HIP-HOP AND THE TRANSFORMATION OF THE WHITE YOUTH

by  Ellen Feig

“The story (of hip hop) goes way beyond the A&R offices of the music industry.  It is about the society-altering collision that has taken place during the last two decades between the black youth culture and the mass media, about the discovery (and maybe hijacking) of black youths as creators and consumers.”  - HIP HOP AMERICA by Nelson George

In James Toback’s film “Black and White,” Toback addresses the cultural phenomenon of upper middle class white youth dressing, speaking and attempting to live the black urban life.  The white leads of the film (including Bijou Phillips and Elijah Wood) express their desire to “go into hip-hop.”  As a documentary filmmaker and her husband (Brooke Shields and Robert Downey Jr.) follow the kids around, we see the desperate means used by the kids to get further “into hip-hop” including sexual favors, murder, drugs and rebellion against family.  All over America white kids are trying to emulate the hip-hop and rap artists they love (albeit no by the means used above).  These kids listen exclusively to hip-hop or rap music, purchase the clothing worn by their favorite artists, learn the lingo and attempt to live what is termed a “hip-hop lifestyle.”  Such behavior has led to monikers such as “wiggers” or “wannebees.”  As Rich, the black rapper in Toback’s film perceptively asks “how can you be ghetto without living in the ghetto?”

By 1998, the hip-hop phenomenon became a reality as the music form overtook country music to become America’s biggest selling format.  No longer was hip-hop a passing fad, but rather a way of life that crossed linguistic and cultural boundaries and appealed to the youth of the world in an astonishing way.  The rap attitude thrives in every element of American life including fashion and corporate America.  The ‘street look’ has become prominent as youth run to purchase the newest sneakers designed by Missy Elliott or G-Unit, the jacket of the week by North Face, or the must have team jersey.  Rappers appear on advertisements for products such as Coca Cola, Nike, Reebok and Apple. In this election year, hip-hop artists have become essential to any presidential campaign as they influence the youth vote (think P Diddy’s “Vote or Die” campaign).

The new media sources of internet and cable allow anyone to be exposed to current music and fashion coming out of urban areas such as Los Angeles, Atlanta and New York.  In a desire to be the coolest kid on the block, whatever race you may be, young consumers flock to the ‘urban’ look helping to make it an $890 billion market.  No longer a black phenomenon, hip-hip has become the ultimate cultural phenomenon.  In his article, “Youth’s Global Village: An Epilogue”, William Eric Perkins writes,

The hip-hop revolution…is an uprooting of the old way in style and culture, and the introduction of a taste of black and Latino urban authenticity to every corner of the globe.

Interestingly, many black historians/commentators find that the white interest in hip-hop is yet another form of racism, another instance where whites co-opt a black art form and means of expression.  For many black Americans, hip-hop is about their racial background and thus belongs to them alone.  The white rapper Eminem is used as a constant reminder of such appropriation – in his case, he attained success by support of Dr. Dre, a well known black hip-hop producer who gave him an “authenticity” in the hip-hop community.

As I sit in the lobby of the multi screen movie theater waiting for my son, groups of teenagers walk by me.  Black, Hispanic, Asian, Caucasian – different in skin color but noticeably alike in dress, speech and attitude.  The kids are dressed in their “uniform” of the moment – baggie jeans, Timberlands or Jordans, athletic jerseys, thick chains around their necks and caps askew on their closely cropped hair.  Conversation is peppered with unique vocabulary; movement is made with well considered swagger and concern for public perception.  As a viewer, a seeker of cultural knowledge, I stop one of the young white teens and ask him about his dress and attitude.  “We all love the hip-hop way of life, the clothes, the music, the language.  Hip-Hop is a way of living your life, being cool and looking good”, Gabriel, 15, responded to my question. 

White suburban youth have been brought up listening to hip-hop on the radio, viewing hip-hop videos on MTV and reading about hip-hop icons.  According to music industry statistics, close to 80 percent of all hip-hop records are purchased by white, mainly male, youth.  Cornel West in his book Race Matters (Beacon Press, 1993) states,

            …this process results in white youth – male and female – imitating and emulating black male styles of walking, talking, dressing and gesticulating in relations to others.

As I sit down to write this article, my eleven year old son is sitting in his room listening to rap music on his iPod.  My eight year old is transfixed to Nickelodeon which is showing the Little Romeo show.  Clearly the music and culture of hip-hop/rap has crossed all boundaries…giving hope that it might too help to end the persistent racism of the United States.  As one of the rappers states at the end of “Black and White,” there are no longer “any boundaries.  We are all learning to live together.”  Music as a revolutionary tool…it’s happened before.