Tag: Emotion

I’m working on a paper about music education and hip-hop, and I’m going to use this post to work out some thoughts.

My wife and I spent our rare date night going to see Black Panther at BAM. It was uplifting. Many (most?) black audience members came dressed in full Afrofuturistic splendor. A group of women in our section were especially decked out:

I was admiring their outfits and talking about how I wasn’t expecting such an emotional response to the movie. One of the women said it was as big a deal for them as the election of Barack Obama in 2008. I know representation is important, but this seems like it’s more than just seeing black faces on the movie screen. Black Twitter is talking about how this movie is different because it isn’t about overcoming historical pain or present-day hardship; it’s about showing black people as powerful, rich, technologically advanced, and above all, serenely confident.

Black Panther is heavily overdetermined, like all superhero movies. But I’m especially interested in the way we could read it as a metaphor for music, with the Wakandans as representing African musical traditions and Eric Killmonger as representing the global rise of hip-hop. I see Killmonger this way not only because he’s American, but because so many of his qualities and mannerisms remind me of the role of hip-hop in the public imagination. He’s stylish, effortlessly charismatic, and seemingly indifferent to anyone else’s approval. He’s funny, too, not in the warm and good-natured way that Shuri is, but in a more aggressive and sarcastic way. He’s both arrogant and vulnerable, using implacable cool to conceal deep hurt. And he wants to remake the world by fomenting black revolution, by any means necessary. The Wakandans, meanwhile, are uncomplicatedly strong, self-possessed, and at ease with their own power. But they are also withdrawn from the world, fearing that getting involving in other people’s struggles will destroy what makes their culture so unique and beautiful.

I want to emphasize that this reading is based solely on my watching the movie and reading Twitter. I have no special insight into the writers’ or actors’ intentions. But they do seem to be saying something about how the African diaspora in America has attained global reach and influence while also showing the malign influence of capitalism and imperialist violence. It’s significant that Killmonger isn’t just a criminal capitalist like Klaue; he honed his murder chops as a member of the US military. The American empire taught him how to kill mercilessly, and now he wants to use that same force to bring the empire down. I’m thinking here about the Public Enemy poster in his dad’s Oakland apartment, the one with the crosshairs. I was terrified of Public Enemy back in the late 80s, as I’m sure was the point of their imagery.

I am not a moralist about hip-hop’s violent content. I don’t believe that portraying something is the same thing as endorsing it, or that listening to music directly causes antisocial behavior. It’s too easy to blame rappers for being bad influences while giving a pass to The Sopranos or Breaking Bad. The only difference between Walter White and any gangsta rapper’s persona is whiteness. But just like I wouldn’t let my young children watch Breaking Bad, I’m not eager to have them listen to Lil Wayne either. And it’s going to be difficult to explain and contextualize all the harder rap songs in my iTunes library when the time comes (though I guess no harder than explaining why I love violent prestige cable dramas.)

I spend so much time defending hip-hop from its detractors that I haven’t given a lot of thought to why I think it’s so beautiful and great. Usually when I do, I point to formal aspects of the music–the grooves, the hypnotic quality of electronic beats, the intertextuality and timbral invention of sample-based production, and the spectacular verbal and vocal virtuosity of the best emcees. But there are more basic emotional reasons why I’m a hip-hop fan. When I listen to the music, I hear effortless cool, the power that comes from strong emotions held in reserve, and a defiant sense of pride.  I hear confidence, and that is a quality I have been severely deficient in for most of my life. As I get older, I have become more confident, but when I was younger I was desperately awkward and socially anxious, and that part of me is never far from the surface. I need swagger lessons, and hip-hop is an excellent teacher. I am not unusual among white rap fans for feeling this way.

It’s totally weird that the wealthiest and most powerful population of humans in history should be so uncertain in ourselves, and it’s equally surprising that we should be looking to the musical expression of our country’s most marginalized and oppressed minority group for help. All of America’s popular music has its origins in the African diaspora, but hip-hop is remarkable for the fact that most of its prominent and commercially successful artists are black. Imagine if the Roma utterly dominated Europe’s musical culture. There are plenty of Europeans who love Django Reinhardt, but not the way that Americans love Kanye West. I’m sure white Americans listen to rap for all kinds of reasons. But I believe that many of us are mostly drawn to it for confidence lessons.

I teach in a couple of music schools, and if I had to pick one adjective to describe the students, “confident” would not be it. Last spring, I was present for two recording sessions in NYU’s James Dolan Studio on two successive days. The Friday session was with NYU undergrads in my Music Education Technology Practicum class, a crash course in audio production for future music teachers. The Saturday session was with CORE (formerly known as Ed Sullivan Fellows), a community mentorship program for young rappers and producers. There were some stark socioeconomic differences between the two groups. NYU music education students are mostly white and Asian, and they tend to come from privileged backgrounds. They are mostly classical musicians, with a small minority playing jazz. The CORE members are nearly all black and Latinx, and are uniformly of low SES. They are almost all rappers or beatmakers, though some also work in the singer-songwriter or R&B idioms. Everyone in both sessions was recording material of their own choice, but while the NYU students all chose existing repertoire (classical pieces, jazz standards, musical theater songs), the rappers’ music was all original. I might naively have expected the NYU students to be confident and the rappers to be nervous, since the NYU students were “on their own turf,” while the rappers were in a new and unfamiliar environment. But the opposite turned out to be true.

During the NYU students’ session, the anxiety in the room was palpable. Recording can be stressful under the best of circumstances—the environment is daunting and clinical, like being under a microscope, and the clock is always ticking. But this was more than performance anxiety; one of the students was on the verge of panic just sitting and listening in the control room. The next day, then, I was surprised to find that the rap kids evinced little to no anxiety whatsoever. They were similarly new to the studio, and under the same pressures, but if anyone felt any nerves, they didn’t show it. The atmosphere was casual and relaxed, even to a fault. A greater sense of urgency might have made for a more productive session. But anxiety was no obstacle. This was all the more remarkable given that they were recording originals. Instead of being nervous about exposing their own feelings and ideas, apparently it added to their confidence.

The CORE kids are sometimes shy about opening up their material to scrutiny, especially if they consider it to be unfinished. But they will perform or play back finished work with remarkably little hesitation for their age. I wasn’t willing to play my original songs for people until deep into my twenties, and I wasn’t willing to sing them myself until my thirties. Meanwhile, the most proficient CORE emcees are sure enough of themselves to effortlessly freestyle in front of an audience. I have never in my life had the courage to do that.

Shamus Khan’s Privilege is a study of the ease taught by elite schools to their students. He argues that traditional markers of upper class status like tailored suits or a taste for classical music no longer function; in an era of (supposed) meritocracy, the elite must prove that they deserve their privilege because of their talents, abilities, and hard work. “Class” can be learned by anyone, but ease has to be carefully enculturated over time. I bring mention all of this because the third chapter of the book begins with an epigram by Jay-Z, from TI’s song “Swagga Like Us”:

But I can’t teach you my swag
You can pay for school but you can’t buy class

The whole point of Khan’s book is that the One Percent use exclusive institutions like St Paul’s to reproduce its privilege across generations. So what is Jay-Z doing in the book? He might be a member of the elite now, but he certainly wasn’t born to it. Khan talks about the way that white St Paul’s students treat POC as arbiters of cultural prestige, which is synonymous with authenticity. To be a real member of the elite, you can’t be a snob; now you have to an omnivore, in touch with “common people’s” music, and that means hip-hop. You have to both know Jay-Z’s music and be able to emulate his swagger if you want to grow up to run the country.

I’m planning to devote my dissertation research to hip-hop educators, to the ways that they think about preparing the next generation of artists, and to the ways that their approach differs from traditional music pedagogy. In particular, I’m interested in the improvisation-centered approach of Toni Blackman. Of all the mentors involved with the CORE program, Toni has the most unusual resume. She is the first Hip-Hop Cultural Envoy with the State Department, and has traveled to forty-six countries to give talks and perform. She has been a teaching artist for a variety of other institutions as well, ranging from the Soros Foundation to local community groups. Toni has a particular method based on the cypher, a circle of emcees in which everyone takes turns freestyling. Toni uses the cypher as a way to help her students develop not just their flow, but their emotional well-being. In person, she has the calm, attentive affect of a good therapist, which is effectively what she is. I was unsurprised to learn that Toni does public speaking coaching for politicians and businesspeople as her “day job”—she is a professional teacher of confidence, inside or outside the context of hip-hop.

Etymology Online tells me that word “confidence” comes from the Latin word confidentem, meaning ”firmly trusting” or “bold.” A confident person inspires “full trust or reliance.” This certainly describes Toni. At her keynote talk at last summer’s NYU IMPACT Conference, she wanted to do some freestyling, as she does in all of her presentations. She asked someone in the audience to come up and beatbox for her. It was 9:30 in the morning and no one was jumping to volunteer, so I finally raised my hand. I had never beatboxed in public before, but Toni knows how to empower people, even nerdy white dads. It felt great up there, effortless in fact, like all peak music experiences do. I was up there to earn Toni’s approval, while simultaneously feeling like I already had it, just for sticking my neck out and performing. If I ever have the courage to do a cypher, it will probably be under Toni’s leadership.

During the same conference, the CORE participants did a showcase concert. It was mostly the kids doing their own songs, along with appearances by a few mentors and pros. The concert began with a cypher–everyone in the concert came onstage and while the band put down a groove, they took turns freestyling verses. I struggle to imagine a group of conservatory students beginning a recital by all improvising a piece off the tops of their heads, but the CORE kids pulled it off with effortless cool. I still remember one of the entire verses verbatim. It was by Lady Logic, who is a bit older than most of the other CORE participants, but still very young. She rapped:

I’m begging your pardon, ain’t no snakes in my garden
I’m begging your pardon, ain’t no snakes in my garden
I’m begging your pardon, ain’t no snakes in my garden
I’m begging your pardon, ain’t no snakes in my garden

She didn’t come up with this line off the top of her head; I was told later that it’s something she has used in verses before. But she had the audacity to stand up there and just repeat it four times. It didn’t sound like she couldn’t think of anything else to say; it sounded like she knew the right line to use, and that it would only get better and more impactful with repetition. And she was right, it slayed.

Most music educators might believe themselves to be teaching confidence. But very often, they are trying to force kids to make particular kinds of music that are remote from the kids’ own interests and sensibilities. I recently had two white music teachers from a majority-black school visit my music technology class at Montclair State University. My lesson that day was on drum programming, on what makes a good beat. In a semi-joking tone, I warned the class that I was going to make a racist generalization, that Europeans like music that’s harmonically interesting and rhythmically boring, while Africans like music that’s rhythmically interesting and harmonically boring. After class, the older of the two visiting teachers wanted to talk to me about that comment. He leads his school’s chorus, and they sing Christmas carols around the school every year. While they were singing “Angels We Have Heard On High,” the girls in the chorus kept trying to add a beat by stomping and clapping. I was about to say what a great idea that was, when he said, “Of course I made them stop. I mean, “Angels We Have Heard On High” with a dubstep beat?” He meant to commiserate with me about how rhythm-obsessed black students are, and how hard it is to get them to focus on making music the “right” way. A version of this interaction plays out in music classrooms across America every day.

The CORE program is run by Jamie Ehrenfeld, a graduate of NYU’s music education program, who now teaches at Eagle Academy, an all-boys school in Brownsville. Like me, she had a left-wing Jewish upbringing with a strong social justice component. Most of the CORE participants are Eagle students who she recruited, or their friends. One is Keith (not his real name), a tall, quiet kid with a serious demeanor. He raps a little, but his main interest is beatmaking. Since finishing high school, he has been camped out in different studio spaces and computer labs at NYU, assiduously teaching himself Logic and making tracks. I’m interested in learning more about his creative process. One afternoon recently, Keith was hanging out in the Music Experience Design Lab office with Jamie, and I had a chance to talk to him at length.

I have a general idea how Keith learned his musical skills: informally, socially, along with his peers. However, I was curious if he has any more formal experience, in school or church or privately. At first he said no, but after some prompting, mentioned that he played in a steel pan ensemble with his dad, who is Trinidadian. I responded that steel pan counts. But Keith has that side of his musical life compartmentalized; it belongs to his dad, while beatmaking is all his own. I’d love to listen to Keith’s tracks in progress, and ask him about his creative choices at a granular level. But this is going to require building up more of a relationship with him. I figured I would start somewhere less sensitive, by asking about his favorite artists. He immediately mentioned Chance the Rapper, who is popular with other CORE participants too. Keith also likes Kendrick Lamar, but that’s like a rock fan saying they like the Beatles, it’s not a distinctive or interesting preference. Keith didn’t offer any more names until Jamie prodded him to bring up Mali Music (an American singer, not a national genre), and “Bust Your Windows” by Jazmine Sullivan. This is all music that Jamie described to me as being “for the cookout,” songs you play when your grandmother and little brother are present. Chance is perfect cookout music, what with his rhymes about “soil as soft as Mama’s hands.”

Keith and his friends also like a lot of music that’s not suitable for the cookout, that’s full of guns, drugs, and sex. After he left to go make beats, Jamie told me about some other rappers that he and his friends listen to, like 22 Gz and Nas Blixky. This is the most commercially successful kind of hip-hop at the moment, and it’s the kind that cultural conservatives blame for corrupting our nation’s youth. Some hip-hop heads are dismayed by it too. Tricia Rose blames commercial pressures for emphasizing the most destructive aspects of the music, and suppressing its consciousness-raising aspects.

By ignoring the extraordinary commercial penetration of hip-hop, and I use that word advisedly … what we’ve allowed to happen is to render meaningful criticism of the commercial takeover of a black cultural form designed not only to liberate, but to create critical consciousness and turned it into the cultural arm of predatory capitalism in the last thirty years.

Toni Blackman isn’t thrilled about misogynistic and violent lyrics, either, but she understands those songs’ appeal. She has described a particularly appalling Lil Wayne song as being “meditative”, “trance-like,” and “addictive.” I feel the contradiction too, feeling both attracted and repelled by the hardest edges of rap. For example, I feel equal amounts of awe and horror about “Got Your Money” by Ol Dirty Bastard, which includes this lyric:

I don’t have no trouble with you fucking me
But I have a little problem with you not fucking me

I choose to find that line funny, which helps me feel better about the fact that I walk around involuntarily repeating it to myself on a regular basis. Hip-hop has mostly been a youth music so far, and like all American youth musics, one of its purposes is to shock authority figures. As authority figures get harder to shock, musicians have to up their rhetorical firepower. It takes confidence to defy authority. There’s a ridiculous amount of cognitive involved in a privileged white person like me listening to music that was designed to help non-privileged non-white people cope with being oppressed by the likes of me. I’m hoping to use my dissertation to get out of my own head on these issues, and learn to see them more from rappers’ own perspectives.