Professional Documents
Culture Documents
music.” She outlined the necessary components of music and pointed out that rap was missing
harmony, melody, and euphony. Artistically speaking, rap was just “noise.” She then launched
into social commentary, illuminating for us the damaging aspects of rap that come about due to
its association with violence, drugs, sex, gangs, and guns. The larger society agreed with my
music teacher. In the late 80s, rap struggled with radio bans, censorship, and Hollywood
derision. Though this black musical genre has gained more respect since then, there continues to
be stanch resistance against it. For example, the slogan of a popular New York radio station is,
“We play today’s best music, without the rap.” The station would ask, “Tired of listening to
this?” Then it would play a sample of loud, boisterous rap so that its listeners can hear the noise
that from which they are being saved. While the radio station is willing to admit that rap is
music, it is considered bad music. My contention is that the persistent disparagement of rap is a
reaction to rap’s racial and radical character. An analysis of the rap group, Public Enemy, and
their song, “Night of the Living Baseheads,” illustrates the way in which artists utilize the form
The negative reception of rap by the white American mainstream, as described above, is a
repeat of the reception of other genres of African-American music. For example, one criticism
against rap is that “anyone can do it” or make it up on the spot; rap music does not require the
skill or polish of other types of music. However, blues, a musical form that commands almost
universal respect today, started out as a “functional” music that was not sung professionally, but
by improvisation by workers in plantation fields. Thus, blues music, like rap, began with a
When blues first appeared, whites described the music using the adjectives that are now
ascribed to rap: “raucous and uncultivated” (Jones, 30).1 They attributed the “basic ‘aberrant’
quality of a blues scale” to the incompetence of blues singers, to black people’s inability to sing
in tune (Jones, 25). Likewise, jazz, with its unconventional sounds occasionally even consisting
1
Leroi Jones, Blues People, (New York: William Morrow, 1963).
of squeaks and screeches, was considered “noise” that came about due to the black performers’
insufficient instrumental training. It took years until mainstream America could accept blues and
Rap, like blues and jazz before it, distorts traditional European-American musical forms.
Using advanced synthesizer technology, rap artists distort voices and instruments and produce
new sounds never before used in music. The technique of “scratching,” in which a phonograph
needle is dragged across records, produces a sound that was never meant to be produced by a
turntable, just as jazz artists used European instruments to utter sounds that they never meant to
make. The “hoarse, shrill” vocals of blues singers, the screeching of brass instruments in jazz,
and the distortion of voice and misuse of turntables all produce a sort of phonic dissonance and
For this reason, rap is irritating, annoying, and even unsettling to many Americans. Their
conscious disdain towards rap is, on some level, an unconscious resistance to the discourse on
race presented by the music. Rap music, just as it is a critique of the Western aesthetic, is also a
critique of the dominant Western culture. With many rap artists re-arranging samples from other
genres of music, from classical to rock, record stores of the 80s suffered great confusion over
which section of the music store they should place rap albums. Just as rap music deconstructed
the categorical orderliness of record stores, it destabilized the assumptions of American society.
Rap is a subversive musical form whose main emotions and themes consist of rage, alienation,
and despair. It arises from the fall-out of mainstream culture, and as such it challenges the
system and the authorities that regulate American society. Evidence for this conjecture can be
seen in the fact that policemen, while they have been the heroes of many mainstream American
movies, appear as some of the most frequent antagonists in rap music videos. During rap’s rise,
Public Enemy, the band that ushered in the era of highly politicized black nationalist
gangster rap, can testify to the fear with which society reacted to them. For a 1988 concert in
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Providence, Rhode Island, the Boston arena refused to book a Public Enemy show, a decision
that was later applauded by the Boston Herald. The very name of the group, “Public Enemy,”
captures the antagonism between rap artists and the establishment. They see themselves in
conflict with the “public,” meaning the government, society, and nation in which they must live.
They call this country “Amerika,” again using distortion, this time syntactical, to utter a critique
on American society. By replacing the “c” with a “k,” in reference to the KKK, Public Enemy
makes the claim that America is a fundamentally racist society. The Public Enemy logo that
appears on all their albums is a silhouette of a young black man in the center of a rifle sight. The
people. The rifle sight indicates that the black man is targeted for elimination by the ills that
Public Enemy raps about: institutional poverty, drugs, insufficient education, legal inequality,
and police profiling and brutality. Correspondingly, Public Enemy also “targets” black males,
Musically, Public Enemy, like other rap artists, place layer after layer of sounds and
rhythms on top of each other to resemble the dissonance produced by the complex, contradictory,
and multi-layered nature of black urban existence. They repeat this mix in a seemingly endless,
mechanized drudge in order to communicate the incessantly immutable and machine-like quality
of the surrounding society. In the midst of this bewildering confusion of fragmented sounds is
the over-arching and conquering voice of the rapper, who breaks through the sonic morass with
bold, prophetic exclamations and rhymes, asserting a sort of control and confidence over the
Public Enemy’s song, “Night of the Living Baseheads,” is an example of the social
commentary and activism that the group undertakes. It begins with a sample from a Malcolm X
speech. This excerpt is an epitaph for the rest of the song. It comes prior to the beginning of the
song, just as a literary epitaph is placed before the book’s beginning, and Malcolm X’s voice is
lower in volume than the rest of the song, just as a literary epitaph appears in a smaller font than
the rest of the text. Because epitaphs are often religious or drawn from the words of a revered
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figure, Public Enemy is upholding Malcolm X as the black people’s prophet and martyr. It is
significant that Public Enemy chooses Malcolm X, instead of someone like Martin Luther King
Jr., thus clearly marking itself as a descendent of the more militant movement of black
nationalism. While Martin Luther King Jr. is an American hero, with an institutionalized
national holiday for him, Malcolm X remains a controversial, and sometimes reviled, figure.
Controversy, rather than standard Americanness, is the quality for which Public Enemy strives.
In the epitaph, Malcolm X says, “Have you forgotten, that once we were brought here, we
were robbed of our name, robbed of our language, we lost our religion, our culture, our god.
And many of us by the way we act, we even lost our mind.” He laments the fact that, after
whites had already wreaked havoc upon the African-American soul, blacks further hurt
themselves with self-destructive behavior. Public Enemy is saying that black youths have “lost
[their] mind” to drugs, and thus are driving themselves lower and lower. The question “How low
can you go?” is sampled and repeated during the song, asking black America how much more
they can possibly harm themselves after a legacy of oppression has already forced them into such
a dire situation. Time and again, the song expresses frustration over the ever-increasing depths
of the black community’s constant self-destruction, in which black people are destroying black
people: “Another kilo / From a corner from a brother to keep another - / Below.”
The song’s name, “Night of the Living Baseheads” is a play on the popular horror film,
“Night of the Living Dead.” “Basehead” is slang for addicts of freebase cocaine. Public Enemy
equates baseheads with the living dead and portrays the drug situation of black America as a
virtual nightmare. The song describes the addicts with horror-film imagery: “some shrivel to
bone / Like comatose walkin’ around.” Just as demons possess the living dead, drugs possess
black youth.
Public Enemy plays upon the word, “baseheads,” with a homonym, “bassheads.” The
song wants to replace “base” with “bass,” to repossess black youth using rap music. Several
lines of lyrics describe drugs, and then the rapper says, “Please don’t confuse this [the drugs]
with the sound / I’m talking about… BASS.” Public Enemy also plays upon the word “dope.”
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The song goes, “This is the dope jam / But lets define the term called dope / And you think it
mean funky now, no.” Initially, Public Enemy uses the word positively, calling their song, “the
dope jam.” In this case, “dope” means “cool,” as well as “information from a reliable source.”
But subsequently Public Enemy refers to “dope” under its other definition, as harmful narcotics.
The tension of the entire song revolves around the double-meanings of base/bass and dope. The
song asks us to make a distinction between base and dope, the drug, as opposed to the bass beat
Thus rap music is meant to supplant drugs to reinvigorate the life and soul of black
America. Public Enemy wants their music to supply the black language, religion, and culture
whose loss was bemoaned by Malcolm X. Public Enemy urges the black community to “Stop
illin’ and killin’ / Stop grillin’,” to escape the vicious cycle of drugs. In the song, a background
loop of a two-note tenor horn that constantly and uniformly punctuates the song represents this
cycle in rhythmical form. The rapper says, “Day to day they say no other way.” From day to
Public Enemy, however, affirms that there is salvation. Each period of straight rapping is
followed by the redemptive beat, a syncopated stutter of “BASS.” Throughout the “BASS”
segments of the song, the rapper inserts words of encouragement like “c’mon,” “yeah,” and
“alright” as the music takes over and liberates the addict. After each “BASS” segment the
background loop falls silent as a completely new background rhythm takes its place. The
rhythmic replacement that follows after each “BASS” segment represents the way in which
Public Enemy envisions that its music can break the incessant cycle of social afflictions and fill
the role that drugs presently occupy in black life. During the interludes, the rapper also inserts,
“We’re gonna get down now,” thus giving the previously examined phrase, “How low can you
go,” a second meaning. “How low can you go” is not only a lament over the black community’s
ever-deepening drug problems, but is also a reference dancing and singing more fervently. Once
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again, a double-meaning captures the tension and conflict between black youth’s social
Groups like Public Enemy represent rap artists that have attained a mastery over using
rap as social commentary, political device, and art. The critical and distortionary nature of rap
that fuels the political radicalism of Public Enemy and other gangster rappers produced a harsh
reaction in America. Americans resisted rap as social critique and as music. However, given the
eventual acceptance of blues and jazz, this most recent black musical genre may continue to gain
admirers not only among youth, but also among more conservative elements of society.
Eventually, we may even become familiar with genteel middle-aged folk situated a posh café,
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Public Enemy’s logo
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Public Enemy makes liberal use of the technique of sampling, often using clips of CNN reports
in their songs. By mixing the clip with the harshness of the background rhythm and surrounding
it with critical lyrics, Public Enemy defamliarizes the listener’s perception of the CNN report,
thus revealing the absurdity, irrelevancy, and prejudice of the mainstream media and information
industries in the midst of African-American angst and anger. Public Enemy says that “rap is the
black CNN,” thus rejecting mainstream media and taking up the mantle of distributing
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Social conditions had always been intricately connected to black music (Marxist cultural assumption)
in fact, the formalist idea of “Arte pour le arte,” in an American context, is implicitly rascist as it effectively negates all African-
American art
the Public Enemy logo is “a silhouette of a young black male in the center of a rifle sight”. “young black males are sighted for
elimination by way of police brutality, poor education, drug access, and trucated economic opportunities. It is a visualization of
police profiling and surveillance” conversely, PE also targets black males, but in an empowering rather than eliminating mission.
song was “Produced in the year and a half prior to the 25th anniversary of the assassination of Malcom X”
“Have you forgotten, that once we were brought here, we were robbed of our name, robbed of our language, we lost our religioni,
our culture, our god. And many of us by the way we act, we even lost our mind.”
black youth have lost their minds to drugs. rap music wants to once again give blacks name, language, religion, culture.
Malcolm X excerpt like epitagh (religious significance). significance of Public Enemy as a descendent of Malcolm X and black
nationalism, not Martin Luther King Jr. Even now, Martin Luther King is an American hero while Malcolm X remains
controversial, reviled by many. And controversial is exactly what Public Enemy aims for. a spiritual force
“sharply punctuated by a syncopated two-note tenor horn sample that loops urgently and endlessly.” most of their songs
incessantly and impetuously punctured by a dissonant rhythm repitition in the background. the rhythm, beat, cadence, tempo,
flow is not as smooth.
rap associated with noise, violence, and sex. rap is meant to irritate, annoy, unsettle.
play on the word dope: dope can be a positive adjective, meaning “cool”. but it can also mean “drugs”.
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“Please don't confuse this with the sound
I'm talking about...BASS”
music to supplant drugs, music being the life and soul of black America instead of drugs
“BASS” part encouraged on by rapper with “c’mon” “yeah” “alright”, as the bass takes over, reconquers the addict
crime? gangsters?
Blues People
“the basic ‘aberrant’ quality of a blues scale” (25)
“these deviations from the pitch familiar to concert music are not, of course, the reesult of an inability to sing or play in tune”
“the ‘hoarse, shrill’ quality of… the blues singers, is thus attributed to their lack of proper vocal training” (29-30)
improvisation, “functional” music
“raucous and uncultivated” (30); the same adjectives can be used to describe rap
“While the whole European tradition strives for regularity- of pitch, of time, of timbre and of vibrato- the African tradition strives
precisely for the negation of these elements.” (31)
“The purity of tone that the European trumpet player desired was put aside by the Negro trumpeter for the more humanly
expressive sound of the voice. The brass sound came to the blues, but it was a brass sound hardly related to its European models.
The rough raw, sound the black man forced out of these European intruments was a sound he had cultivated in this country for
two hundred years.” (79)
black music is deconstructive, it breaks down the assumptions that there is a “right” way to use European instruments, a “right”
way to sing. it breaks down assumptions of what defines music
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