Hip Hop began as a lyrical movement in the South Bronx in America. This lyrical movement has its roots in the Black American male experience. The movement is dominated with rhythm and lyrical stimulation, replete with metaphors from the life experiences of these black Americans, which are underscored by social and economic injustice. The lyrics of original hip hop – the one unmarred by capitalist interests often tell a story about the Black American experience touching upon their lives with are shrouded in liminality, unrest, lack of stability, and violence – these are the tales from the ‘hood.
Hip Hop has been dominated by black males and is demarcated into two main categories: the mainstream vs the underground hip-hop. In mainstream hip-hop, often the way masculinity is performed plays on stereotypical notions of the black male – violent, sexist, sexual – playing into the White gaze in an attempt to make a profit. These notions tie in with beliefs of those that spearhead the artists, thus they work.
On the other hand, underground hip hop is not determined by the invisible hand of capitalism, rather it stems directly from the black experience, becoming an arena for the artists to express themselves, and engage in intellectual debate. These songs do not cater to the White and international audience. These are authentic, playing upon the idea of the mixtape.
Protest music has existed in the United States as far back as the 19th century. As the name denotes, it has its roots in dissent and discontent. This music is an act of social resistance and has emerged as a separate category within political music. It encompasses the use of music within the political realm and is political in and of itself. Protest music can be seen as a commentary on any given social grievance or it can be seen as a rallying cry that points to the plight of a social group within any society.
The relationship between protest music and the Black American experience is deep-rooted and goes back in time. During the 1900s, protest music emerged in the form of Blues, demonstrating the unshakeable Black spirit, and commenting on the plight of their community.
It was also a means to release, a way to express their social, emotional, and political aesthetic. It became a source of power for many. While the blues have remained indomitable as a category of protest music for the black Americans, today, protest music is associated with Black Lives Matter and more commonly, hip hop.
This route for hip hop has been paved by the social condition of the black community in America. Given the expansion of social media, cases where black men are subject to police brutality, racial profiling, and discrimination based on their skin color have broken the surface.
The spark that ignited the Black Lives Matter movement was the murder of Eric Garner by the police in 2014. His last words “I can’t breathe” have echoed all over the world a million times as the video went viral. It was at this juncture that nationwide protests broke out. In 2020, all 50 states in the United State have been rocked by BLM protests following the murder of George Floyd by ex-police officer Derek Chavin. He died of asphyxiation, and he too uttered the words ‘I can’t breathe’ before he died.
The movement has been backed by several musical voices that have drawn inspiration from or identify with the ideology of the movement. The protest music touched upon the discrimination faced by the black community: wealth inequality, brutality, prison industrial complex, and systemic racism.
One of the first and most notable intersections between Hip Hop and Black Lives Matter is the song ‘Alright’ by Kendrick Lamar. It broke the silence of commercial hip hop on the issue and has become one of the anthems of the movement. The lyrics of the song go “Wanna kill us dead in the street of sho'” and “My knees getting’ weak and my gun might blow / But we gon’ be alright.” The refrain of “We gon’ be alright” emerged as protest chant in the demonstrations and protests of the movement in 2015.
The song became an anthem of hope and camaraderie for many. It was played all across the world, and it was more than just a song. Lamar stated, “…then you know it’s a little bit more deep-rooted than just a song. It’s more than just a piece of a record. It’s something that people live by – your words.”
Another song that led the way was J.Cole’s ‘Be Free’ which was released after Micheal Brown’s murder in a shoot out by the police. About the song, J. Cole said, “We become distracted. We become numb. I became numb. But not anymore. That coulda been me, easily. It could have been my best friend … I made a song. This is how we feel.” The lyrics pay homage to the indomitable black spirit, and issues a statement from the community, “I’m letting’ you know / That there ain’t no gun they make that can kill my soul / Oh, no.”
Today, in 2020, protest songs have a new meaning and weight in wake of the protests rocking America in the aftermath of George Floyd’s death. This music for turbulent times has seen the release of ‘Sweeter’ by Leon Bridges, addressing Floyd’s death.
He calls back Martin Luther King in one of the key lyrics, “I thought we moved on from the darker days/Did the words of the King disappear in the air, like a butterfly?” and wrote in a statement, The death of George Floyd was the straw that broke the camel’s back for me. It was the first time I wept for a man I never met. I am George Floyd, my brothers are George Floyd, and my sisters are George Floyd. I cannot and will not be silent any longer.”
Hip Hop thus emerges as something meaningful in the context of BLM. It operates as a statement, or as a slogan for the movement. It also provides a moment of reprieve and catharsis for those front and center of the movement. The tie between the two emerges as something much deeper than a mere lyrical movement.
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