen and felt by all. It is easy to label an opinion as invalid from the outset; it is much more difficult, and often hazardous to the ego, to engage that opinion in spirited intellectual combat.

The culture of hip-hop in American urban centers is detrimental to the socioeconomic climate in which inner city youth, and more specifically African-American youth, exist during their formative years and beyond. I come to this conclusion based upon the effects of the value system inherent in the hip-hop culture that fosters a chronic victimization complex and the abandonment of personal responsibility. At this point, however, it is important to address objections to this thesis.

The initial objection is that it is illogical to place the entire burden of the American urban crisis on a genre of music. This is entirely correct. Though I believe that hip-hop has a negative effect on urban culture, it is not the most pressing issue. If any real change is to be seen, the failing inner city educational systems that perpetuate socioeconomic conditions must be addressed. Whether through school vouchers or some other program, any idea that works should be considered, even if it is repulsive to one's ideology.

Another common and understandable counterargument holds that ingrained institutional racism and discrimination have more to do with the problem than the conduct or culture of urban Americans themselves. Though no one can deny that discriminatory barriers exist, it must be admitted that the problem is not as pernicious as it was 30, 20 or even 10 years ago. Furthermore, American history is filled with examples of impoverished urban dwellers escaping their socioeconomic status and ethnic enclaves in the face of much personal and institutional hostility. Why do we see so little of this in African-American enclaves today?

As I have conceded, much of the problem lies within the system. This analysis, however, would be incomplete if the conduct and culture of urban Americans themselves were not scrutinized. And it is here where the unfortunate effects of hip-hop can be seen.

First, hip-hop perpetuates a psychology of victimization that is not conducive to socioeconomic progress. Messages identifying a problem (often associated with a group of people, such as law enforcement) but providing few practical solutions serve only to deepen outrage with no constructive outlet for those boiling passions. Furthermore, it leads communities to wallow in self-pity rather than making concerted efforts to improve their circumstances within the confines of a very free and capitalist economy that is not tilted against them nearly as steeply as they are led to believe.

Second, the culture of hip-hop rejects the personal responsibility on which all socioeconomic progress is based. It presents illegal conduits to wealth, such as dealing drugs, as a natural life choice, though such conduct not only stifles personal development, but also has clear negative effects on communities that need not be described here. Hip-hop's suggestion that violence is an expected reaction to urban culture is also detrimental to community development. But perhaps most pernicious is the unabashed glorification of man's basest sexual desires, which objectifies women and absolves men of their most basic responsibilities to young, innocent children who are the inevitable consequences of their capitulation to pleasure. And then, when leaders such as Bill Cosby speak out in favor of responsibility, they are unconscionably shunned by both the targets of his outrage and intellectuals who see no evil.

Of course, not all hip-hop has all of the negative qualities listed above. Some artists present socially conscious music, while others give their songs a religious context. This is to be applauded. The reality, however, is that the vast majority of the music which comprises urban hip-hop culture transmits values, whether intended or otherwise, which serve no purpose but to perpetuate the vices which plague urban America. Brandon McGinley is a freshman from Pittsburgh, Pa. He may be reached at bmcginle@princeton.edu.