Most black folks as well as astute outside observers will probably point out that you don't have to have a ploy to get black people to kill one another, or to hate on one another.

Initially, Keys seemed to be unmistakably saying that Gangsta Rap was a U.S. Government creation, to "convince black people to kill each other." Her later attempts at clarification only made things murkier. At any rate, government certainly has been complicit in shaping the realities that gave rise to Gangsta Rap, from constitutionally sanctioned slavery to the present day. So, the sister couldn't be far from right. By Mel Reeves

Singer Alicia Keys got herself in a little hot water last week when she said in a magazine interview that Gangsta Rap was a ploy to "convince black people to kill each other," and that the initiator of the plot was the US government. While many folks have had knee-jerk reactions about what they think she said,it is important to look at the feelings she provoked, as well as to take a longer look at what Gangster Rap exposed and what the government did or not do to eliminate the conditions from which the genre arose.

Most black folks as well as astute outside observers will probably point out that you don't have to have a ploy to get black people to kill one another, or to hate on one another. That was neatly taken care of by the large reservoir of self hate, accumulated through a history of chattel slavery, unofficial (wage) slavery, legal segregation, officially ignored and unofficially sanctioned terrorism, rape of our lands and our bodies and a constant sense of second-placeness and inferiority that would have made a lesser people fold their tents.

Nevertheless, the larger society has had enough of us complaining about racism and the impact it has on our daily lives. Keys' critics demand that she shut up and sing. I find it interesting that a vast assortment of stars can express their opinions, but when a young black singer with an anti-government position practices one of her guaranteed rights she is told to stifle herself. While the government didn't conspire to create Gangsta Rap, it played a monstrous role in creating the conditions that produced the genre. Young people were rapping about their experiences, or their imagined experiences, which is at bottom what most art depicts.

So, young people in the poorest and most rundown sections of urban America turned to the negative yet nurturing influence of gangs. They witnessed those who played by the rules and who were making the best of a bad situation having their burdens increased by low wages, discriminatory hiring practices, discriminatory loan practices, redlining and glass ceilings. Having found legitimacy wanting, they said, "no thanks."

Hip Hop has suceeded in popularising gang culture

Who among us can argue that the violence, misogyny, blatant materialism and narcissism that is manifested in much of Hip Hop is not vexing to our spirits?

This was not the result of a direct government conspiracy, but the causes and effects are rather clear. Who among us can argue that the violence, misogyny, blatant materialism and narcissism that is manifested in much of Hip Hop is not vexing to our spirits? It has popularized gangs and gang culture, drugs and drug dealing, pimps and pimp culture and even prison life and prison culture. It has glorified whores and whoring, with its fascination with strippers and strip clubs and has pornified and objectified women. It reduces relationships to a soulless effort to obtain sex and money. It has exacerbated homophobia.

It has taken playing the dozens and put downs, to a completely different and self defeating level. It has made revenge and revenge killing a matter of honor, rather than what it really is, a demonstration of weakness. In another interview, Keys expanded on her Gangsta Rap thoughts: "The point that I was trying to make was that the term was oversloganized by some of the media causing reactions that were not always positive. Many of the 'gangsta rap' lyrics articulate the problems of the artists' experiences and I think all of us, including our leaders, could be doing more to address these problems including drugs, gang violence, crime, and other related social issues."

If we are honest we know that she has a valid point. What else were the kids going to rap about, the experiences of suburban whites? They sounded a warning and we responded by trying to get rid of the symptom rather than the cause. There were groups that sprang up (remember C. Delores Tucker) and Congressional Hearings insisting that the music be banned rather than ameliorating the causes and conditions that produced the music. Our pain and public humiliation was good entertainment. Hip Hop didn't start out as a negative cultural and political force. Cool Herc, Kurtis Blow, Melle Mel, Run DMC, were putting our story to music and rhymes. Grandmaster Flash and the Furious Five wrapped our plight neatly in "The Message."

And then came the more serious KRS-One, Chuck D, NWA, Public Enemy who followed in the footsteps of the earlier musical prophets Gil Scott Heron, the Last Poets and the Watts Prophets. But Keys' attempt to speak out is a reminder that artists don't really lead movements but respond and reflect them, much as Gangster Rap reflects the environment from which it springs. Our having to rely on the young songstress to speak a truth that should have long been spoken is definitely not a good indicator of black political progress.

But our collective hats should be tipped to her for trying to bring clarity and remind us of our (correctable) failures.


Reprinted with kind permission from www.blackagendareport.com