Pick(ing) up the Mic.....again
Sunday, October 5, 2008 at 3:03PM Many or most know that, in addition to my work as a queer Hip Hop artist, I am one of a growing number of scholars in the burgeoning field of Hip Hop Studies (e.g., Byron Hurt's Beyond Beats and Rhymes, U Michigan's Black Cultural Traffic, Jeff Chang's Total Chaos). This semester, while I'm teaching Ethnic Studies at Humboldt State University (CA), I get to teach a course I created called "Hip Hop Nation: Who is Really Real?". Indeed the question of "realness" is at the core of identification and disidentification with the Hip Hop Nation. As queer Hip Hop artists (and queer simply being non-heterosexual) we identify (to varying degrees) with the challenge of a "breakthrough" into the mainstream, understanding that the Hip Hop industry (not necessarily its fans) have been largely dismissive of even our most talented and tested artists. I have an opportunity as a Professor, to define Hip Hop, not through its central personalities (those with mega-million record deals and an industry to support them) but by those on the margins of Hip Hop. And who better to look at than artists in the queer hip hop scene-- diverse in cultural, racial, gender, and sexual representation-- embodying as broad a range of styles as evident in the overarching Hip Hop scene? As part of the course, I always screen Pick Up the Mic, Alex Hinton's critical touchstone in the visibility of the GHH/OHH movement, and among the reasons the scene has grown from the handful of artists represented in the film to countless numbers since. I always go through a range of emotions watching it, some good, some not so good.
Truth is, you can't even define Hip Hop without talking about what it isn't... and for a long time, many in the mainstream have held the belief that Hip Hop is not gay. Despite breakthroughs by women, whites, other ethnic groups, other nationalities, keeping it real holds "gayness" as its antithesis. Lesbians better be so hard they get dap from "true thugs" OR so pretty they can operate, even lyrically, as seductress. Gay men are....well....still gay. I might get in trouble for this but I think that there is relative acceptance and mobility for queer women in Hip Hop, where the acceptance of gay men is still met with great antagonism (not unlike "lesbian" sex vs. gay sex). If it gets known that some of the fiercest freestyle battlers out there fuck boys (I happen to know two in the GHH world, one of whom straddles a line between out and not) people feel that Hip Hop will be fucked (pun absolutely intended). Trans-folk work for acceptance even in queer communities, though artists like Katastrophe and Fox Jazell, seem to show evidence that being trans and "passible" (a "woman" with guys or a "boy" with a girlfriend) might be easier than being a boy with a boy, no matter your disposition. It's a very complex matrix of acceptance and affirmation.
In watching Pick Up The Mic recently, I could not help but reflect on how much the scene has grown and developed. I am extremely happy about this growth, being among the foundational artists in the movement, but also honoring people like Cyryus, Matt Wobensmith, Dutch, Juba, Tori, Hanifah Walidah, Chase One, and Maker, without whom there'd be no Tim'm West (the emcee). I also grow nostalgic for the sense of unity displayed in the film, despite how different the artists are. Sadly, PEACE OUT festivals seem to no longer be needed. People (myself included) are gigging and touring on their own, and I sorta miss the days of HUGE festivals (2-3 nights of shows) where people all came together to celebrate who we are. It's cool when you can see Cazwell, Deadlee, Johnny Dangerous, BQE, Soce, and Deep Dickollective on the same night. But as the numbers grow, so does the ruse of competition. Swagga is about asserting the same notions of domination and supremacy that account for queer invisibility in XXL, The Source, VIBE, and RapPages. I suppose we learn well from our oppressors: assimilate to discriminate. And yet, listening to a track like "Swagga Like Us" by Bry'nt, Last Offence, & Thuglicious, one can't help but be hopeful about the glass ceiling being broken sometime soon. Used correctly, competition makes people step the game up, which is reflected in even my forthcoming project. Still, unlike me, these "fresh" homo cats have a great deal of optimism, energy, and determination to make power moves. There's a difference between making a name for yourself in Hip Hop because of your longevity and grit (as I have) and more strategic attempts to break the muthafucking barrier (e.g, Goddess and She, Yo Majesty, Deadlee, Scream Club, Katastrophe, Johnny Dangerous, and Tori Fixx in addition to some of the newer cats I have mentioned come to mind). Props to all. It's not something that really interests me, given how often I've seen artists exploited by record labels (myself included). I'll proudly support an artist I believe is getting a fair deal, but I have yet to see that. We have to be careful in the pursuit of our dreams. If it sounds like pessimism, it's more so protectiveness.
There have also been aspects of this new "breakthrough" steez that I lament. I've never participated in a diss on wax. While I'm cool with ciphering, and most who've seen my perform know I'm often known to kick a freestyle at a moment's notice, I've always found the antagonistic, "Imma pretend I hate you muthafucka, even though I barely known you....for swagga sake" kinda disingenuous. Truth is... I like most everybody. My allegiances in Hip Hop are pretty well-marked. I adore the Golden Era of Hip Hop (87-92), and know that it informed much of my love for the game. I like witty, smart, and relatively conscious shit: everyone from KRS to the Beasties, Hieroglyphics to Aesop Rock. I've pretty much never been a fan of mainstream rap, with the exception of Mos, NaS, Talib, De La, Jay-Z and a few others. But I also don't think I have to put people down just because it's not my style. It has often been assumed that because I don't bring it gangsta like Deadlee or sexy like Johnny Dangerous or Battle like Aggracyst, that I don't like them. I've never understood why? I'm touring with Deadlee and Last Offence later this year. We'll be joined along the tour by JenRo, Mid-One, Fox Jazell, MC Flow, Tori Fixx and others. Lots of different shit. I suppose it's my desire to experience a bit of our own "Pink Era" again (1997-2002).
One of the more touching moments in Pick Up the Mic is when Aggracyst laments having to go back home after spending a few days with OHH artists at Peace Out East. I suppose it's why his "No Talent" infuriated me a bit...and perhaps that was the point. He succeeded in getting me to do my first and likely last diss record, and concretized for me that the "one big happy gay hip hop family" is a thing of the past. A few months later I was told that I could no longer be a member of a group I co-founded. So in many respects, my illusion of us sticking together, in spite of differences, was sharply challenged. While I think that both Juba and Aggracyst are talented as fuck, I'm man enough to admit that they both hurt me in ways that I don't imagine trying to reconcile anytime soon. I'm happy for the connections I've made with Uneec, Bry'nt, Jessy Jamez, Sonny Lewis, Grand Royal, Eddy J. Free, Bone Intell, Kin, Bandit, Thuglicious, Cat Eyes, Fox J, Last Offence, The Qure, and others I secretly admire who remind me that the spirit of unity might someday be resuscitated. It's one thing when we faggots are dissing each other in our own circle, but it's pretty comical to mainstream rap when we do so-- like seeing two women fight over a man who isn't interested in either of them. I hope that we'll always keep that in mind. I can't say I regret dissing Agg, but I can say I pay him respect when talking about his uniqueness and ability to my students. Many OHH artists have fans based on my introduction of queer Hip Hop to students I teach around the country. I hope to continue doing that, despite my personal differences.
But I'd also like for people in the movement to think twice about the perception of in-fighting to an overarching industry that thinks we're all faggots (in the pejorative) undeserving of any piece of the Hip Hop pie. I don't have to like everything I hear to respect people's creative expression. And in a nation which still questions some very basic civil rights for queer people, I think we need to be mindful of the larger picture. To this end, I'm committed to building bridges with unlikely compadres. Like the kid in Pick Up the Mic who I ciphered with on the Christopher Street pier, I seek the common ground. But I am not a friend to antagonists. I don't care who you don't like in OHH, and want people to realize that when they come to me with that kind of drama (which happens all too often) it makes THEM look bad, rather than the person they are beefing with. I'm not calling myself some kind of mediator for queer Hip Hop artists, but I do hope, in my scholarship and my performance, to be one example of someone who held dear that sense of Unity that sparked our movement, and who continues to hold the torch, even when there are just a few sparks in it.
I haven't been a perfect OHH citizen of our marginal nation, and for my missteps I apologize, but I do mean well and wish everyone success who has the same good intention for all. Kinda boring, huh? The idea of artists getting along... Yeah...not very Hip Hop. Not very "real". And I suppose that's what makes me a bit of a relic-- nostalgic for a Hip Hop Nation open enough to allow lots of different people at the table. The other day I pulled out Ms. Melody, 3rd Base, and Poor Righteous Teachers: different shit...but good shit. And perhaps human nature dictates that we will always need a "faggot" in Hip Hop-- that even when the queers are accepted-- we'll be shifting the antagonism to some other underrepresented group. But perhaps we'll be the ones to lead the rest of the culture to a different way of operating. I think the Soulja Boy song is wack as hell, but I still appreciate that something about it moved my nephew and millions of others to learn that corny-ass dance. It's all Hip Hop. It's all the culture I love to hate and hate to love. It's the beautiful-ugly reflection of what it means to be young, gifted, hopeful, and colorful in America.
Reader Comments (8)
Another great blog from the "Scholar/Historian of OHH!" I think you made a very good point concerning lesbian artists vs. gay artists. As a straight cat, in many of the clubs that I frequent there are lesbian sistas that kick it with straight thugs. You are right! There seems to be an acceptance of studs in the straight scene. I've NEVER seen a group of "obviously" gay dudes step in a straight club like I see lesbian women. Perhaps some heterosexual warped standard on homophobia.
It is good to read that you are cognizant that a queer rapper will break through into the mainstream. It might not be everybody's quest to break that barrier, but it is a barrier that must be broken, because it's not just about the music. It will be the equivalent of Jackie Robinson breaching the "Colorline" in sports. I just hope that whomever is blessed to "crossover" will understand the significance of the moment and recognize it for what it is.
Keep speaking your truth brother!
Thanks Khalil. Still...let's be clear, gay men ARE often in (presumed) heterosexual Hip Hop spaces... just often unidentified as such. I frequent many of these spaces, so the assumption that we aren't there sometimes assumes that we'll always be "clockable". There are an increasing number of mixed sexuality spaces where it's well known that gay and straight folk are present. It's a slow, "progressive" change towards more exposure and hopefully acceptance, especially in your larger cities on the coasts. But you are right: there is an undeniable double-standard when it comes to how gay men and lesbians are treated in Hip HOp culture; yet, I've also witnessed antagonism towards the more lesbian identified women who aren't about being "eye candy" for hetero pleasure. There's also the every amazing straight woman has a good gay "judy" requisite that has taken the world by storm, it seems. LOL. It's really complicated, but a much needed conversation. I hope that some of our sistas in OHH speak on the topic. I'd love to hear trans perspective also.
This blog just "recharged my battery", sometimes it's the little things that do it. Thank you for the motivation Mr. West.
WOW! This blog is very informative, honest, and motivating! Mr. West you never cease to amaze me, Keep doin what you do because its wonderful!
Peace & Love
Is That My Name....Awwwww...LOL...Great Blog Tim'm ;)
Brilliant post. Watching PUTM always makes me amazed at how far the movement has come, with all the things the people in that film are now doing and all the new artists who have sprouted up as a result of it's influence. I understand your longing for unity, but as the scene grows, new circles develop, hanging out at OHH and GHH and watching things online, you see new sub groups forming. And they collab on each other's tracks, and have each other's backs. It's not just ONE group any more, there are multiple ones now. Almost cliques. I hope it doesn't turn into Homohop High School.
One thing I do notice is that the new generation doesn't seem as concerned with meeting and performing together and doing shows as much as the first circle did, and I wonder if the internet and the proliferation of podcasts, blogs and mp3s have helped give birth to a generation of Cyber "out" hip hop artists.
ALWAYS PUTTING WATER IN THEM MELONS, THATS WHY YOU THAT THAT DUDE!
People might feel that i am way off, but I have always been a skeptic about a household name. In my opinion, an underdog has just as good a chance, if not a better chance, to make history than some... We are seeing it with Obama today, and we will see it with somebody else tomorrow. And please do not hear that I am disgruntled because I'm not. What amazes me is the level of arrogance in society. Nobody needs help anymore and everybody's a superstar. What happened to strength in numbers? Now it's every man for himself. It truly is a dog eat dog world (doggy dog). I agree with Milo in that the unity has been lost and divided, eventually leaving us to fall flat on our dicks.