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Fight the Power: How Hip Hop Changed the World - Series 1: 1. The Foundation (Ridenhour, 2023)

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Racial Capitalism | Fight the Power: How Hip Hop changed the World Documentary

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Racial Capitalism | Fight the Power: How Hip Hop changed the World Documentary

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Series 1: 4. Still Fighting

Looking at how the hip hop industry is able to leverage its muscle to fight for change. ...

Looking at how the hip hop industry is able to leverage its muscle to fight for change.

59 mins Available for 3 months

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fight the power: how hip hop changed the world

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Fight the Power: How Hip Hop Changed the World - Series 1: 1. The Foundation

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A cast of hip-hop icons chart the factors that led to the birth of the genre.

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- Cover Sheet
- Title
- Illustrations
- Acknowledgements
- Introduction
- Chapter 1
- Chapter 2
- Chapter 3
- Conclusion
- Appendices [A-E]
- References
- Bibliography
- Progress Map

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Childish Gambino - This Is America (Official Video) Glover (2018)

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Racial Capitalism | Childish Gambino - This is America 

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Racial Capitalism | Childish Gambino - This is America 

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Childish Gambino - This Is America (Official Video)

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- Ekene believes that music definitely has an influence on its listeners, but does not represent the main source.

- Music is a distress signal for many Black, poverty stricken communities.

- Hip Hop in the Bronx was evidence of this - with gun crime, knife crime, drugs. A call for help to society.

- Rappers who are disgruntled, and are expressing emotion through music can make their feelings contagious. If a song is angry, it could make you feel/or alleviate anger, this goes for other emotions.

- When you're in the gym, empowering music influences how hard you push

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- Ekene shares how platforms such as American Journalist VladTV who supports the reality behind Hip Hop music, its cultural influence and socio-political foudations.

- VladTV is called a culture vulture even though he is trying to push the culture forward - look into this more as could link to other cultural appropriation cases.

- VladTV spreads awareness about it - from an informative view

- Cultural appropriation is an ideology that Ekene would have once agreed with but is now fifty/fifty on - he states how although there are many cultures in the world and you appreciate its creative styles, that in itself is enough. You don't have to go out of your way to show appreciation.
Similar to Akalas reference.

- He gives an example if he liked Punjabi music, he would be grateful to Indian culture for creating that art form.

- Ekene explains how he likes Japanese music, and admits he doesn't understand the language they are speaking, but nevertheless appreciates the cultural sound the music presents.

- There are so many people on earth, that we have all assimilated the culture to some degree - links to no culture is owned quote.

- Ekene explains how he speaks English, even though it is not his native language, he states how he doesn't need to go around thanking everyone for the language.

- He supports this saying we are all mixed through interracial genetics and in essence this connects us all to each culture.

Hip Hop cultural is circumstantial - black history relates to it, as the slave trade led to the Black migration of different African/Caribbean cultures. This circumstance led to Black culture as a whole representing a sporadic culture - one that is fluid, formed through Black community migration. - Links to quote saying no one owns culture.

- Some could argue what is Black culture? Using these circumstantial facts

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- Ekene believes that record labels are still those responsible for cultural appropriations influence on young listeners. It's evident and prevalent.

- YouTube for example, everyone can upload their own music, not just online, but through independent studios etc. - without the worry of A&R's, and labels. It is more within our hands now - rather than looking for labels.

- Labels do still have a big role and hold on music, and had they not pushed the Hip Hop genre into the airways through marketing prospects, it would not have encouraged the pressure for young black and white artists to push the genre forward.

-  Labels are not creating these scenarios, Black Drill rappers are taking their inspiration from reality, to write from what really happens to them and others among disenfranchised communities.

- Young people are being stabbed, with knife crime being a huge issue in London, the midlands and nationwide.

- There are people who go round wearing balaclavas and hoodie and tracksuit culture.

- it's a mixture of reality and the machine/consumer making this negative portrayal

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- Kenny believes that in the Music Industry, those who benefit the most are the record labels - executives and the artists.

- There is a blueprint that artists have to follow, for example the paradigm of Drill music relies a lot on the clothing style, puffer jackets, branding such as Adidas, Nike and Balaclavas.

- The gangster image is what sells among young people as it is perceived as 'cool'

- Record Labels encourage this music more, with artists going along with it as artists know they will receive more traffic - whilst labels get a bigger financial piece of the pie.

- Ekene believes that this is blueprint has been used and passed down by genres and subgenres of Hip Hop - before Drill music's establishment. In the 90's it was Hip Hop, for us it was Grime, now it is Drill

- Benefits go to the artist and label - as both know the young audiences want to hear this - with Drill demographics reaching 13 - 18 year olds - where themes of gangsterism is perceived is 'cool'

- Artists emulate this knowing they will get more reach/traffic/publicity

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- Ekene is a Black British, ex-Hip Hop artist, in the Essex/London area - released three EP's between 2017 - 2019

- Narrated Music videos, collaborations and has been part of freestyle music platforms, such as Black Box

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- Ekene perceives Black British Brithop artists to be portrayed in a negative light by insitutions - like ex-criminals/offenders.

- This is due to the disenfranchised/working class environment they may be coming from - Such as South London, East London, Midlands, Birmingham, Manchester - all over the UK.

- Hip Hop has a stigma, coming from the Ghettos, slums, from disenfranchised environments, and Media plays on that - putting emphasis on it, when pertaining to Black British Hip Hop artists.

- Though not all Black artists come from this backgrounds, the stigma around rap itself, will portray any Black artist involved in that stigmatised way.

- Hip Hop started in the Bronx, New York, a violent place - the title struggle music came from there and Hip Hop music was used as a form of expression to reflect on these socio-political situations.

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- Daily Mail article - Boy Better Know (BBK) artist, Solo 45 rape case, included images of alternative Black British artists, such as Stormzy, Wiley Grime artists. Stormzy addressed this and stated he knew Solo 45 and was from the same industry - but did not know about this crime.

- Stormzy did not like how the media was portraying himself and other colleagues, to look as though they had a part to play in this incident.

- There was an uproar at the time in the Grime scene

- Ekene himself was taken aback, explaining how to the average reader (who may not be musically inclined to understand Grime, Brithop music) they may get the perception that all Black British artists condone these crimes and have a part to play in it.

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- Ekene agrees with aspects of arguments raised by Jas and Derek Ide in regards to mainstream media, however, Ekene also believes that it is the responsibility of the media and artist in unison, who portray a negative light on Black talent.

- This opens the debate on the behavioural psychology of artists and audiences.

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- Where Racial Capitalism started - Legassick & Hemson

- Afrikaner National Party

- South Africa's financial influence on Racial Capitalism

- Black population statistics

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- SAP, Native Lands Act 1913, Native Urban Areas Act 1923

- Apartheid establishment

- Black disempowerment

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- AAM, Defiance Campaign

- Police Brutality, Shaperville Massacre

- How Black people were framed for this horrific act of violence

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- How does Racial Capitalism history apply itself to contemporary forms of Hip Hop/Brithop?

- When did Black Resistance play a role?

- Where does the inequality of Music industry and exploitation of black talent apply itself to South Africa capitalist history?

- Who are the benefactors of this capitalist hierarchy - and why?

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1. How do you perceive Black British artists in British Hip Hop to be portrayed by the Media?

2. Who do you consider to be the benefactors/profiteers from this portrayal?

3. Do White artists and/or audiences encourage cultural appropriation? Or is it a result of institutional persuasion?

4. Do you know of any media outlets, sharing a positive portrayal of Black British Hip Hop artists?

5. Would you agree or disagree, that behaviour/psychology of each listener may influence this portrayal?

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- Apartheid Freedom Songs/Resistance

- Slave Trade Spirituals/Talking Drums/Call-and-response

- Contemporary Freedom/Protest Songs

- Black Radical Tradition | Black Radicalism

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- Debate that Apartheid & Slave Trade institutionalism, inadvertently influenced Hip Hop success

- Institutions are argued to have capitalised on Hip Hop once it became mainstream - causing an underdevelopment

- Music Tech Firm/Corporation examples

- Positive article from a tech firm, that counteract this argument of Hip Hops underdevelopment

- Negative articles of White Supremacy, supporting arguments against these firms and corporations [Statistics]

- Arguments on how tech firms/corporations reject issues such as fascism and violence - profiting from the glorification of these factors

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- Brithop genre Drill is one such example of this Glorification of Violence

- Talks about how the genre is linked to violence  - Drill questioned as the source or symptom

- Police incident example

- Mike Skinner argues how the genre is negatively portrayed through media sources/institutions, associating Black Drill artists with violent

- However, the success of the genre must be to do with its audiences

- Positive examples of Drill music

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- Drill rappers being compared to terrorists

- Confrontational techniques of Rap, being a by-product of all Hip Hop/Brithop genres

- How institutional markets purposely fail to understand the difference between black experience and black violence - using glorified violence to sell and portray Black artists in a negative light

- Links to Racial Capitalism

- Black people are once again viewed as statistics rather than humans

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Both feature aggressive lyrics — which paint a stark picture of the violent reality of disaffected and disenfranchised young minority men from impoverished socio-economic areas — over a menacing beat, and, of course, the typical braggadocious flexing rap is known for in general. Beef with opposing gangs (opps), violence, retaliation and drug dealing are often visited topics in both forms of Drill. (Lim, 2020)

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- It is all dependant and subjective on setting, position, the hand you are dealt and the kind of decisions you make.

- I wouldn't say those who are unsigned are better off, than those who are, vice versa.

- Central Cee is an example of an independent Black artist who knows he doesn't need to be signed to a label to do well  - Links to JME research.

- We're in a new age now, where you don't need to go to a label to be signed, be famous or have a successful career.

- We're in an age where you can go viral through social media.

- If an artist is determined enough to promote themselves, they are likely to succeed - it is a game of survival of the fittest, who is better at social media - or who has a better presence online.

- Presence on lifestyle, or work ethic is favoured by viewers/listeners. Independent artists are more encouraged by this self-employment than going for a label.

- Jas believes those who are unsigned are in the slightly better position, because they have a chance to use their independent platform, without institutions telling them what to do.

- Being independent are better off.

- However, those who are signed are supported through all the resources - something independent artist have to do themselves - building a gradual public and personal connection/interaction.

- Artists who are independent are less likely to contribute to cultural appropriation and Racial Capitalism. Everything you do as an independent artist its off your own back.

- Artists who are signed are more inclined to fall into this systemic trap of Racial Capitalism.

- Blues in America was a black culture that was appropriated by white communities to build the white foundation of Rock. For example, Elvis Presley stole elements of Blues, from artists such as B.B King - and Black cultures were furious.

- Artists who did want to give back, Booker T and the MGs, Steve Copper, Alan Ruben.

- These individuals made sure that Black culture was learnt from, embraced and appreciated - cultural appreciation.

- Elvis stole Black culture and made it his own.

- Eminem was one of the many few White artists who gave back to the black culture of Hip Hop. He was not bothered by skin colours, he appreciated the music and wanted to show his respects to the culture - gratification theory and behavioural therapy.

- Coming into music with that approach - racism, racial capitalism and appropriation cannot exist.

- Appreciate the culture and acknowledge it - links to Akala.

- Jas explains that if he made a ton of Afrobeats and didn't admit that he had any inspiration, that would be an example of cultural appropriation.

- Many artists today refuse to admit their influencers, which fuels the fire to racial capitalism.

- Sadly racism is soaring.

- Always give back credit. Why would you not be that way.

- More people need to be interested and educated on the topic of racism, in order to challenge it and change the world.

- For example, tons of racist people will listen to Black music/culture, inspire them subconsciously, but once these racists become aware of it, they deny it and build more inner hatred towards that culture.

-   Jas explains how this ignorance builds on the topic of Racial Capitalism and cultural appropriation - and how it is easy to be negative and steal from others. It doesn't make you a good person.

- Institutions are protected by this racism, due to the amounts of money and finances they have. They are not held accountable for their actions, and when they are, they are not punished as much as they should be.

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1. What are your views on the portrayal of Black British artists in the Hip Hop industry?

2. Would you consider an unsigned artist; with less sales, to have more creative wealth, over an artist who is signed to a label?

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- British music producer, Jas - composer for other artists, his own tracks.

-  Racism is a huge player, in the hypocrisy that comes from those who rather take black culture - make it themselves, but when black people use that culture to produce creativity, they get shut down, judged and stereotyped.

- The UK Drill scene for example , around 2016 - 2017, originated in Chicago, but as UK artists got interested in this predominantly black genre, others began promoting and using this genre as their new scene. It overtook Grime, and as it became more mainstream, White people did take it.

- They took it for themselves.

- Jas builds on this statement, explaining how White corporations, institutions focus only on the violent glorification expressed in Black music - over Black experience expressed - what they have been put through and shared trauma that can be understood by white and black people - links to behavioural therapy and gratification theory.

- Two types of Drill, the glorified gang violence - drug dealing, misogynistic views, abuse - Jas does not agree with that, glorifying is not good, however, Drill artists talking about the same issues, through past experience, is free game.

- It is an expression of trauma, rather than glorification.

- Businesses such as Spotify, Apple Music, and Record Labels do not see the difference between gang glorification and gang experience. They associate as one style, which causes the music to lose is conscious meaning.

- These institutions will promote a negative portrayal of Black communities, Drill music and not realise that there are an array of Black artists out there who are sharing their experience, rather than the glorification of violence.

- Their more than happy to make money on black culture and the negative views brought to the table. Labels do not care for this and purposely fail to address it, inciting violence amongst Black people.

- Some believe that Drill music as a genre is dying out, due to this negative portrayal of gang violence and stabbings.

- There are examples of Black artists who get signed, have their own bars, stories, lyrics - but when signed the label have a certain path for them on what artists can and can't say. Authorities can get involved as well.

- Due to artists past mistakes, instead of talking from experience, they are forced by white institutions to glorify the violence, because labels are convinced that is what sells.

- Young artists don't realise that a label is a loan in theory. A large sum of money these labels owe (£300,000), will entice the artist with wealth, in exchange for sales that will make that money back. Artists that don't make this money back go into debt.

- Violence, drugs and negativity is popular in this world. Morbid curiosity. The state of the world these days encourages this.

Artists who aim to connect to audiences on an personal level through experience (rather than chasing a viral hit on Tik Tok), are less likely to succeed the same financial wealth. This is because music of substance is not todays world, and does not fit the music industry market.

Black artists are persuaded to play in that game, to what is popular in the industry, such as gang glorification and violence – in order to achieve the best sales. They forced to this by institutional promises.

- Jas believes that big corporations, multi-billion dollar industries, are running this - other black music traditions such as Jazz, Blues, Rock n' Roll have all been negatively portrayed through these institution control.

- Disco was even dubbed as being too sexual.

- Afro, Drill, Grime, Brithop, American Hip Hop, Trap are all susceptible to these same negative portrayals, due to their confrontational styles.

- If you are a positive Black artist you will receive negative feedback, or feelings around that genre.

- For example, you could be the most positive Drill artists and still receive this ideology.

- Jas has worked with a few positive Drill artists such as Bobbi London, DSix.

- Bobbi London works with Fitz on fire in the spooth, where famous cartoon characters rap over a Drill beat in a genre parody - sometimes battling eachother.

- Not all things have to be PG, nor violent, but it can be fun and creative - as any music genre should be.

- Labels do not care for this, rejecting to address it - if it does incite violence of Black people, it doesn't work.

- People are scared of 808 beats.

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Appropriation versus appreciation in terms of fashion and hip-hop is a more difficult topic to decipher. A more obvious example is usage of the n-word by white audiences. It is a word that is so commonly used in hip-hop, that people listening to it, regardless of race, tend to sing along to the rap lyrics and include the n-word. On one hand, white people rapping the n-word could be seen as appreciation because they are just singing the lyrics to the song and they are not directing the word towards anyone. On the other hand, the n-word has such a long, hateful, and offensive history that still persists today. (II Mason, 2018)

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Unfortunately, I was unable to make it to either of these last two sessions, due to being ill. During my spare time however, I have been progressing more with my Chapter 1.

For example, I began looking into how the 1948 Apartheid Policy has majorly influenced the concept of Racial Capitalism (Kundnani, 2020), (Leggasick & Hemson, 1976).

The repercussions caused such resistance in Black communities, through its oppressive segregation laws/legislations. Black Unionists who were left to survive on below-starving wages, were forced to unite against the Afrikaner National Party; whom at the time, were a political giant, comprised entirely, of White minority (Blakemore, 2019), (Leggasick & Hemson, 1976), (Vigne, 2016).

The Afrikaner National Party used societal, political, economic means, to suppress Black rights and freedom. Efforts to ensure these political oppression remained, often resulted in Police brutality, white supremacy and violence (SAHO, 2018), (Asian Times, 1987).

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Unfortunately, I was unable to attend the Bibliography workshop, due to train strikes. Instead I spent the rest of the week creating more initial drafts for my Chapter 1.

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This was the finalised Consent Form I made for the Interview I have arranged with Music Producer, Jason Francis (a.k.a Jas), on 27/11/2022.

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forms.app: Online Form Builder | Free Online Survey Tool

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forms.app is the best and free online form builder to create online web forms and online surveys. Get started with the easy and fast online form builder now.

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Interview Consent Form | Contact Details

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Interview Consent Form | Contact Details

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Finally, I included contact details in the Consent Form, so Interviewee's are aware on who they can contact, if they wish to file a complaint, or request for information to be removed, or added.

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Interview Consent Form | Terms & Conditions 

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Interview Consent Form | Terms & Conditions 

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For legal purposes, I included a Terms & Conditions section to my Consent Form. This cautionary measure was implemented to ensure that the interviewee's understand the professionalism of the Interview process, the potential risks involved (such as confidential information being shared) and how/where their contribution to the topic will be used.

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- Feedback

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Interview Consent Form | Dissertation Debate Overview

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Interview Consent Form | Dissertation Debate Overview

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I produced this brief document, to inform my interviewee on the Dissertation topic in more detail. It is the first form to be included within the Consent Form. It is attached, to prepare Interviewees' for the Interview and encourage them to share any burning questions, perspectives or statements, that they may wish to share.

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Robin D. G. Kelley | What is Racial Capitalism and Why Does It Matter? 

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Robin D. G. Kelley | What is Racial Capitalism and Why Does It Matter? 

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Ruth Wilson Gilmore | Geographies of Racial Capitalism – An Antipode Foundation Film 

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Ruth Wilson Gilmore | Geographies of Racial Capitalism – An Antipode Foundation Film 

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Cedric J. Robinson | ‘Racial Capitalism, Black Internationalism, and Cultures of Resistance.’ 

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Cedric J. Robinson | ‘Racial Capitalism, Black Internationalism, and Cultures of Resistance.’ 

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Justin A. Williams | ‘Brithop: The Politics of UK Rap in the New Century’

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Justin A. Williams | ‘Brithop: The Politics of UK Rap in the New Century’

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Paul Gilroy | 'Ain't no Black in the Union Jack' 

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Paul Gilroy | 'Ain't no Black in the Union Jack' 

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October:

Areas that have not been highlighted in my original Autumn schedule have not yet been completed, or are yet to be removed due to a new direction for my topic.

For example, the Focus Group I had planned (for my three original investigations), has now been postponed. This is until I am able to produce a new strategy for my Focus Group purpose. The investigations have also been paused, due to a more specified approach I have in regards to my Primary Research.

I am no longer going to investigate/interview anyone, but instead - the appropriate people for the topic.

During todays session I found out that Focus Groups do not have to be in response to an investigation, but can be nothing more than a gathering of professionals who are debating your topic amongst themselves.

I must consider that if I conduct any Focus Groups going forward, I will be the CM = Ceremonial Master. This role includes responsibilities as follows:

- TIME MANAGEMENT [I must adjourn to the planned duration of my Focus Group]

- CLARITY [My debate must be understood by all participants involved]

- CONSENT [Consent to record/photograph the session and participants within it must be given to me by each participant]

- INTERJECTION [I must have the ability to control the session even if it means cutting others off - This can also everyone to speak, and get their perspective across]

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Contacts | London Studio Interview Emails

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Contacts | London Studio Interview Emails

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Contact Numbers | London Studios Telephone Response

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Contact Numbers | London Studios Telephone Response

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I called these four recording studios in London. Hot Money studios phone line was down, as there was no receiver. Miloco studios had their own policy to keep client information confidential.

Fortunately, I was able to reach the Studio owners for Ondabeat Studios and Nxne Studios. Both were accommodating to my request to interview their clients (artists) and asked me to forward them an email that explains the Dissertation and its aims.

This was requested, so that the appropriate information can be passed on to the correct artists.

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Contact Numbers | London Recording Studios 

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Contact Numbers | London Recording Studios 

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Hot Money Studios:

02087980061
[no response]
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Ondabeat Studios:

07956623006
[Anthony]
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Miloco Studios:

020 7232 0008
[unavailable to give client details]
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Nxne Studios:

02082452632
[Moshik]

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I called these four recording studios in London. Hot Money studios phone line was down, as there was no receiver. Miloco studios had their own policy to keep client information confidential.

Fortunately, I was able to reach the Studio owners for Ondabeat Studios and Nxne Studios. Both were accommodating to my request to interview their clients (artists) and asked me to forward them an email that explains the Dissertation and its aims.

This was requested, so that the appropriate information can be passed on to the correct artists.

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- Primary & Secondary Research structure

- Appendices (Appendix)

- Bibliography

- Harvard Referencing

- Formative Assessment

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NOTES:

- I want to investigate where racially motivated ideologies originated. Black Radical Tradition relates to this.

- I want to investigate how racially motivated ideologies, can personally affect the success of African American/Caribbean Emcee’s in UK Hip Hop.

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Chapter Three | Debate Conclusion/New Research

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Chapter Three | Debate Conclusion/New Research

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Bullet Points:

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Bullet Points:

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Racial Capitalism: To what extent has cultural appropriation influenced the negative portrayal of Black artists in British Hip Hop?

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Bullet Points:

- Racial Capitalism is the overarching theme for my lead question.

- It incapsulates subtexts of covert racism, i.e., cultural appropriation/appreciation, and fake diversity.

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-  The theory of Racial Capitalism - identifying its cultural origin within South Africa (Tilley, 2021).

- American Professor in the Department of Black Studies and leading pioneer in the concept of Racial Capitalism, Cedric J. Robinson will inform this chapter.

- The understanding of Marxism through works of German philosopher and political theorist Karl Marx; Head interlocutor for Cedric Robinsons.

- Three of Robinson’s landmark accounts within this debate, include ‘Black Marxism’ (1983), ‘Black Movements in America’ (1997) and 'Racial Capitalism, Black Internationalism and Cultures of Resistance’ (2019).

- Highlight the unjust foundations of European Capitalism.

- Robinson applies his knowledge of Black studies, into the Marxist concept.

- What other practitioners would argue against Cedrics work?

Ruby Gilmore Wilson
DJ Kelley

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- Robinson identifies the cultural oppression of the African American/Caribbean people, their exploitation, endeavours, and resistance.

- Possibly look into how this resistance transformed itself during the Battle rap era. - Did this moment in Hip Hip history establish the 'violent' tag that media outlets appoint it to today?
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- These struggles of people of colour were overlooked within Marx’s general report of analysis, on the global industrial experience.

- This neglected Black minority groups creating further resistance.

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How does this set up your debate into RACIAL CAPITALISM?

How does this support your subtexts of COVERT RACISM, CULTURAL APPROPRIATION, CULTURAL APPRECIATION, and FAKE DIVERISTY.

Do ALL these areas need to be included?

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- Lead Question

- Introduction

- Chapter One: Background

- Chapter Two: The Main Debate

- Chapter Three: Debate Conclusion/New Research

- Conclusion

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Mini Guide to writing an analytical paragraph

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[22-23] Dissertation Lesson Plan Schedule

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The Dissertation Plan | Chapter Skeleton | [Aula Example]

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London Studio Contacts | Primary Research File

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The screenshots within this document show my evidence that I have reached out to London recording studios, whose clients range from local to industry professional. I have contacted studios who have a large client list, with predominantly Black Hip Hop artists.

I plan to network with the studio hosts/owners, in order to get further contacts within the UK Hip Hop industry. Studio owners will have a closer connection to their clients and will make contact with them more accessible.

I plan to explore more studios to boost these connections and attend local Open Mic events, to interview Black emerging artists who may wish to share their perspective. This comparison of industry professional artists, and local emerging talents will contrast the perspectives for my main argument in Chapter two.

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- Authorship | Researching and Writing Analytically

- Primary Research Contacts

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- Chapter Plan Skeleton | Lecture

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1.) Brickology, 210a Brick Lane, London

2.) The Queens Head, 25 Tryon St, London

3.) Poplar Union, 2 Cotall St, London

4.) King William IV, 111 Grosvenor Rd, London

5.) Luna - The home of live music, 7 Church Lane, London

6.) The North London Tavern, 375 Kilburn High Rd, London

7.) Red Sequin Door, 92 Stoke Newington High St, London

8.) The Queen's Head, 15 Denman St, London

9.) George, 75 Borough High St, London

10.) Loop, 189-191, Broad Ln, London

11.) The Hill, Dartmouth Road, London

12.) Gallery Cafe, St. Margarets House Settlement, 21 Old Ford Rd., London

13.) Allsop Arms, 137 Gloucester Pl, London

14.) Duke of Kendal, 38 Connaught St, London

15.) Mascara Bar, 72 Stamford Hill, London

16.) The Angel of Bow, 171 Devons Rd, London

17.) Kings Arms, 425 New Kings Rd, Greater, London

18.) Clerks Court, 18-20 Farringdon Ln, London

19.) The Camden Eye, 2 Kentish Town Rd, London

20.) Anchor Bankside, 34 Park St, London

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Session 1 | Wednesday 5th October | Feedback 

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Session 1 | Wednesday 5th October | Feedback 

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During this first Dissertation session, I spoke with Liz about my plans for the Primary research investigations.

I shared my concern with how I would be able to gather a number of individuals across all cultures, in order to record a reliable amount of views for my investigative research.

However, Liz encouraged me to avoid this approach. The risks of dealing with too many participants in a subject/investigation such as this, could be that those who partake may be expressing an opinion, rather than a viewpoint.

I would need a clear perspective for my investigations to be reliable in their results. The risk of conflicting statements/opinions could clutter my debate with inaccurate research, inevitably affecting the legitimacy of my Dissertation debate.

Instead, Liz supported the idea that I should contact industry professionals, rather than randomised individuals. The reason for this change of direction is to capture the perspective of Black/White artists who are in the position to experience such unjust backlash.

By directly focusing my research on musicians within the Hip Hop career, and their lyrical content, I am bridging the gap between how Cultural Appropriation influences Racial Capitalism, addressing this popularised stereotype with concrete evidence provided by artists within that field.

Finally, my original Focus Group plan is affected by this new direction, however, I will overcome this issue, by postponing the additional task, until I have a new area of focus to gather alternative viewpoints on.

Again, I will be contacting more industry based individuals for this task, so that I can gain their perspectives on how to approach this delicate subject in the presence of industry professionals.

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- Recap of Research & Knowledge
[Information gathered over the summer]

- Session Feedback

Primary Research:
Open Mic Venues | London

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There will be two copies of every Focus Group consent form handed out. One will be kept with myself as the lead researcher and the other will be kept with the participator, for insurance.

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1. Charlotte Drury
2. Crystal Alleyne
3. Ekene Izegbu
4. Amy Lieu
5.
6.

The list of names provided above are the professionals I have invited to my Investigation(s) Focus Group.

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Primary Research | Investigations 1 & 2 | Track list 

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Primary Research | Investigations 1 & 2 | Track list 

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1. Kano - Trouble

2. Bugzy Malone - M.E.N

3. Giggs - Dark Was The Case

4. JME - Serious

5. Professor Green - Jungle

6. Aitch - Safe To Say

I have decided to enlist six British Hip Hop tracks for the participants to view and listen to. The specific number of six tracks is a deliberate consideration made, as it reverts back to the six emotions associated with behavioural psychology.

The six tracks set out on this list, will potentially deliver a range of honest personal responses. I aim to avoid stereotyped answers, by giving little information on the tracks selected. This will ensure all participants can give an honest answer from their own perspective, without the influence of online reviews, stereotypes contaminating the investigation.

The more honest these responses are, the easier it will be to identify responses in correlation with experiences presented in the gratification theory diagram. Responses will be compared against the behavioural psychology and gratification theory diagrams, where all three outcomes should coalesce as a reliable source/statistic for my debate.

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I have decided to take a much different approach to my Primary Research. Initially, I was going to interview Studio/event hosts, local Emcee's and Radio DJ's.

However, my extensive secondary research has since informed me with the knowledge that the portrayal of Black British Hip Hop artists lies more within how the audience may behave and think, rather than the artists themselves (Cherry, 2021), (Thompson, 2019).

Stereotypes are ingrained in our everyday observation of social roles, that specific group members may occupy.

This embedded issue of judgement, lends itself to the herd mentality, giving society the power to turn one occupation, media, art form, routine, lifestyle, or culture into a global stereotype (Eagly, 2015).

Platforms can also amplify such stereotypes, as I learnt from my research into Record Labels, which are often the root cause responsible, in portraying violent content across most Rap Music Videos (Crooke, 2017), (Beaumont-Thomas, 2018), (C. McCool, 2021).

Black artists who choose to share personal and explicit content through their lyricism, are only informing listeners on their background, upbringing and lifestyle, rather than having the intention to encourage listeners to experience the same thing (Crooke, 2017), (C. McCool, 2021), (D. Morrison, 2019), (Mundy, 2014).

This illogical ideology is expressed brilliantly, in the debut single 'Serious' (Adenuga, 2005), by British Grime artist JME.

Artists such as Stormzy (Owuo Jr., 2015), and Kano (Brett Robinson, 2016) also identify the same counterproductivity of being violent during their time of success. The artists reflect on their upbringing, the struggles and journey they faced. Expressing gratefulness for present day fame, making their humbleness apparent.

However, perspectives can still be altered, with incidents such as the 2005 murder of Grime Producer Richard Holmes, which occurred over a diss track (Muir, 2006), (Shak, 2006).

--

Following these major sources of interest, I aim to conduct three main investigations.

1. The first investigation will record the behaviour/emotions of participants who have listened to the lyrics of six British Hip Hop tracks.

2. The second investigation will record the behaviour/emotions of participants who have viewed the Music Videos of these same six British Hip Hop tracks.

3. The third investigation will record the behaviour/emotions and desired actions of participants and existing artists whom may be the target of a diss track.

Context of the diss tracks content will be applied to each participant/artist, such as family, personal, and partners or lifestyle. The purpose of this joint investigation (between artist/audiences), is to record who is more likely to react in a violent manner, when being targeted with sensitive/non-sensitive information in a diss track.

The results from this third and final investigation will either conclude the evidence that audiences may commonly misinterpret lyrics, influencing themselves into becoming violent self-fulfilling prophecy.

However, it may also conclude that some artists are more inclined to react than others. The result may also be neutral depending on the responses I receive.

--

Before conducting these three investigations, I must first assemble an online Focus Group.

This will allow me to pitch my investigation plans to a group of professional individuals, all of whom will have different experience in respective fields of interest.

Acquiring alternative perspectives could help me identify what may be missing from the investigations, build upon their aims, the potential risks, how to overcome these and their overall method of reliability.

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--
- Rap Battle History: Resistance links and links to violence in Hip Hop.

- Thousands Gone Research: James Baldwin Essay.

--

-  Chapter Plan: With all your research Primary and Sec, begin structuring your Chapter Plan.

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Racial Capitalism | Hew Locke 'The Procession' | Gallery 4

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Racial Capitalism | Hew Locke 'The Procession' | Gallery 4

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Racial Capitalism | Hew Locke 'The Procession' | Gallery 3

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Racial Capitalism | Hew Locke 'The Procession' | Gallery 3

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Racial Capitalism | Hew Locke 'The Procession' | Gallery 2

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Racial Capitalism | Hew Locke 'The Procession' | Gallery 2

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Racial Capitalism | Hew Locke 'The Procession' | Gallery 1

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Racial Capitalism | Hew Locke 'The Procession' | Gallery 1

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The 2022 Tate Britain Commission, presents the colourfully surreal works of British sculptor and contemporary visual artist, Hew Locke.

Locke describes this new, and exciting large-scale installation as an attractive congregation of societal procession. One that uses the Tate's environment to travel through time and space (Locke, 2022), (Tate Britain, 2022).

Within this Procession, Locke depicts the ebb and flow of historical cultural/societal changes and indifferences. The use of materials, architecture, illustrations, wealth and clothing are only some of the tools implemented to amplify the cycle of human culture and the discomfort global finance, power and colonialism creates (Locke, 2022), (Tate Britain, 2022).

This exhibition is the blend of historical and contemporary culture. The sculptures in their overall form do not feel static. Each and every one has its own story to tell, reflecting on a narrative of survival, wealth, worship, celebration and more (Tate Britain, 2022).

The empowerment it brings to a viewer is achieved through a choice of bold, bright colours, moreover, the colours merely show the surface in an expression of struggle, survival and resistance.

It should make the viewer want to become part of something bigger than themselves. An enabler of contemporary change.

A Procession that does not end at the doors of the Tate, but one that should go on to inspire others to march alongside such prestigious sculptures, into a new imagined future; for these sculptures are only a reflection of what real individuals experienced through history. Their reliance, resistance and will shines through this exhibition and should be a lesson to us all.

I attended this exhibition [alongside other exhibitions within the Tate], because resistance is the key factor behind all Media that was presented. My extensive secondary research into Hip Hop Music educated me on the power of resistance; the artistic beauty it creates, but the discomfort and pain from which it is birthed.

The cultural relevance Hew Lockes 'Procession' has in correlation with my Dissertation topic is clear. Locke uses this exhibition as an expression of art, through an important lesson of culture.

Without such education, there cannot be such 'Processions', or societal movements to occur. If everyone were to follow and march together, without understanding the cause in question, it would not necessarily be a good thing.

Educating society on any ethnicities cultural history is essential, as it provides the acquired knowledge to those taught, on how to challenge others who may question a cultures place in society.

I aim to educate my readers on the damage Racial Capitalism has on Black communities. How cultural appropriation influences false stereotypes of Black Hip Hop artists, whilst enabling Caucasian Emcee's to capitalise on Black culture. Establishing what is factual, from recurring stereotypes is what will create the foundations for my overall debate.

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Glamourous underground nightlife ('Tex' Ajetunmobi, 1950) ('Tex' Ajetunmobi, 1960)

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Racial Capitalism | Bandele 'Tex' Ajetunmobi

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Racial Capitalism | Bandele 'Tex' Ajetunmobi

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Claudette Johnson illustrates larger-than-life portraits of Black women, using the entire space on the page to portray Black resistance and the presence of African/American women.

To achieve this cultural gravitas, the artist does not restrict her portraits to the edge of the page and aims to amplify the presence of Black women, due to its distorted, hidden and denied history (Johnson, 2018).

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Independent Research | Primary Research | Sept 4th - 10th

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Independent Research | Primary Research | Sept 4th - 10th

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Sunday - Saturday | Primary Research:

Reference Type: [Planning]

- Focus Group
- Focus Group Members
- Focus Group Consent Forms
- Focus Group Emails

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Dissertation Bridge | August 15th - 2nd September | Update

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Dissertation Bridge | August 15th - 2nd September | Update

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Between the dates of August 15th - 26th I was at work and had little time to commit myself to the planning of my primary research; including interviews, focus groups and social experiments.

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Young Thug's song lyrics involved in gang indictment (11 Alive, 2022)

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Racial Capitalism | Young Thug Lyrics associated with Gang violence

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Racial Capitalism | Young Thug Lyrics associated with Gang violence

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Young Thug's song lyrics involved in gang indictment

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Young Thug - Anybody (ft. Nicki Minaj) [Official Sign Video] (Cabral, 2022) (Lamar Williams, et al., 2018)

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Racial Capitalism | Young Thug - Anybody [Official Sign Video]

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Racial Capitalism | Young Thug - Anybody [Official Sign Video]

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Young Thug - Anybody (ft. Nicki Minaj) [Official Sign Video]

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The three compositions portrayed by Denzil Forrester were produced within the duration of Reggae tracks, as part of Forresters Nightclub series.

The combination of pastels, charcoals, graphite and water colours supported Forresters rough illustrations, when capturing the atmosphere and energy of the crowd.

Forrester wanted to highlight the passion and joy experienced by no-white communities to avoid an oppressive gaze. His work depicts the true spirit expressed by people of colour, through fashion and creativity (Forrester, 1982-1983).

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"Diaspora identities are those which are constantly producing and reproducing themselves anew, through transformation and difference.” (Hall, et al., 2014) (Wan, 2022)

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The Unfinished Conversation (Akomfrah, 2012)

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John Akomfrah's 'The Unfinished Conversation', follows the memories and archives of the cultural theorist and sociologist Stuart Hall.

The work is shown across three screens, all of which are presented in a non-linear narrative, whilst playing at the same time, to replicate the fractured nature of memories (Akomfrah, 2012).

Akomfrah includes Stuart Hall's ethnic and political quest, being the 'darkest member of his light skin family middle-class family, the story integrates Hall's personal videos/photographs, alongside 1960's News footage and  poetic sounds of Jazz and Gospel Music.

All angles are used to align past, present and future to the three screens, portraying Hall's journey of cultural identity in colour-conscious colonies (Akomfrah, 2012).

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Larry Archiampong's photographs are a depiction of family archives, which illustrate Black British lifestyles in the 1980's.

The abstract symbols on the heads of these individual family members, are a deliberate interruption of the Black lifestyle, and convey the hostility Black people would experience during the era; from Blackface performers, Golliowog dolls and Pickaninny Caricatures.

The symbols continually appear, to remind the viewer of British colonialism, and how domestic racism invaded their homes, creating black resistance within communities (Archiampong, 2013 - 2018).

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Maud Sulters work aims to explore the history of forgotten Black Women and their exoticisation. Her inspiration stems from a 19th century black actress and dancer, Jeanne Duval (c.1820 - c.1862) who Sulter researched.

Recognising the lack of knowledge that surrounded Duvals career and personality, Maud Sulter re-imagines herself as the performer in the portraits above, producing a contemporary sense of identity for this 19th century figure. (Sulter, 2002).

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Rapheal Alberts photography focused on primarily documenting Black lifestyles. His work supported the Black is Beautiful Movement, and encouraged Black British individuals to embrace their cultural qualities, from their colour, to hairstyles (Albert, 1960-1974).

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Professor Eddie Chambers at the Department of Art and Art History at the University of Austin, Texas compares Winston's 1982 art piece 'Zachary II' to the work of Frank Bowling.

Both artists use abstraction, colour blending and tonalities to depict the emotional frustration of Black stereotype.
Chambers explains that abstract paintings such as this creates excitement for the viewer.

The colour blends and tonalities expressed by the substance have the ability to transform the painting into a subject of emotional experience. Chambers believes that Black artists should be producing more art such as this (Branch, 1982).

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Primary Research | The Impact of Diss Tracks & Battle Rap

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Primary Research | The Impact of Diss Tracks & Battle Rap

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Interview artists on this section?

What would they do if they were dissed?

How would they act?

Who would it affect?

How would it affect them if they didn't act?
Is their a pressure to do so?

--

Relate responses back to Maslows Heirarchy of needs - Gratification Theory - Psychological Behaviour

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2Pac - Hit 'Em Up (Dirty) (Music Video) HD (Shakur, 1996)

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Racial Capitalism | 2Pac - Hit 'Em Up (Dirty) (Music Video) HD

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Racial Capitalism | 2Pac - Hit 'Em Up (Dirty) (Music Video) HD

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2Pac - Hit 'Em Up (Dirty) (Music Video) HD

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Racial Capitalism | Diss Culture and Rap Battles 

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Racial Capitalism | Diss Culture and Rap Battles 

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YOU ARE HERE

The Art of War, or, The Calculus of the Diss Track

The most electrifying times in hip hop are when emcees take to the booth to lay down verses going after their rivals. It feels like these intentionally public airings-out happen about as often as a really good election season, when it is time for a new king or queen of hip hop to seize the throne.

--
Diss tracks and Rap battles have always been at the very heart of Rap music. It provides each individual artist with the competitive foundation to be 'better than the next', feeding their hunger that ultimately fuels their success and/or failure ______________.

The competitive rap genre was popularised, since its establishment in the Bronx, New York _____________ and has seen the rise and fall of local and international artists

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Shaba Shak - Over The Years (Durrty Goodz Diss) (Shak, 2006)

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Racial Capitalism | Shaba Shak - Over the Years (Durrty Goodz Diss)

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Racial Capitalism | Shaba Shak - Over the Years (Durrty Goodz Diss)

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The source provided above, is an example of how Hip Hop/Rap music can end with disastrous consequences.

Shaba Shah's (a.k.a Shabba Shak) early Grime career included a diss track aimed towards Dwayne Mahorn; half-brother of Grime underground sensation, Crazy Titch (Muir, 2006).

Crazy T a.k.a Carl Dobson and his childhood friend, Anthony Green hunted for Shah and his associates, including Crazy T's own producer, Richard Holmes; who had allied himself with the 16 year old star Shah.

The disrespect Dobson felt from his producer, led the artist to murder;  fatally shooting Holmes through the back, over the lyrical feud (Muir, 2006). Carl Dobson now serves life in prison due to the diss track made by Shabbah Shaks.

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Shaba Shak - Over The Years (Durrty Goodz Diss)

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UB40 - Red Red Wine (Official Video) (Marley, et al., 1983)

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Racial Capitalism | UB40 - Red Red Wine (Official Video)

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Racial Capitalism | UB40 - Red Red Wine (Official Video)

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The success of UB40's 1983 number 1 single, 'Red, Red Wine', further influenced the integration of Black culture into British society (Marley, et al., 1983), (Henry, 2022).

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UB40 - Red Red Wine (Official Video HD Remastered)

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Smiley Culture - Cockney Translation (Emmanuel, 1985)

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Racial Capitalism | Smiley Culture - Cockney Translation

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Racial Capitalism | Smiley Culture - Cockney Translation

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Smiley Cultures 1984 single, 'Cockney Translation' provided young Black British listeners/residents, with an educational scope on London's infamous cockney rhyming slang (Simpson & Emmanuel, 2011), (Henry, 2022).

Artist Emmanuel David integrated Jamaican culture with British slang, further strengthening the bond between British communities and those of African Caribbean/Jamaican decent (SongFacts, 2022), (Simpson & Emmanuel, 2011).

The harmless purpose and impact delivered in these pioneering tracks of Black British music, debates the contemporary notion that Black British artists are violent individuals.

Instead, examples provided from the previous sources express Black music as a recital of experience and resistance, rather than an art of violent intention (Henry, 2022), (Bennett, et al., 1982), (Emmanuel, 1985).

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Musical Youth - Pass The Dutchie (Official Video HD)(Audio HD) (Bennett, et al., 1982)

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Racial Capitalism | Musical Youth - Pass The Dutchie (Official Video HD) 

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Racial Capitalism | Musical Youth - Pass The Dutchie (Official Video HD) 

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African Caribbean culture established itself in British society, shortly after British-Jamaican reggae group, Musical Youth, released their 1982 debut single 'Pass The Dutchie'.

The song reached number 1 in the UK Singles Charts, from which Black culture became integrated into British society (Henry, 2022), (SongFacts, 2022).

'Pass the Dutchie' was a sampled composition, which used playful, joyful lyrics, in comparison to the original Mighty Diamonds track 'Pass the Kutchie'. Kutchie is a pipe used by Rastafarians for communal smoking of marijuana (Urban Dictionary, 2009).

However, the original drug connotations sparked controversy during the songs initial production. To avoid the bands negative portrayal, the lyrics were changed by the Youth group (Richardson, 2022), (Simspon & Seaton, 2018).

The songs adaptation can still be associated with drug use, but creates additional atmosphere to the track and as Pop pantheons (Henry, 2022).

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Musical Youth - Pass The Dutchie (Official Video HD)(Audio HD)

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Lenny Henry's Caribbean Britain - Series 1: Episode 2 (Henry, 2022) 

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Racial Capitalism | Lenny Henry's Caribbean Britain

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Racial Capitalism | Lenny Henry's Caribbean Britain

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Lenny Henry and celebrities examine what it means to be both Caribbean and British today. ...

Lenny Henry and celebrities examine what it means to be both Caribbean and British today.

59 mins Available for 10 months

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Lenny Henry's Caribbean Britain - Series 1: Episode 2

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Lenny Henry and celebrities examine what it means to be both Caribbean and British today. ... Lenny Henry and celebrities examine what it means to be both Caribbean and British today. 59 mins Available for 10 months

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ICYMI - Joyner Lucas: "I'm Not Racist" - HipHollywood.com (Lucas, 2017)

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Racial Capitalism | Joyner Lucas - I'm Not Racist

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Racial Capitalism | Joyner Lucas - I'm Not Racist

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ICYMI - Joyner Lucas: "I'm Not Racist" - HipHollywood.com

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Independent Study - Week 2 | Wed 10th - Sun 14th August 

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Independent Study - Week 2 | Wed 10th - Sun 14th August 

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Tuesday | Primary Research:

Reference Type: [Exhibition]

- Tate Britain: Hew Locke | The Procession

Wednesday | Secondary Research & Practitioner Review

Reference Type: [Books]

-  ‘There Ain’t No Black in the Union Jack’ | By Paul Gilroy   (2002)

- 'Many Thousands Gone' | By James Baldwin (- - - -)

If Black English isn’t a Language etc. – Inspirational.

- ‘Brithop: The Politics of UK Rap in the New Century’ | By Justin A. Williams (2020)

- ‘Black Marxism’ | Cedric J. Robinson (1983)

- ‘Racial Capitalism, Black Internationalism, and Cultures of Resistance.’ | Cedric J. Robinson (2019)

--

Reference Type: [Documentaries/Online Lectures]

Ruth Wilson Gilmore | Geographies of Racial Capitalism – An Antipode Foundation Film (2020)

Robin D. G. Kelley - What is Racial Capitalism and Why Does It Matter? (2017)

--

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- Winston Branch
- Raphael Albert
- Michael Armitage
- Maud Sulter
- Larry Archiampong
- John Akomfrah
- James Barnor
- Denzil Forrester
- Claudette Johnson
- Chris Ofili
- Bandele 'Tex' Ajetunmobi
- Cornelia Parker
- Hew Locke

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Audience Gratification Theory Model (Thompson, 2019)

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Racial Capitalism | Audience Gratification Theory 

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Racial Capitalism | Audience Gratification Theory 

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The Audience Gratification model is used to highlight five main needs of fulfilment, influenced by the Media. The model
applies a means, to a psychological cause and effect, with a range of factors contributing to an individuals behaviour in society (Thompson, 2019).

For example, Social Media has the online ability to both exacerbate an individuals true personality, as well encourage a social façade (Thompson, 2019). Their are five online personalities, known as the 'Big Five' which have been investigated by various scholars (Yu, et al., 2020), (Chen, et al., 2015), (Chen, et al., 2017).

These five online personalities include; agreeableness, openness, extraversion, neuroticism, and conscientiousness, all of which are an expression of interpersonal/intrapersonal identity (Yu, et al., 2020), (Chen, et al., 2015), (Chen, et al., 2017).

Eminem's 2002 single, 'Sing For the Moment' is a storytelling masterpiece that depicts an imperative reflection of how one individuals purpose/happiness, may be entirely dependant on the Black idols/talents of Hip Hop Music (Mathers III, 2002).

Eminem paints the lyrical picture on how one person can recuperate a sense of diversion, and personal identity, building an empowering relationship between themselves and the Black artists they idol; in exchange for their own loneliness and neglectful lifestyle (Mathers III, 2002).

However, where does this psychological theory coincide with the topic of Racial Capitalism?

Personal opinions and relationships towards the Hip Hop culture can be altered through false online surveillance. Media outlets may present inaccurate, biased sources, that encourage audiences to alter their perspective on both the genre and its respective artists (Lewis, 2003), (Davies, 2021), (Campista, 2022), (McWhorter, 2003), .

Uneducated criticism towards any art form and culture, has the power to encourage a widespread negative response (McWhorter, 2003),(Camber, 2018), (ITV News, 2022).

These negative repercussions are experienced by countless Black Hip Hop artists (Camber, 2018), (Noisey, 2014), (Bickersteth, 2017), (Thompson, 2013), (Kylea Cowie Jr., 2012), (C. McCool, 2021), with White Rappers being hailed for their work, regardless of their potentially violent, explicit content (Mathers III, 2002), (Paul Manderson, 2010), (Daley, 2006), (Wilcox, 2017).

There is an increased risk of other communities becoming convinced by this systematic abuse fuelled by false information. Derogative stereotypes disparaging Black culture (Hackman, 2016), (Stark, 1993), (Collins, 2020), continue to create further resistance within African/American Caribbean communities (Lucas, 2017), (Thomas, 2019).

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Dave x AJ Tracey - Thiago Silva (Grant & Omoregie, 2016)

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Racial Capitalism | Dave X AJ Tracey - Thiago Silver 

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Racial Capitalism | Dave X AJ Tracey - Thiago Silver 

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Sportswear example (Grant & Omoregie, 2016).

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Tracksuit example (Owuo Jr., 2017).

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Racial Capitalism | Dr. Dre Ft. Anderson .Paak

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Racial Capitalism | Dr. Dre Ft. Anderson .Paak

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An expression of how Black artists and individuals feel, when outsiders enter their lifestyle/home environment.

They may feel like 'Animals' for what the types of clothing they wear and how they act towards another (D., et al., 2015).