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MichelleRabe
Dr.Smith
ENGL4990:RIEThesis
18April2016
ThePaperTrailofCapitali$tReali$m
Inrecentstatements,FredricJamesonandSlavojiekhavecontendedthatapocalypseis
moreconceivablethantheendofAmericancapitalism.1Itismorefathomabletothinkthatthe
worldwillendbeforecapitalismends.Thus,theideathatcapitalismismundane,vital,and
inescapablemustpermeateanyattemptedrealisticrepresentationofthecontemporaryUnited
States.CulturaltheoristMarkFishersworkexpandsuponthenotionthatcapitalismconstitutes
realityanddescribesthephenomenonascapitalistrealism.Inhiswork
CapitalistRealism:Is
ThereNoAlternative?
,hedefinescapitalistrealismasthewidespreadsensethatnotonlyis
capitalismtheonlyviablepoliticalandeconomicsystem,butalsothatitisnowimpossibleeven
to
imagine
acoherentalternativetoit(2).Itisbothanaffectiveregime,harnessingoneswill
toitsresignation,andaneoliberal,hegemonicideologythatconfiguresavarietyofcomplex
socialforcesaccordingly(GilbertandFisher89).Inbothaestheticandpoliticalestimationsof
contemporaryAmericanlife,thetropesofcapitalistrealismabound.

Inwhatfollows,IwilltracetheevolutionofcapitalistrealismincontemporaryAmerican
literaryscholarshipaccordingtomyunderstandingofcapitalistrealismsfourdistinctphases:
acknowledgingcapitalistreality,critiquingcapitalistreality,subvertingcapitalistreality,and
embodyingcapitalistreality.Followingamapofcapitalistrealisminliteraryscholarship,Iwill
delineatetheprogressionofcapitalistrealisminAmericanrapmusicfromthepastthreedecades

BothFredricJamesoninhisbook,
Postmodernism,or,theCultureofLateCapitalism(
DukeUniversityPress,
1991),andSlavojiek,inhisspeechatOccupyWallStreet(2013),assertthenotionthatapocalyptic
representationsoftheworldareeasiertoconceiveofthanthedestructionofcapitalism.
1

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toshowhowittravelledthroughphasesthatareanalogoustotheaforementionedphasesof
capitalistrealismincontemporaryliteraryscholarship.
Throughoutmyanalysesofthefourphasesofcapitalistrealisminliteraryscholarship
andinrapmusic,IwillexplorehowAmericancapitalismoverthepasttwentyfiveyearshas
deregulatedthepersonalselfjustasithasderegulatedandprivatizedfinancialpolicies.A
freemarketeconomicmentalityhassubsumedtheAmericanunderstandingofpersonaland
moraldevelopment.Thisfact,onethatsomecallneoliberalideology,has,inturn,onlyamplified
capitalismsinextricabilityfromreality.Thus,inwhatfollows,Iwillassumethecompatibilityof
politicalconceptsofneoliberalismandtheaestheticdepictionsofcapitalistrealismin
contemporaryAmericandiscourse,astheybothbolstertheinseparabilityofcapitalismand
realism.2
Fromthere,Iwillshowhowthemostrecentliteraryscholarshiponneoliberalismhas
suggestedthatweshouldacceptcapitalistrealityandfindnewwaystoorientourselveswithinit,
andIwillexplorehowrapmusichaspassedthroughasimilarphase.BasedonMitchum
HuehlssnotionthatmanytwentyfirstcenturyAmericannovelsbelongtoanaftercritique
phaseofneoliberalism,Iwillarguethatcapitalistrealismhasenteredafourthphaseof
embodyingcapitalistrealityinbothcontemporaryliteraryscholarshipandrapmusic.However,
whileliteraryscholarshipstillexistswithinthisfourthstageofembodyingcapitalistreality,I
2

Anextensiveamountofscholarshiphasemergedwithinthepasttwodecadesonneoliberalismsimpactonboth
Americaneconomicsandsociopoliticalorganization.Forneoliberalismsintersectionwithaffectivemattersin
contemporaryfiction,seeRachelGreenwaldSmiths
AffectandAmericanLiteratureintheAgeofNeoliberalism
(CambridgeUniversityPress,2015).Forinsightintoneoliberalismsinfluenceondemocracy,seeWendyBrowns
UndoingtheDemos:NeoliberalismsStealthRevolution
(ZoneBooks,2015).Foramoreextensiveexplicationof
neoliberalismasaneconomicandpoliticalideologyemerginginthelate1970s1980s,seeDavidHarveys
ABrief
HistoryofNeoliberalism
.Forpurposesofthisessay,IwillunderstandneoliberalismaccordingtoHarveys
definition,atheoryofpoliticaleconomicpracticesthatproposesthathumanwellbeingcanbebestadvancedby
liberatingindividualentrepreneurialfreedomsandskillswithinaninstitutionalframeworkcharacterizedbystrong
privatepropertyrights,freemarkets,andfreetrade,toprovehowitfacilitatescapitalistreality(2).

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willdemonstratehowrapmusichassincemovedbeyonditandintoafifthphase:adevaluation
ofcapitalistreality.3Throughoutmydiscussionofthephases,Iwillusecontemporaryliterary
scholarshipforatheoreticaloverviewofeachphaseandsupplementthesedescriptionswith
specificexamplesofrapsongsthatexemplifyeachphase.

Forabriefvisualoverviewofthephasesofcapitalistrealism,pleaserefertoFigure1.

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PhasesofCapitalistRealisminContemporaryLiteraryScholarship
MarkFishersaccountofcapitalistrealismtracescapitalistrealismsevolutionoverthe
pasttwentyfiveyears.However,amidstallofthealterationsthatcapitalistrealismhas
undergone,hisbeliefaboutwhatliesattheheartofcapitalistrealism,thatcapitalismistheonly
practicableeconomicsystemfortheworld,hasremained.AccordingtoFisher,capitalisms
inextricabilityfromrealityhasonlyincreasedwiththegrowinginfluenceofneoliberalismin
Americaneconomics.Becauseneoliberalismispredicatedupontheideathatthefreemarket
principlesofselfgovernanceandderegulationshouldcharacterizeeveryaspectofan
individualslife,itsideologicalinfluencehasfacilitatedthenotionthatcapitalismandrealityare
oneandthesame.Beyondenablingcapitalismtoinfiltratetheverynotionofreality,
neoliberalismencourageseverydimensionofrealitytooperateascapitalismdoesandstructures
societyaccordingly.
ForFisher,capitalistrealismhascometobetakenassomethingpostideologicaland
infiniteratherthanasacontingentresultofneoliberalism.Heargues:
Thedominanceofcapitalism,theinabilitytoimagineanalternativetoit,now
constituteasortofinvisiblehorizon.Fewexplicitlythinkaboutcapitalismassuchthe
disappearanceofalternatives,evenifonlyimaginaryalternatives,makeitmuchharderto
apprehendcapitalismasaspecific,contingentsystem.Capitalistrealism...entailsthis
deepembeddinginaworldorasetofworldsinwhichcapitalismismassively
naturalized.

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Capitalistrealismdoesntappearinthefirstinstance,then,asapoliticalposition.
Itemergesinsteadasapragmaticadjustmentthisisthewaythingsarenow.Thissense
ofresignation,offatalism,iscrucialtotherealism...Theresnopointinfightingthe
inevitable(90).
Insteadofbeingjustthebeliefthatcapitalismistheonlyviableandimaginablesociopolitical
organization,capitalistrealismnowentailsabeliefintheunquestioned,inevitablerealityof
capitalismaslifeitself(89).
Incapitalistrealismsfirstphase,thewidespreadrecognitionthattherecouldbenoviable
alternativetocapitalismprevailed.Literaryscholarshiphasbeenrecognizingtheinfluenceof
economicandexchangesystemsonasocietysliteratureforever,butitsspecificrecognitionof
capitalismastheonlyconceivableeconomicsystemfortheworldbegantodevelopinthe
mid1970s.Likewise,sincetheonsetofhiphopcultureinthelate1970s,thegenrehasbeen
characterizedbyanawarenessofthepowerofmoneyandrampantmaterialisminthepublic,
politicalrealm.Inthisphase,rapmusicrecognizedthatcapitalismdefinedhiphopcultureand
didnotimagineanyalternativesystemtoreplaceit.
Soonafterrecognizingmoneyasahugelycontrollingforceintheworld,literaryscholars
andrappersbegantounveilandcriticizecapitalismsramifications.Yet,themorethatthey
criticizedcapitalismasreality,themoretheideathatcapitalismencapturedtheworldbecame
entrenched.Aswritersandrappertriedtocritiquethisexistingcapitalistreality,itbecame
increasinglydifficulttoevenimagineanalternativetocapitalism
intheory
.
Withtheadventofneoliberalisminthemid1980s,thenatureofcapitalismandtheway
thatartistsrelatedtocapitalistrealityshifted.Neoliberalismtookcapitalismfromthe

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professionalandpoliticalrealmsandbroughtittothepersonalsphere.Capitalisminbothliterary
scholarshipandrapmusicbegantotreattheartistorthesubjectofaestheticworksasa
representationofcapitalism,operatingaccordingtofreemarkettermsandprivatization.Thus,
waysofnavigatingcapitalistrealityandapproachingcapitalismasanentityshiftedaccordingly.
Whereasissueswithcapitalismwereapproachedwithstructural,topdownmethodsinthe
earliesttwophasesofcapitalistrealism,strategiesagainstcapitalismaftertheinceptionof
neoliberalismutilizedbottomup,subjectivemeasurestodisruptcapitalistreality.
Thethirdphaseofcapitalistrealism,subvertingcapitalistrealism,relieduponthesesort
ofbottomup,individualmethodsofnavigatingcapitalistrealism.Inparticular,individuals
willinglyenteredthecapitalistsystem,butonlytodeconstructitfromwithinthesystem.
Neoliberalismhadalteredcapitalistrealityandtheindividualsperceptionofhim/herselfwithin
capitalismfromadistant,imposingstructureoutsideoftheirpersonallivestoafullyenveloping
mindsetthatorderedandgovernedtheirprivaterelationshipsanddecisions.Thus,peoplewho
opposedcapitalismnolongerthoughtitwaseffectivetotreatandcritiquecapitalistrealismasif
itwereapublicinstitution.Instead,individualsunderstoodtheireverydaychoicesasaconsumer,
worker,andcitizentobeactivelysupportingordenouncingthecapitalistrealitythatsubsumed
theirpersonallives.Therefore,anticapitalistsusedtheirindividualpowerwithinthecapitalist
system,thattheyconsideredthemselvestocontrolandconstitute,tosubvertcapitalistrealism.
Unfortunately,bytheonsetofcapitalistrealismsthirdphase,neoliberalismhad
transformedcapitalismintosomethingsonaturalizedthatitinfiltratedevenideasthatpurported
tobeantitheticaltocapitalism.Eventheeffortstosubvertcapitalistrealityultimatelyreinforced
it.InMitchumHuehlssterminology,thisiscalledtheneoliberalcircle,whichseverely

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circumscribesourproductionofmeaning,noncomplicitrepresentationsoftheworld(Huehls
11).Whatsmoredisturbing,accordingtoHuehls,isthatevenourmorecritical
representationsoftheworldsuccumbtothesamecomplicitywiththeneoliberaltotalitysothat
actionsthatseemtoopposeneoliberalismactuallyendupaligningwithactionsthatsurrenderto
neoliberalismtoformacircleinwhichneoliberalvaluealwaystriumph(1112).Withinthis
neoliberalcircle,itbecomesnonsensicaltoevenconceiveoftheideathatanyactionordecision
couldendupnotreinforcingcapitalism.Huehlsdescribesneoliberalismstotality:
Inaworldwhereneoliberalismtoucheseverythingbutthebarestoflife,youcan
certainlymakecritiques,challengenorms,andoffercompetingrepresentationsofthe
world,butgivenneoliberalismsomnipresence,thepositionyouholdwillbejustas
neoliberalasthepositionyoureagainst...Itsactuallythepoliticsofoppositionalcritique
thatremainsperpetuallycomplicitwithneoliberalism(56).
Thus,althoughcapitalismhasfacedconsiderablebacklashandchallengestoitsunjustpractices
andviolentramifications,itsdominancehasconsumedanticapitalistsentimentsandrepurposed
themforitsownends.Subvertingcapitalistrealityhasprovedfutile,ifnotdamaging,to
capitalismsupheaval.

PhasesofCapitalistRealisminHipHop
Throughoutcapitalistrealismsphasesofrecognition,critique,andsubversion,
contemporaryliteraryscholarslikeMarkFisherandMitchumHuehlshavetrackedneoliberal
capitalismasithasconsumedrealityinmoresinisterways.Rappershavechartedneoliberal
capitalismsprogressioninhiphopcultureaccordingtoanalogousphasesofrecognition,

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critique,andsubversion.Although,ingeneral,thesocioeconomicandracialstatusesof
contemporaryliteraryscholarsandtheirsubjectsvastlydifferfromthoseofrapartists,the
developmentofcapitalistrealisminbothcontemporaryliteraryscholarshipandrapmusichave
unfoldedinaparallelfashion.Interestingly,untilrapsrecentdevelopmentintoafifthphase,
capitalistrealismhasdevelopedalongananalogoustrajectoryinbothculturesdespitethe
differentpositionsthatliteraryscholarsandrapartistsoccupywithinthecapitalisthierarchy.
FromitsdevelopmentintheSouthBronxinthelate1970s,hiphopculturehasbeen
cultivatedinblackAmericancommunitiesandcelebratedasastylenoonecandealwith
(Basu259).Beingbothauthenticandcommercial,revolutionaryandrenegade,radicalyet
conservative,confirmingwhitestereotypesofblackcriminality,yetcritiquingthewhite
mainstreamculture,hiphopalwayshasbeenathreattosocialstability(259).4 Itsmost
subversivecomponentcomesfromrapmusic,duetoitsstatusasthemostcommodifiableand
marketableelementofhiphopculture(258).Rapperscouldraisehavoconthemicandhave
theirsocialcritiquesbroadcasttolargeaudienceswhowereenthralledbytheircatchybeatsand
rhymes(260).Asrapmusicdevelopedintoaninternationallycommercialphenomenon,rap
artistsincreasinglyhadbigmoneyasanaspirationalpossibilityfortheircareersandmore
peoplewiththegiftofrhymenowwantedsixfiguredeals(Womack114,117).
Therelationshipbetweencapitalismandraphasneverbeenamonolithicone,however.
Eventhoughcapitalismhasalwaysinfiltratedhiphopcultureandinfusedraplyricswith

Itshouldbenotedthatforallofitsoppositiontothewhite,upperclassstatusquo,hiphopculturehasretained
manyproblematicinequalitiesthatprivilegemasculinity,heterosexuality,andcertainethnicities,amongother
things.Itisnottheintentofthispapertoexcuseorcelebrateanyofthoseinjusticesbywritingaboutworksthat
exhibitanyformofdiscrimination.Rather,tracingadialogueinprominentexamplesofrapmusicinevitably
confrontsthesematters.TherestrictionsIfacedinattemptingtoselectadiversegroupofrapartiststoexamineare
therestrictionspresentedbytheartistswhoareconsideredcanonicalandrepresentativeofhiphopsmajoreras.

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referencestoincomeinequalityandtrialsoftheragstorichescomeup,rappersfromdifferent
hiphoperasconfrontthecapitalisticelementsoftheirlivedrealitiesindistinctways.AsAfrican
AmericanliteraturescholarsAdamBradleyandAndrewDuBoisexploreintheir
Anthologyof
Rap
,themethodsofmusicalproductionaltersthelyricalcontentofrapmusicandviceversa.
Oncerapmusiccouldberecordedontovinylrecords,distributed,andsold,thecommercial
possibilitiesofrapwerecapitalizeduponbyrecordlabelsandexpandeduponbyartists
(BradleyandDuBois10).FromOldSchoolhiphopwithrapsfirstcommerciallyrecordedtrack
in1979,totheproliferationofraptracksaboutrecognizingthematerialisminhiphopculture,to
critiquingtherapmusicindustryduringrapsmid1980searly1990sGoldenAge,torapsNew
Millenialemphasisonhustlingandsubvertingtheroutesoflegitimatecapitalgain,raphasdealt
withandincash(910).AccordingtoSheaSerrano,whoresearchedthemosttransformativerap
songsfromeveryyearofhiphopsexistencein
TheRapYearBook
,raphas,morethanany
otherartformbeforeit,steppeditselfupandovertheartvs.commerceargument,andithas
maturedbyblur[ring]thelinebetweenpaperchasingandartcreationtoapointofdissolution
(33).Likethestagesofcapitalistrealismincontemporaryliteraryscholarship,capitalistrealism
inhiphophistoryhascycledfrommerelybeingrecognized,tobeingcritiqued,andtobeing
subverted.
Toillustratethetransformationofcapitalistrealisminhiphop,wecanexaminesomeof
thedefiningrapsongsofhiphopserasandexplorehowtheyhandlemoneyandcapitalism.
Beginninginthefirstphaseofcapitalistrealismrecognitionwithwhatislargelyrecognizedas
hiphopsfirstsociallyconsciousrapsong,GrandmasterFlashandtheFuriousFivesThe

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Message5(1982),rappersrecognizedhowmuchcapitalcontrolledtheirexistence(Bradleyand
DuBois122).TheMessageisadystopianseriesofurbanvignettesdescribingtheruinsofan
impoverishedneighborhoodwithbrokenglasseverywhere,junkiesinthealleywitha
baseballbat,andthecrazylady,livinginabag/Eatingoutofgarbagepails,tolistonlyafew
(BradleyandDuBois65,GrandmasterFlashandtheFuriousFive).AsMCMelleMeldescribes,
theghettoislikeajungleinwhichitisadailystruggletokeepfromgoingunder
(GrandmasterFlashandtheFuriousFive).And,withoutmoney,noonecanescapethisrealityby
movingout,drivingaway,gettinganeducation,gettingsteadyemployment,oracquiringany
governmentaid.Instead,MelleMelgraphicallyillustratesthatitsallaboutmoney,ainta
damnthingfunny/Yougottohaveaconinthislandofmilkandhoneyotherwise,youliveso
fastanddiesoyoung(GrandmasterFlashandtheFuriousFive).Withoutcritiquingthese
conditionsorragingagainsttherampantdisparity,GrandmasterFlashandtheFuriousFiveuse
TheMessagetoconveythestarkrealityoftheirimpoverished,predominantlyblack
neighborhoodandthecrime,violence,andmoneythatcontrolsitall.
AsraptransitionedintoitsGoldenAgeduringthelate1980sandearly1990s,itentered
thesecondphaseofcapitalistrealismcritique.Rappersbecameincreasinglyinterestedin
makingmoneyfromtheirsongstoavoidthesameimpoverishmentthatrestrictedsomanyblack
peopleintheirneighborhoods.EricB.andRakims1987album
PaidinFull
promotedthis
strategy.Beyondthealbumsname,theworksfocusonmoneyisunderscoredbyitscover
artworkandlyricalcontent.ThealbumartworkfeaturesEricB.andRakimgrippingwadsof
cash,wearingenormouschainsandgildedwatches,andflauntingdiamondsandgoldontheir

TheofficialmusicvideoforGrandmasterFlashandtheFuriousFivesTheMessagecanbefoundhere:
https://www.youtube.com/watch?v=gYMkEMCHtJ4
.

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wrists,fingers,andnecks,andwithawallpaperofdollar
billsbehindthem(seeFigure2).AccordingtoSerrano,
thetitletrack,PaidinFull,6 introducedraps
materialismexplicitly(61).Unlikeanyrapsingle
beforeit,PaidinFullconcernsEricB.andRakims
stepstogetpaidinfull,fromtheiragency,theiragent,
theirrecordcompany,andtheirmanager(EricB.and
Rakim).Discoveringthattheyhavenothingbutsweatinside[their]handsandonlylint
insidetheirpockets,theybegintheirmissiontogetsomedeadpresidents7tofillthemup(Eric
B.andRakim).Then,becausetheydontliketodreamaboutgettingpaidonly,theydiginto
thebooksoftherhymesthat[Rakim]madeandhitthestudiountiltheyarepaidinfull
(EricB.andRakim).WiththisrepresentativealbumoftheGoldenAgeofhiphop,rapbeganto
considermoneyasagoldenticketoutofcrimeriddenstreetsandthemostpowerfultoolfor
socialmobility.Inpursuitofthisgoal,rappersbegantocriticizehowdifficultitwasforthemto
earnmoneyandescapepovertywhilesimultaneouslystayingtruetotheirrootsiftheydid.
Asrapsliteralgoldenageexpanded,manyrappersbegantocriticizewhatthisdidtoa
rappersauthenticityandthehiphopcultureasawhole.Fortherestofits1990sBlingEra,
rapsgrowingcommercialpopularitybredrapartistspursuingunsurpassedlevelsof
conspicuousconsumptionandmaterialexcess...champagneandshinysuits...diamondchains
andexpensivecars(BradleyandDuBois325).Whilesomemeasureoftheprofitmotive
existedinrapmusicbefore90srap,itwasduringthisdecadethatrapbecamebigbusinessand
6

TheofficialmusicvideoforEricB.andRakimsPaidinFullcanbefoundhere:
https://www.youtube.com/watch?v=E7t8eoA_1jQ
.
7
DeadpresidentsreferstothedeceasedhistoricalfiguresonbillsofAmericancurrency.

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itslustforfundsshiftedfromtheartisttothecorporation(325).Asalways,theshiftsinthe
productionindustryleakedintothemostemblematicrapsongsfromthe1990s.Notonlywere
thesesongsandtheirartistsdisquietedbythedangersofhomogenizationandstagnationthat
corporatizedhiphopposed,buttheywerealsounnervedbyrapmusicschangeinaesthetic
values(326,330).
Thetransformationofrapmusicfromcrafttocommodityiscritiqueddirectlyin
WuTangClan,Nas,andNotoriousB.I.G.scondemnationsoftherisingpowerofcorporate
fundsinrapmusic.Inthemidstofhiphopculturesunprecedentedlevelsofwealthandluxury,
WuTangClanreleasedC.R.E.A.M.8in1993,whichsimultaneouslydescribedtheoutrageous
cashflowinrapmusicandtestifiedtoitscatastrophiceffects.Thesongframedaverybleak
economicrealisminwhich,asthetitularacronymdeclares,CashRulesEverythingAround
Meandlifeisallaboutget[ting]themoney/Dollar,dollarbillyall(Serrano97,WuTang
Clan).Inthisframework,theWuTangClanmembersversesdescribehowinsurmountablethe
obstaclesofexistingandsucceedinginthecapitalistichierarchyare,especiallyforthe
underprivilegedniggas[who]gottodowhattheygottodo/Togetthrough(WuTangClan).
Similarly,NassLifesaBitch9offhisillustrious1994album,
Illmatic
,presentsandcriticizes
theharrowingtrialsoflifeinacapitalisticreality.Nasreferencesdeadpresidents,Grants,
Jacksons,andWashingtons,andhowtheyarewhatlifeisallabout(Nas).Furthermore,
AZsverseonthesongbegins,Visualizingtherealismoflifeinactuality/Fuckwhosthe
baddest,apersonsstatusdependsonsalary/Andmymentalityismoneyorientated,andit

TheofficialmusicvideoforWuTangClansC.R.E.A.M.canbefoundhere:
https://www.youtube.com/watch?v=PBwAxmrE194
.
9
AliveperformanceofNassLifesaBitchfrom2012canbeviewedhere:
https://www.youtube.com/watch?v=PdGL3XXO_dI
.

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continuesontodescribehowlifeisgettingmoneybyanymeanspossibleuntildeath(Nas).In
thisview,liferequiresmakingandhavingmoney,evenifitrequiresviolence,drugdealing,or
compromisingyourfundamentalvalues.Withoutcapitalsustenance,youdie.
Thismoralcarriedthroughthelater90s,whenNotoriousB.I.G.releasedMoMoney,
MoProblems10in1997,andprominentrapsongsstillconsideredcapitaltobethatwhich
concurrentlysustainedlifeandendangeredlife.Inrap
musicsmostconcisecritiqueofcapitalistreality,Mo
Money,MoProblemssurmisesthatitslikethemore
moneywecomeacross/Themoreproblemswesee
(NotoriousB.I.G.,seeFigure3).Biggiesstriking
realizationinMoMoney,MoProblemsof
capitalismscatch22lefthimandotherrapperswith
thedesiretosurmountthiscapitalistrealityandescapethe
viciouscirclethatensnarespeoplewhohaveorwholackmoney.
Thus,afterthispowerfulsequenceofrapsongsthatcritiquedcapitalistreality,theturnof
thetwentyfirstcenturysawyetanotherturninhiphopculturesregardformoney.Duringthe
thirdphaseofcapitalistrealismsubversioninhiphop,rapmusicbecamedominatedby
hiphopentrepreneurs,whoopposedcapitalismbyinfiltratingthemusicindustryhierarchyand
takingmoneymakingintotheirowncontrol(BradleyandDuBois427).Dissatisfiedwithsimply
criticizingthecapitalistrealitythatdictatedtheirlivesandcareers,manyrapartistsownedtheir
agencyasmoneymakersandusedtheirmusictosubverttheveryconditionsofthisreality.

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TheofficialmusicvideoforNotoriousB.I.G.sMoMoney,MoProblemscanbefoundhere:
https://www.youtube.com/watch?v=gUhRKVIjJtw
.

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Hiphopintheearly2000swasgovernedbyhustlerswhobuiltempiresfromtheir
autobiographicalsongsabouttheirstealing,drugdealing,andreigningstreetprowess.JayZand
50Cent,twoofthewealthiestandmostprominentfiguresoftheentiretyofhiphophistory,
reachedtheclimaxesoftheirrapcareersintheearlyaughtsasaresultoftheirvicioushustling
andforcefulrapping.
Withnosmallamountofbusinesssavvy,[seeingthat]hisreputationisbuiltuponit,
JayZlaunchedhimselfintoarapartistandbusinessentrepreneur(BradleyandDuBois427).
Oneofhisbiggestsingles,BigPimpin11 fromthe1999album
Vol.3...LifeandTimesofS.
Carter
,engendersthehustlerlifeandinvolvesanumberofcapitalistrealitysandhiphops
enduringtensions[of]glamorandgrime,celebrityandcrime,craftandcommercialism(427).
Eventhoughheneveractuallypimpedwomen,JayZusesthetenantsofpimpologyto
characterizehowhethug,fuck,love,andleaveanumberofpawnsinhispursuitof
money(JayZ).Ratherthanremainenslavedtomoney,JayZmanipulatesthecapitalistsystemto
exploitotherpeoplesrelianceonmoneyandmakesaprofitoffoftheirillegalmeansofmaking
profits.Metaphorically,ratherthanprostitutinghimselftocapitalismsoverarchingdominance,
JayZisdoingbigpimping[and]spendingcheesethatcomesfromrunningtheworldofmoney
(JayZ).AccordingtoJayZhimself,BigPimpinisaboutthepurityofthehustlersthrillin
athoroughlycapitalistlifebecause,asJiggaMan12 reasons,Ifthepriceislife,thenyoubetter
getwhatyoupaidfor(JayZqtd.Serrano137).

11

TheofficialmusicvideoforJayZsBigPimpincanbefoundhere:
https://www.youtube.com/watch?v=Cgoqrgc_0cM
.
12
JiggaMan,atermreappropriatedfromitsinitialusageasaracialslurtobecomeadescriptionforahustler,isa
frequentnamebywhichJayZreferstohimself.

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Likewise,50Centdocumentshishustlinglifestyleonthesixtimesplatinumalbum
Get
RichorDieTryin
thathereleasedin2003.Echoingcapitalistrealityinhustlersterms,the
albumstitleitselfencapsulatestheideathat50Centslifeisdominatedandperpetuatedbythe
pursuitofmoney.And,likeJayZ,thefactthat50Centisagoodbusinessmanorasuccessful
hustlerisatremendousunderstatement(Serrano160).Fromitsinitialsoundofacoinflippingto
itsfinaltracknamedforhoweveryonesLifesOntheLineinthepursuitofcapital,every
trackfromtherenowned
GetRichorDieTryin
concerns50Centshustletofameandwealth.In
particular,thealbumsthirdsingle,P.I.M.P.,13 features50CentfollowinginJayZsmethodof
pimpingonthestreets.SimilartoJayZ,50CentmarketshimselfasamotherfuckingPIMP,
butonewithouttheliteralattributesofapimp,havingnoCadillac,noperms(50Cent).Most
importantly,likeJayZ,50Centsubvertscapitalistrealismbyredefininghisroleinthe
capitalistichierarchy.Ratherthanbeingpimpedoutbythemusicindustryormainstreamsociety,
50commandeersthestreetsandreapsalloftheprofitspersonally.Abitchcantgetadollarout
of[him]inhispimpingdomain,sohebelievesthattheresnobnesslikehobnessinthe
hood(50Cent).Hustlingthecapitalistrealityaroundhimandmanipulatingitforhisowncontrol
allows50Cent,andallofthepimpsthatcamebeforeandafterhim,tosubvertcapitalisms
seeminglydebilitatingpower.Ofcourse,bydoingthis,hiphophustlersstillmaintainedthe
allencompassingcapitalistrealitythattheyarecampaigningagainst.
AsMitchumHuehlswouldexplainit,eventhoughhustlingintendstochallenge
capitalism,itssubversionofcapitalistrealityactuallyreinforcestheneoliberalcircle.Neoliberal
capitalistrealityisperpetuatedbothbyhustlersandthosehustled,bothentrepreneurial

13

Theofficialmusicvideofor50CentsP.I.M.P.canbefoundhere:
https://www.youtube.com/watch?v=UDApZhXTpH8
.

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individualspursuingtheirrationalselfinterest...andthosecogsinthemachineofsystematized
profitmaking(Huehls11).Counterintuitively,Huehlsarguesthatanysupposedly
oppositionaleffortsagainstneoliberalideologyactuallyremainperpetuallycomplicitwithit
(56).So,tryingtosubvertcapitalistrealismwithhustlingorpimpingultimatelyfailstobreak
theneoliberalcircle.

EmbodyingCapitalistReality
Sincethefirstthreephasesofcapitalistrealismrecognition,critique,andsubversionin
literaryscholarshipandrapmusicwerenoteffectivecampaignsagainstneoliberalcapitalisms
supremacy,literaryscholarshaverecentlyproposedthatweneedtolocatenewmodesofbeing
incapitalistrealisminordertoresistit.DrawingfromMitchumHuehlssideathatcontemporary
fictionhasenteredapostcriticalphaseofcapitalistrealism,wherethereisadifferent
understandingofsubjectivityandobjectivitywithincapitalism,Iarguethatthefourthphaseof
capitalistrealismembodyingcapitalistrealismhasemergedinliteraryscholarshipandrap
music.
Sinceneoliberalcapitalistrealismisnolongeracomponentoftheatmospherewelivein
butrathertheveryatmosphereitself,theconditionsforoverturningitmustrevolutionizeour
entirereality.Thereneedtobenewplacesforthings,especiallypolitics,inthephysical,
mental,andemotionallivesofAmericancitizens(Huehlsxi).Huehlscontendsthatthesenew
placesspringfromidentifyingalternative,nonrepresentationalformsofbeingdifferentways
toproducethevalueandsignificanceoftheworldthatrejecttherepresentationallogicof
critique(xii).Huehlssuggeststhatrepresentationalformsofmeaningmakingshouldbe

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replacedbyontologicalformsofmeaningmakingand,thereby,deemphasizestheroleof
referentiallanguagetodepict,reflect,orsaysomethingabouttheworldtoshiftthederivation
ofvaluefromtheconfigurationandinterrelationofbeings(xiii).Insteadofcritiquingtheway
thattheneoliberalideologyofcapitalistrealismstrategicallyfiltersourviewoftheworld,an
ontologicalgenerationofvalueactuallydismantlestheveryfabricofcapitalistreality.AsHuehls
states,Critiquecapitulates,butapparentcapitulationopenspotentiallynewmodesofbeing,and
politics(6).Despiteneoliberalcapitalistrealitysimposingexpansionintoalldomainsof
humaninteraction,Huehlsbelievesthatthereissomethingfaintlyencouraging,evenresolute
inlettingitbe(Huehlsix).
Thisapparentresignationtoneoliberalcapitalistrealityactuallydependsuponanew
understandingofhowneoliberalismoperatesoneveryoneincapitalistreality.Drawingon
MichelFoucaultsconceptionofthe
homoconomicus
,orthesubjectorobjectof
laissezfaire
,Huehlsconceivesofaneoliberalindividualwhoisencouragedtosubject
[his/her]thinkingaboutalldomainsofsocietyandculturetoarigorouseconomiccalculus
committedtoefficientprofitmaximization(2).Huehlsinvestigateswhethertheneoliberal
homo
conomicus
functionsnormativelyorpostnormatively,explaining:
Ifsomethingisnormative,itsvalue,shape,orconditionispredicatedonapredetermined
andartificiallyconstructedstandardormodelthatis,onnorms.Ifsomethingis
nonnormative,orpostnormative,itmightbenatural,oritmightgrounditsvaluein
someentirelydifferentway.Soifneoliberalismisnormative,itprescribesasetofbeliefs
andvalues,behaviorsandpractices,thatfunctionasagoverningnormfor
homo
conomicus
.Ifitspostnormative,itstillhasinfluenceandpower,butnotasa

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collectionoflegislatednormsthatdirectlyimpingeon,construct,andactivelydetermine
homoconomicus
asasubjectintheworld.Instead,postnormativeneoliberalism
derivesinfluenceandpowerfromitshandsoff,administrativeshapingoflived
environments(3).
ThisdistinctionisimportanttoHuehlssprojectbecauseitrevealssomethingcrucialaboutthe
wayneoliberalismpersistsandassignsvaluetocertainactionsandthingswithincapitalism(3).
Forinstance,normativeandpostnormativeproductionsofvaluehavevastlydifferentwaysof
representingtheworld.Normativeneoliberalismsignifiesrepresentationally[because]norms
arespecificrepresentationsofpreferredmodesofthinkingandbeingwhereaspostnormative
neoliberalismisuntouchedbygoverningnormsandsignifiesnonrepresentationally(4).In
addition,normativemethodsofcontrolcanbecriticizedforchoosingparticularnormsas
opposedtoalternativenorms,whilepostnormativemethodscannotbecriticizedorcomparedto
anyalternativemethods.
Thus,whileHuehlsarguesthatneoliberalismoperatesbothnormativelyand
postnormativelyincapitalistreality,hearguesthatnormativerepresentationalformsofmeaning
inevitablyreinforceneoliberalcapitalistrealityandpostnormativeontologicalformsofmeaning
wieldthepotentialpowertoevadeneoliberalcapitalistreality.Normativeneoliberalisms
representationalproductionofmeaningandvaluereliesentirelyonapurifieddistinction
betweensubjectandobjectofgoverningnormsandtheindividualsundertheirstandardization
(8).Assuch,allnormativeelementsofneoliberalism,whethertheyseemtoupholdoroppose
neoliberalcapitalistreality,willalwaysbeparticipatinginthepreviouslydescribedneoliberal
circle.Onthecontrary,postnormativeneoliberalismsnonrepresentationalproductionof

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meaningandvaluecandefus[e]neoliberalismspotentnormativerationality,allowingusto
seethatwhatsometimesfeelssoulsucking...isactuallyjustanadhocandevershifting
assemblageofbeing,aperpetuallyimprovised(re)configuringoftheconnectionsand
contradictionsthatdefinelifeinthetwentyfirstcentury(6,8).

EmbodyingCapitalistRealisminHipHop
Withtheaccumulationofwealthinthehiphopindustryandthepowerofhiphop
entrepreneurship,rapmusicspreadgloballyandfluctuatedinthefaceofnewmakersandnew
voices(BradleyandDuBois559).JustlikeHuehlssdescriptionofcontemporaryfictionas
movingaftercritiqueinresponsetonew,postnormativeunderstandingsoftheneoliberal
individual,rapsnewvoicesandaudienceslaunchedhiphopcultureintothefourthphaseof
capitalistrealismembodyingcapitalistrealism.Theriseofdigitaltechnologyandtheresulting
webofinterconnectivitythatbindsnearlytheentireplanetfacilitatedtheexchangeofcultural
capitalandtranscendedsocioeconomicandethnicdivides(564).Newvoices[could]make
musicandnewears[could]hearitwiththedevelopmentandaccessibilityofinexpensiveand
highqualitymusicproductionsoftwareandthewidespreadaudienceoninternationalwebsites
andstreamingservices(564).Withoutthecorporatemediumhandlingtheproductionand
distributionofhiphopculture,therewerefewergatekeepersinmusicalsound,lesscapital
neededtomakemusic,andmoreaestheticfreedomforrappers(564).
Inessence,rapmusicthatparticipatesinthefourthphaseofcapitalist
realismembodimentaccomplishessomethingwithcapitalistrealismthatisanalogoustowhat
Huehlsdescribessomecontemporaryliteraryworkstobedoingintermsofobjectifyingrace.In

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anefforttoavoidbeingmiredintheneoliberalcirclethathascooptedthediscoursesof
colorblindness,refusingtoacknowledgetheexistenceofracialdifferences,and
multiculturalism,recognizingandtaxonomicallycategorizingalldifferencesbetweenpeople
ofdifferentracesandamongpeopleofthesamerace,Huehlsexaminessomecontemporary
approachestoracethatavoidtreatingitrepresentationallyaltogether(Huehls102,107).Ifrace
remainsrepresentational,aquestionofrealityandartifice,visibilityandinvisibility,thenit
willalwaysbeinscribedwithinneoliberalideologyinwhichraceismeaningfulor
meaninglessratherthansomethingthatexists(107).And,aslongasracemeanseverythingor
nothing,itcomestobeovervaluedorundervaluedinasocietythatisaffectedbythepresenceof
race,ratherthanmerelybeingathingthatis.Neoliberalismkeepsraceinthisstateof
representationalvaluebyperpetuatingracesstatusasacharacteristicofmeaningfuldifference
insteadofrelievingitspowertoelevateorsubordinatepeoplebasedontheirrace.Thefactthat
raceisconsideredintermsofmeaning,value,andadistinguishingfacetofanindividual
demonstratesitscomplicityinneoliberalreality.Tounderminethiscomplicity,Huehlsbeginsby
asking,howmightweunderstandraceasrealwithoutpredetermining,overdetermining,or
underdeterminingitsvalue?andidentifiesworksbyAfricanAmericanauthorsColson
WhiteheadandPercivalEverettaspiecesthatenvisionraceasanobjectinitsownright,notas
afeatureorcharacteristicofhumansubjects(108).AccordingtoHuehls,Whiteheadand
Everettsuccessfullyextractracefromitsalmostintractablerepresentationallogicwitha
numberofinnovations:
WhiteheadandEverettacknowledgetheexistenceofrace,buttheyrejecttheideathat
racenecessarilybearsanyrepresentationalorreferentialvalue.Intheirhands,race

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remainssubstantialitaffectsandinfluencestheworld,butitsvaluecanneverbeknown
inadvance.Itsvalueisontologicalratherthanrepresentationalitssignificancederives
fromthewayitdoesordoesnotimpact,connectto,linkupwith,andinfluenceother
thingsintheworld.Raceis,butitdoesntnecessarilymean(109).
Thisreconsiderationofracefromsomethingthatmeanstosomethingthatisrecastsracefroman
elementofasubjecttoanobjectitself.Raceisobjectifiedasanobjectinitsownrightso
thattheonceracialsubjectbecomesamorefluid,subjectobjectwithamaterialitythat
exceedsrepresentationaltogether(109110).Thus,insteadofsignifyingsomethingelseor
beingvaluableinsofaraswhatitrepresentsisvaluable,raceasontologicallysignificantrather
thanrepresentationallysignificantisthenimportanttoanalyzeinthewaysitdoesordoesnot
connecttoandtranslateotherontologicallyequivalentthingsintheworld(126).
LikethephenomenonofobjectifyingracethatHuehlstracesincontemporaryfictions
fourthphaseofcapitalistrealism,rapmusicofthemid2000sintroducedartistswithanentirely
newwayofbeinginthecapitalistichiphopcultureawayofembodyingcapitalistrealism
(Huehlsix).Althoughitmightseemthatrapmusicwouldalsobeinterestedinobjectifyingrace,
itismorecommontoseerappersobjectifymoneyintheirworks.AsHuehlssuggests,thismakes
sensebecause,capital,likerace,doesnotsignify,refer,represent,orpoint.Itresists,intrudes,
andevencrashes,butnevermeans(111).Similarly,rappersceasetobecapitalistsubjectsthat
commentuponthemeaning,effects,andworthofthecommoditiesaroundthemandbeginto
considerobjectsastheyexistasthings(115).Money,economics,finances,bankaccounts,and
businessremainintegralpartstorapmusicandhiphopculture,butnolongerasentitiesthat
haveapredetermined,inescapablemeaninginasubjectsreality.Capitalismistorappersinthis

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fourthphaseofembodyingcapitalistrealismasraceistoAfricanAmericanauthorsinHuehlss
understandingofcontemporaryliteraturethatembodiescapitalistrealism:realtotheextentthat
itproducesmaterialeffectsintheworld,butthosematerialeffectsarewhatrace
meansnothingmoreandnothingless(125).Afterrecognizingcapitalistrealism,critiquing
capitalistrealism,andsubvertingcapitalistrealism,rapmusicfacedthepotentialforacreative
renaissancedrivenbyamusicalmeritocracybyembodyingcapitalistrealism(Bradleyand
DuBois564).Nolongerbeholdentoadomineeringlabelsruletobeproducedorthepopular
audiencestastetobeconsumed,rapperscouldcapitalizeuponhiphopspostpopidentityand
phaseofembodyingcapitalistrealismwithfierceinventive[ness]andnewfoundartistic
latitude(559).
Withhisdebutalbum
TheCollegeDropout
in2004,KanyeWestinitiatesthefourth
phaseofcapitalistrealismembodimentinrapmusicbyfusingtherolesandactionsofagents
andcommoditiesintheAmericancapitalistsystem.Ratherthansomethinghavingvaluebecause
itisworthacertainamountofmoneyorbecauseit
means
thatasubjectcanaccruecertain
objects,
CollegeDropout
includesnumeroustracksthatdefinevaluebyanobjectiveor
subjectiveactorsexistenceas
being
valuable.Thisincisiveeconomicanalysiscompletely
explodeswhattraditionalcapitalistagents,whethertheybeignorantconsumersorenterprising
hustlers,consideredtobetheiroptionsinthecapitalistreality.Itisthenthatthecapitalist
hierarchyandtraditionalpathwaysforeconomicagentstosurviveandprosperincapitalism
collapsesandtheforceofneoliberalideologycollapsesalongwithit.AccordingtoKanye
West,theentirefoundationoftheAmericancapitalistrealityactuallybuckleswhenwerealize
thestakesbehindthisrealityandworktooverturnthem:

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ItseemswelivingtheAmericanDream
Butthepeoplehighestupgotthelowestselfesteem
Theprettiestpeopledotheugliestthings
Fortheroadtorichesanddiamondrings
Weshinebecausetheyhateus,flosscausetheydegradeus
Wetryingtobuybackour40acres
Andforthatpaper,lookhowlowweastoop
EvenifyouinaBenz,youstillaniggainacoop/coupe(AllFallsDown14 ).
Withalarmingpotency,Westassertsthat,regardlessofwhetherornotanindividualearnsmoney
orevenaccumulateswealth,heorsheisstillanactorintheserviceofalargercapitalistsystem.
Capitalismaffectsallpeople,regardlessofrace,justdifferentlydependingononesexact
positionwithinthesystem.Assomeoneimpoverished,assomeoneostensiblyempoweredby
wealth,orassomeoneattemptingsocialmobility,allpeoplearestillsellingthemselvestofind
externalworthinassets.Likewhenafreedslavesupposedlygetsreimbursedandrestoredtoa
levelofhumancitizenshipwith40acresandamule,Weststatesthatanyonepassively
participatinginorevenactivelyreactingagainstcapitalistrealityshortchangeshisorherworth
withegregiousratesofexchange,onesequatinglifesvaluewiththevalueofmoneyand
property.Withoutrepositioningvaluetoariseinternallyfrombeingratherthanexternallyfrom
beingthepossessoroflucrativeassets,Westarguesthatwewillbeimprisonedbyourown
successandremainmorallybankrupt.

14

TheofficialmusicvideoforKanyeWestsAllFallsDowncanbefoundhere:
https://www.youtube.com/watch?v=8kyWDhB_QeI
.

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Nevertheless,Westshowshowembodyingcapitalistrealismallowsonetooccupy
differentspaceswithincapitalismanddrawmeaningfromhavingthingstocreatinginternal
worth.Thischangeofhowmeaningisassignedincapitalistrealismcanworktodecenter,
destabilize,anddeconstructthenormalcysurroundingneoliberalcapitalistreality.Accordingto
West,capitalistrealismAllFallsDownwhennonwhite,nonuppermiddleclassmales
surrendertoitsexistenceinnonstandardways.AllFallsDownshowsblack,impoverished
men,women,andchildrencapitulatingtocapitalismsholdonreality,butinventingnewwaysto
thriveandsurvivewithinit.Westintroducesamultitudeofeconomicstrategiesfrom
underprivilegedactorsincapitalistrealitytoshowhowactionsthatchoosetojustbewithin
capitalistreality,ratherthanactionsthatonlycritiquecapitalistreality,candeconstructthe
oppressivebindingsofcapitalism.Herapsaboutasingle,blackfemaleaddictedtoretailwho
couldnotpurchaseacar,soshenamedherdaughterAlexus(AllFallsDown).Theclever
respellingofAlexis/Alexusservesasadoubleentendrethatiscommandingenoughtorob
capitalistrealismofitsvaluesystem.UnabletofulfilltheAmericanDreamofgivingher
daughteramorecomfortablematerialexistencethanshehadherself,Alexussmotherinstillsher
daughtersveryexistencewithinherentworth.Thisstraightforward,butfascinatinglycomplex,
christeningblurstheusuallyharshdistinctionbetweensubjectsandobjectsincapitalistreality
andenvisionsindividualpowerandworthinimaginativeways.Everyone,accordingtoWest,
buysthingstocoverupwhatsinside/Causetheymake[people]hate[themselves]andlove
[their]wealth,eventhoughthewealthywhitemangetpaidoffofallthatanyonebuysorsells
(AllFallsDown).Butpeoplecanpositionthemselvesagainsttheallconsumingcapitalist

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realitythroughmethodsofreconsideringvaluesoriginsandtransferringtheworthofassetsto
theworthoflivingindividuals.

KanyeWestfollowsuponthisinhissubsequentalbums.Forinstance,Diamondsfrom

SierraLeone15 andthetracksremixfeaturingJayZoffofhis2005album,
LateRegistration
,
similarlyexhibitseconomicagentswhoobscurethedistinctionbetweensubjectsandobjectsof
capitalism.Inperhapsthesinglemostrepresentativelineoftheembodimentofcapitalistrealism,
JayZabolishesthedistinctionbetweensubjectivityandobjectivityincapitalistrealism.
Claiming,Imnotabusinessman,Imabusiness,man!,JayZrelocateshiswealthfrom
representationalvalue,ashavingalargebankroll,toontologicalvalue,asbeingvaluableand
profitableashimself[DiamondsfromSierraLeone(Remix)].Theinsertionofasingle
punctuationmarktakesJayZswealthfrombeingrepresentationallysubstantialtoontologically
valuable.Ratherthanbeinganagentofbusiness,ofcapitalistreality,JayZredefineshimselfas
thevalueentityinandofhimself.

DevaluingCapitalistRealism
Thedawnofthe2010smarkedtheadventofafifthphaseofcapitalistrealismin
hiphopdevaluingcapitalistrealismmovingbeyondtheprogressofcontemporaryliterary
scholarshipandtheexamplesofcontemporaryfictionthatMitchumHuehlshasobservedin
After
Critique
.Unlikethemostcontemporaryliteraryscholarshipthatstopsatembodyingcapitalist
realism,rapmusicnotablydepartsandshowscurrentrapartistsnavigatingworldsinwhich
capitalismlosesmeaningandbecomesasecondaryconcerntotheirlivelihoods.Nolongerdo

15

TheofficialmusicvideoforKanyeWestsDiamondsfromSierraLeonecanbefoundhere:
https://www.youtube.com/watch?v=92FCRmggNqQ
.

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rappersenvisionthemselvesaspartofacapitalistrealityasasubject,anobject,ora
subjectobjectofcapitalistrealitysignificantly,theyconsidersituationsandentireworlds
before,after,orotherwisewithoutcapitalismandmoney.Ratherthanbeingepitomizedor
initiatedbyaparticularsong,thisphasecommencedwiththeexplosionofrapartistsnames
beingstylizedwithadollarsign$inlieuofthescharacter.Althoughthereareafew
instancesofrapartistsstylizingtheirnameswiththedollarsignfromearliererasofhiphop
history,likeMa$eandToo$hortofthe1980sand1990s,noerahasseentheproliferationof
dollarsignstylizationsmorethantheearly2010s.Between20102013,rapperslikeTyDolla
$ign,Travi$Scott,JoeyBada$$,Curren$y,Ca$hOut,VinnyCha$e,andtheentireA$APMob
hiphopgroupwhoallflaunttheA$APtrademarkintheirstagenameslaunchedtheircareersas
wellrecognizablefiguresinthecurrenthiphopscene.
Thislinguisticplayofreplacingswith$takesthemovefromrepresentationalvalue
toontologicalvalueincapitalistrealismtoitslogicalextreme,untilthemeaningofmoneyis
entirelyreassessedinrapmusic.Whileitmightappeartobeaninconsequentialtrendinhiphop
culture,thelessenedsignificancethatthedollarsignholdsintermsofindicatingamountsof
moneyandthenewsignificanceitassumesasalinguisticcharacterseversthereferential
connectionbetweencapitalanditsAmericansymbol.Thedollarsigndoesnotprecedeorsignify
theworthofanobjectintermsofcurrencyintheserapmonikersalternatively,itisintegrated
withtherapperschosentitleandsynthesizedwiththefabricoftherappersbeing.Goingone
stepbeyondbecomingasymbolofvalueinandofoneselfembodyingcapitalist
realismintegratingthedollarsigninonesaliassubstitutesonesidentityasthatwhichis
signifiedbythedollarsignsymbol.Whereas,inthepreviousfourphasesofcapitalistrealism,

Rabe27
thedollarsignsymbolizedorprecededanamountofmaterialcashvalue,thefifthphaseof
capitalistrealismdevaluescapitalbyrelegatingtheverysymbolofmonetarywealthto
somethingdependentuponandsubsidiarytotheartisthim/herself.Thedollarsignwasonly
worthasmuchmoneyasitrepresentationallyclaimeditwasworth,soitismeaninglessto
capitalismifitdoesnotrepresentorindicateanymoneyatall.Bythesametoken,thedollarsign
becomessomethingperipheral,notallencompassing,toanartistsapproximationoftheworld
andhis/herself.
Onhis2015album
B4.DA.$$
,JoeyBada$$contemplateslifewithoutmoneythrougha
tourofhiphophistory,economicinequality,andmoneyasaconstituentofhisownidentity.The
albumstitle,pronounced,BeforetheMoneyandstylizedwithtwodollarsignssymbolsfor
thescharacters,examineswhathappenswhenthedollarsigngoesfromsignifyingmaterial
wealthtorepresentingnothingbutapartialcomponentofhisimage.Inadditiontousingthe$
tostylizehisstagenameandalbumtitle,JoeyBada$$s
B4.DA.$$.
includesatrackentitled
PaperTrail$withthedollarsignsubstitution.PaperTrail$visitsallofthemajorphasesof
rapmusicsrelationshipwithcapitalistrealismand,ultimately,locatesJoeyBada$$smusicin
therealmofthefifthphasedevaluingcapitalistrealism.Onceagain,inthesongtitle,the$
rendersitssymbolicworthincapitalasmeaninglessandreassignsthesymboltorepresentan
alphabeticalletterthatworkswithotherletterstorepresentafullidentity.Thedollarsignalone
doesnotruleoverorprecedeJoeyBada$$sself,ratheritisonlyafractionofJoeyBada$$s
worldandpersonality.Likewise,inthetitlePaperTrail$,thedollarsigndoesnotreinforcethe
valueofgainingmonetarywealth,butratherminimizesthesignificanceofmoneytoapersons
livelihood.

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Beyondthetrackname,PaperTrail$contentreevaluatesmoneyandeventually

devaluescapitalistreality.RepeatingCashruinedeverythingaroundme/Cashruinedeverything
aroundme/Cashruinedeverythingaroundme,JoeyBada$$andDJPremierchange
C.R.E.A.M.smeaningandlocatethemselvesoutsidethedollarandadreammentalityof
capitalistrealism(PaperTrail$).Injustafewbars,theycapturecapitalistreality,sayingThey
saymoneyistherootofallevil/Iseemoneyastherouteofallpeople/Causeweallfollowpaper
trails,papertrails(PaperTrail$).Yet,notably,inalloftheselines,JoeyBada$$separates
himselffromcapitalistrealityandthosecontinuingtooperateuponitsfundamentalideathat
envisionstheworldendingbeforecapitalismends.Heseesthatitsthedollardollarbill,yall,
itsthedollarbillthatkills,yall,andhefindsastrategyoutofthedeplorablecapitalistreality
byrelegatingmoneytoasubdivisionofhisoverallself(PaperTrail$).Moneyaintathingif
[he]gotit,accordingtoBada$$,because,then,moneydoesnotpossesshimorhisvalueandhe
rulesthecapitalthatnolongerdefinesordetermineshisexistence(PaperTrail$).Moneydoes
notdominatehisartisticexpressionandindividualitybecausehismoneyisonlysomethinghe
usestosupporthisoverall,primaryidentity.
AlongwithJoeyBada$$sinversionoftheselfssubmissiontocapital,anumberof
recentrapsongshaveadoptedandexecutedthedevaluingofcapitaltofigurativelydismantle
capitalistreality.Despitethisfact,moneyandtheforcesofcapitalismare,bynoaccount,
suddenlyabsentfromhiphopcultureorcharttoppingrapmusic.Manyofthemostpopular
rappersstillparticipateincapitalistrealismsnormativitybymerelyrecognizing,critiquing,or
subvertingneoliberalcapitalistreality.Drake,thehighestsellingrapperin2015,hastrackson
hismostrecentrelease,
WhataTimetoBeAlive
(2015),thatillustratehispursuitofcommodities

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inexplicitterms,Igotareallybigteam/Andtheyneedsomereallybigrings/Theyneedsome
reallynicethings/Betterbecominwithnostrings,andtestifytohisexpensivelifestyle(Drake
andFuture).However,therearenowagrowingnumberofprominentvoicesinrapmusicwho
areactingtodevaluecapitalistrealismwiththeirworks.
KanyeWestexploresspacesthathavenotbeencompromisedbyneoliberalcapitalist
realitywherehecanexistnotonlypostnormatively,butinwaysthatdonotrespondtothe
establishmentordisestablishmentofneoliberalcapitalismsnorms.Onhismostrecentlyreleased
track,SaintPablo, 16Westdiscusseshis$53milliondollardebtandthereleaseithasbrought
him:
Iguessitshardtodecipherallofthebills
Especiallywhenyougotfamilymembersonpayroll
Themediasaiditwasoutlandishspendin
Themediasaidheswayoutofcontrol
IjustfeellikeImtheonlyonenotpretendin
Imnotoutofcontrol,Imjustnotintheycontrol(SaintPablo).
Indebtedness,theoppositeofearningmoneyandhavingmoneytospendonstatussymbolsand
luxuries,wouldseemtoendapersonslife,tankapersonscareer,andcausesomeones
selfesteemtoplummetthatis,inneoliberalcapitalistrealitysconceptionoflifeandsuccess.
But,beingoutsideofneoliberalcapitalistrealityandnotin[capitalisms]control,hasallowed
Westtoconfronthisdebtasaneconomicsetbackonlynotadestructionofhislifeandhis
reality(SaintPablo).Infact,asWesthimselfsays,Moneynevermademe/Mademedo

16

NoliveperformancefootageorofficialvideosexistforKanyeWestsSaintPablo,butthelyricsintheirentirety
canbereadhere:
http://genius.com/Kanyewestsaintpablolyrics
.

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something?Nah,cantmakeme/Evenifthemoneylow,cantpayme/Evenifthemoneylow,
cantplayme(Feedback17).Feedbackandhisentirenewestalbum,
TheLifeofPablo
(2016),devaluescapitalistrealitybyfloutingrepresentationalmeaningfromcapitalandrelies
upongeneratingworthfromselfexpressionandbeing.Westdoesnotdenyhisindebtednessor
underestimatethedebtsinfluenceonhisfinancialprofile,buthecruciallyconceivesofhowthe
capitalistsystemcanwanebeforehisworldends.SinceWestcanimaginehisownworldwithout
capitalismchampioningit,hisrealityisnotdictatedbyhisstatusinthecapitalist
hierarchycapitalismisnothisreality.
Thinkingbacktowherewebeganexploringthenotionofcapitalistrealism,toFredric
JamesonandSlavojieksargumentthatitiseasiertothinkabouttheendoftheworldthanthe
endofcapitalism,wecanseehowpioneeringrapartistsarebeginningtothinkabouttheendof
capitalismbeforetheendoftheworld.Ifcapitalismcanbeimaginedtoendbeforetheworld
ends,asrapperspondertheworldbefore,without,andbeyondmoney,capitalistrealitylosesits
claimtototalcontrolandbecomesonlyasubdivisionofonesreality.Understandinghow
nuancedandvexedthedevelopmentofneoliberalcapitalistrealismhasbeeninboth
contemporaryliteraryscholarshipandrapmusiccanhelpustoknowwherewecanbeinterms
ofcapitalistrealism,wherewecurrentlyareinthephasesofcapitalistrealism,andhowwegot
tobeinourcurrentpositionincapitalistrealism.Mostimportantly,wecanrealizehow
seeminglyignorant,butpotentiallycreativeandinventive,decisionswithincapitalistrealitycan
altogetherevadecapitalismssystemofvalues.Certaincontemporaryrapartistsmethodsof

17

NoliveperformancefootageorofficialvideosexistforKanyeWestsFeedback,butthelyricsintheirentirety
canbereadhere:
http://genius.com/Kanyewestfeedbacklyrics
.

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devaluingcapitalistrealitycanrelegatecapitalismtoabroaderrealityratherthansubjecting
realitytoanomnipotentneoliberalcapitalism.

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