CAPS 3 The "White Rapper"

The "White Rapper"

Co-Cultural Communication in Rap Music by White Americans

Everyone has been waiting for Eminem’s comeback. We missed his rhymes and rhythms and his overall style. We love hearing his stories about life in Detroit and hardships with family. He is the “original white rapper” that everyone knows and loves.

What is the phenomenon with the “white rapper” in the last ten to fifteen years? Why are these musicians not simply bundled together as “rappers?” White Americans have become some of the biggest fans for rap music, which ironically has cultural roots in the African and Black American cultures. I myself would be lying if I said I didn’t know all the words to “No Hands” by Waka Flaka!

There are specific orientations to the African culture that go along with rap music, which is why to so many of the culture, it may be offensive that white Americans are trying to mimic their hardships and pasts, language and lingo, and overall original musical style.

Recently, the new rapper Macklemore (a white American) has released a song called “White Walls.” Here is a sample of some of the lyrics:

“Backwoods and dope

White hoes in the backseat snorting coke

She doing line after line like she’s writing rhymes

I had her inhaling my love, tryna blow my mind"

Cadillac pimpin’, my uncle was on

14, I stole his keys, me and my niggas was gone

Stealing portions of his liquor, water in his Patron.”

(Lewis, 2012).

Link to song here: White Walls-Macklemore

This recent song is a key example of co-cultural communication. Macklemore and his team of producers and song writers have created this image of Macklemore being just like an original, gangster rap star. But is he singing songs like “Fight the Power?”

He consistently mimics the language and slang of early African American rap, as well as stereotypical language in rap music sang by Black Americans. He makes references to “his niggas” and “white hoes.” This is some true racism and prejudice that has been brought into co-cultural communication. These musicians are using assertive assimilation and accommodation strategies in co-cultural communication. While Macklemore may be communicating himself and identifying with his own culture, he is still overcompensating entirely too much for his “whiteness,” as well as manipulating African American stereotypes to try to almost “fit in with them.” (Martin & Nakayama, 2013). This case holds true for many white rappers: Eminem, Mac Miller, Aesop Rock, Machine Gun Kelly (MGK), etc.

“In the times of slavery in the US white kids would abuse their African American slaves by calling

them ‘niggers’ disrespectfully. Nowadays when the hip-hop culture is booming, lots of white kids pose as gangsta rappers they see in the videos and call themselves “niggas” which apparently is supposed to makes them more badass,” says an article by Rap Genius ("Don't act like," 2013). We have gone from a culture that has been separated and been non-assertive of the black culture through stereotypes, segregation, and slavery, and now everyone wants to be the cool guy at parties that knows how to rap like 2Chainz. We have been aggressive and non-assertive in the past by embracing negative stereotypes (not wanting to have them ourselves but actually accepting them as truth in another culture) and we have attacked and sabotaged the African American culture (slavery, KKK, etc.) ("Blues," 2013).

We need to be consciously aware of what some of these songs and lyrics are actually talking about. If an artist sings about the hood, the musical culture may have more respect for a song if that individual actually came from a harsh neighborhood; however, if he or she grew up in a rich, wealthy, white neighborhood, it might not go over so well. Also, the racial slurs and negative labels that are associated with so many rap songs are often seen in a good way. The n-word is a prime example. Today, many don’t see that word as a negative connotation even though it has a bad history.

When “white rappers” become a “thing,” many stereotypes and labels come into play. There is an emphasis on this stereotypical gangster culture of African Americans when the white culture tries to mimic the stereotypes. Also, many names and labels get thrown out the “n-word,” “wigger,” degrading names of women (hoes, sluts, tricks, etc.) Ironically though, instead of the white dominant culture making rapping acceptable, white rappers are often seen in a negative light initially. Though artists like Macklemore, Eminem, and Mac Miller have earned a lot of respect in the music community, there is always a weird questioning that goes on about the artist as to “Why is this white guy acting so black?” This again emphasizes racism and stereotypes.

There is also a counter issue of, well, why can’t the white community use this style and talk about

their problems? Many people in the white community face poverty, murder, harsh family relationships, etc. For example, the artist Chris Palko has lived a life of depression, suicide, and abuse. The issues he discusses in his songs aren’t his way of “pretending to be thug:” his songs are just his life. Why is it such a big deal to combine the musicality of one culture with the lives and stories of another?

Many people in the African American

culture view “white rappers” as people who are trying to pretend or steal one of the few things that is entirely Black-American influenced. But rap is a trend that many are trying to follow. However, the following may be negative implications of this intercultural communication: lack of understanding by both parties, emphasized stereotypes and racism, new negative labels. But with this combination of cultures through music, we may actually see the opposite and less racism because the two cultures are fusing together so much in rap music.

References

(2013). Blues. PBS, Retrieved October 10, 2013, from http://www.pbs.org/theblues/classroom/intwhitesblacks.html.

(2013). Don't act like they know. Rap Genius, Retrieved October 11, 2013, from http://rapgenius.com/Krs-one-mcs-act-like-they-dont-know-lyrics.

(2013). Top 10: Best white rappers. Ask Men, Retrieved October 11, 2013, from http://www.askmen.com/top_10/dating/top-10-white-rappers_10.html.

Martin, J.N., & Nakayama, T.K. (2013). Intercultural communication in contexts (6th ed.). Boston, MA: McGraw Hill. 

Lewis, R. (2012). The heist.