i.

, Summer 1999

Volunte IT, Number2 pp. 07-112

Hip-Hop Generation/Youth in High-Risk Environments

ABSTRACT: This article describes some of the characteristics of the hiphop generation, and the implications of some of these youth characteristics for recreadon programmers. Hip-hop is not just a thing; it encompasses a peoplein the main, youth, and teens. Hip-hop can be likened to other subcultures that grew out of the 60s that protested war, racism, and other negative facets of societ>'. Teens are being drawn in record numbers to the hip-hop and rap culture by the media for economic purposes. Recreadon and leisure providers need to understand rap and the hip-hop culture and begin to create opportunides that encourage teens to use creative expressions. Communit)' centers could be attractive locations for teens to hone their writing, poetr)', and other creative skills. Teens are one of a large demographic force with great economic power. Consideration should be given to programs such as fashion shows, creative writing, poetr\', computer technology, video production, rites of passage, car shows, concerts, self-expressions, and opportunides to see and be seen in parks and recreadon facilides. Addidonally, we should be careflil in condemning rap music because young people see the contradiction. Recreadon and leisureservice providers need to understand that not all rap is negative and that, instead of viewing hip-hoppers as losers, we should see them as potential achievers in need of direcdon. KEYWORDS: Rap music, teens, hip-hop culture AUTHOR: Nathaniel Wilkins is Superintendent with the Cincinnad Recreadon Commission. "I think it would be cheaper just to be a street sweeper, Don't push me because I'm close to the edge, I'm trying not to lose my head. It's like a jungle sometimes it makes me wonder How I keep from going under." Grand Master Flash History of Rap and the Hip-Hop Generation The lines above are from an old-school rapper. Grand Master Flash, from the days when rap music started to become very popular. The words to this rap song appeared to be a cr>^ for attention then, as they do now. Hip hop got its name in the early 1970s from DI Holl>avood, who recited rhymes on the microphone at night clubs to help motivate part>^goers to have a good time and dance to the music tliat he played for them. One of

108 the lines contained the words hip-hop^ used interchangeably to define the music of rap and the culture of those who participated in it; thus, the term hip-hop was born. Rap music is at the core of the hip-hop generation. For purpose of this discussion, let us be ver}' clear what we are talking about: the hip-hop generation is not just about black culture and rap music. While they have some connection, they are not synonymous, but they are used interchangeably by some. It must also be stated that the hip-hop generation and black culture are not identical. "Graffiti art, breakdancing, rap music, style of dress, attitude, verbal language, body language, and urban-influenced lifestyles are all aspects of the hip-hop culture" (Bakari, 1994). Hip-Hop in Our Culture The hip-hop culture, with its booming bass and many voices, lives in America's inner cities, suburbs, and rural towns. It reaches every continent. Many want to label hip-hop as simply black street culture. While hip-hop has its origin in black urban America, it has evolved into a cultural form that transcends race, color, and gender, reaching across the world. Rap music commands the attention of politicians, clerg\', journalists, and social scientists. Rap music and the hip-hop culture represent the pulsethe thoughts, values, and experiencesof youth u'orldwide today. Rap music has been criticized within and outside the black community', but it continues to be popular despiteor perhaps because ofwidespread opposition (Figure 1).
Figure 1 The "Before You work with the Hip-Hop Generation" Test Are you familiar with hip hop language? Are you comfortable with hip hop language? Are you aware of what it means to play the dozens? Are you comfortable with hip hop style of "rapping," in terms of voice, facial gestures, hand movements, and posturing? As a parent, would you approve of your son or daughter dating a hip hopper? Are you aware of what a wigger is? Do you possess some intimate and personal experience that allows you to have special insight into hip hop lifestyles? List five negative rappers 1.ODB 2.DMX 3,No Limit Records 4.Foxy Brown 5.CellyCel List five positive rappers 1,Will Smith 2.Lauryn Hill 3.OutKast 4.Tribe Call Quest 5.Heavy D,

109 While some might think rap music and hip-hop culture are new, they can be traced back to the black churches, with their call and response', and to the street term "playing the dozens. " Additionally, if we further examine history, we find that these facets of culture have evolved from the African tradition of stor}^telling_^nof. In traditional African societies, oration (speaking) was a sophisticated and highly developed form of expression. Depending on the occasion, oration could include reciting poetiy, stoiytelling, and speaking to drumming and other musical accompaniment. Rarely was the word spoken plain, flat, and unembellished. Oration always served a dual purpose: to inform and to entertain. The task of carr>ng out oration fell to the^n^i. Griots, the majority of them male, were professional singers and poets who traveled from region to region throughout their kingdoms carr>qng news of wars, births, deaths, and other events. The^r/iwas an exalted person; his status was distinct from that of rulers, elders, medicine men, and others in African societies (Jones, 1994). Implications of the Hip-Hop Generation for Recreation and Parks Hip-hop is not just a thing; it encompasses a peoplein the main, youth and teens. Hip-hop can be likened to other subcultures that grew out of the '60s that protested war, racism, and other negative facets of society. In the early 1970s, housing development community centers, and particularly, neighborhood parks were the sites for summer jam sessions in major cities across the United States. It was a primaiy source of entertainment for blacks and Latinos. Crowds of people would flock to the park for free concerts until the police arrived to end the concert. They moved from park to park, listening to free concerts (Figure 2).
Figure 2 Hip-Hop Terminology Ain'tgoin'out like that: not going to accept a bad situation passively: I ain'tnopunk. Ain't having that: not going to put up with that. Around the way: from the general area. Audi, audi 5000: good-bye, I'm out of here. Back: bodyguard (person who watches your back). Bailer: someone who's making a /o of money: Thai bailer be dealin'dope and livin ' large. Bammer: low-grade marijuana: That bammer is worthless. Bank: money: He be makin' big bank and buy in' new gear. Beam me up, Scotty : (from Star Trekj get me high (on drugs). Here's your fifty bucks; now beam me up, Scotty.

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Figure 2-Cont. Hip-Hop Terminology Bet: for sure: Bet! I'ma try Io hook up with him tonight. Bomb: the best! Bout-Bout-it: to get something done in a timely manner. The Chronic: marijuana. Most of the time I'm on the chronic, so the rhymes will come out. (MC Breed, Sept. 1993/issue 48, p. 49) Droppin' Science: to spread information or knowledge. Down low: quiet: '7 was never an outgoing type. So I guess I was on the down low
tip." (Slick Rick, July 1991/issue 22, p. 53)

Down with: enthusiastic about accepting of, connected with: My fans have been really down with me." (Ice T, May 1991/issue 20, p.52) Ends: money. Forty: forty ounces of beer. Flow: io rap. Flavor: style, especially one that is unique. Gee: A friend. Gee: to steal or shoplift. Hittin': Creatlif used as a verb, means succeeding. Wack: weak, of poor quality, worthless. Phat: Something good, well defined, impressive. Peeps: friends or people or relatives. Spittin: giving information. Wiggers: people non-black who like rap music.

Today we can see the influence of the hip-hop generation in our parks and community centers, as well as in marketing and economic forces. For many, the hip-hop culture seems negative; nevertheless, the culture has allowed youth to use God-given talents, skills, and abilities to form groups and build recording companies. As we move into the 21st centur\'^, recreation, park, and leisure sence pro\iders are challenged with finding creative methods for programming for tliis culture. It is virtually impossible to ignore tlie implications of the hip-hop generation. When we consider teens who like or listen to music, we find that 97% like to listen to rap music. Recreation, parks, and leisure service providers need to understand with what and \\ith whom we are dealing. Rappers are one of the major influences among teens. The rap music and

Ill hip-hop culture have been commercialized. "In the November 1991 issue of the New Republic, David Samuels reports that based upon Billboard's national sales totals, suburban, white, male teens are rap music's greatest buying audience." (Kitwana, 1994) According to Kitwana, Billboard's data are based on monthly findings of SoundScan, a computerized tracking system that logs over-the-counter sales. However, the tracking system does not include any demographic data. Accordingly, SoundScan relies on SoundData, a research group that conducts monthly survey panels of 1,500 to 2,000 active music consumers. In combining the data from Sound Scan and SoundData, one can conclude that rap is purchased mainly by teenagers. The implication of this information for recreation and leisure providers is that teens are being drawn in record numbers to the hip-hop and rap culture by the media for economic purposes. As recreation and leisure providers, we need to understand rap and the hip-hop culture and begin to create opportunities that encourage teens to use creative expressions. Our community centers could be attractive locations for teens to hone their computer, writing, poetr)^ and other creative skills. Teens make up a large demographic force with great economic power. A demographic thumbnail sketch of the current teen population shows us that the U.S. teen population is over 26 million and will not peak until 2010 at nearly 30 million. Additionally, teens are ethnically diverse, with one in three a member ofa minority group and three of four having worldng mothers (compared to one in three in 1980). As professionals, we might consider borrowing the same marketing strategies that rappers use and employing them positively to create new possibilities for the hip-hop generation. Recreation and leisure sendees providers must be willing to look with new eyes to see facets of the hip-hop generation we have not seen before. We can be the catalyst for teaching valuable life messages to the hip-hop generation. If we are to reach this generation, we need to be more effective in our programming. What, then, must we do with what we know about the hip-hop generation? Let us not be like others, who exploit this generation only for economic gain. We understand that hip-hop cuts across race and gender; they like to see and be seen; they like music; and respect is important to them. Hip-hoppers are media savvy and generally averse to hype. They are not dependent on the mass media for promotion of their music. The quickest way to alienate this group is to express views that are intolerant. So, we should plan with the group and not/orthem, build trust, learn to listen, outreach face to face, use media such as radio to reach them, and advertise our programs by word of mouth. Marketing efforts need to avoid being too serious and build on the fact that young people are interested in having fun. Urban youth are setting the trends in fashion, music, dress, and language. Self-expression is important; teenagers are using fashion more than ever, and the fastest-growing consumer group in America is that ot the young urban consumer. Spiritual music, featuring artists such as R. Kelly

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and ICirk Franklin, is becoming increasingly popular among African American youth. Recreation and leisure professionals should ask more questions instead of searching for answers from other departments when dealing with this demographic group. The answers that fit so well in one city, if used in others, may create problems. We must understand that yesterday's keys do not always open today's locks. The key is to understand youth by asking more questions. In conclusion, recreation and leisure service providers equipped with information about hip-hop and the youth culture can develop programs that meet the needs and interest of this generation. Consideration should be given to programs such as fashion shows, creative writing, poetry, computers, video production, rites of passage, car shows, concerts, selfexpressions, and opportunities to see and be seen in parks and recreation facilities. Additionally, we should be careful in condemning rap music, because young people see the contradiction. We need to listen to their music and learn not to condemn them for listening. When we listen and talk to them, we get a look into and an understanding of their challenges and perceptions of the world. We can then let youth know when they are right or wrong. Only when v v ^ e build these types of relationships will we be able to break down the barriers. A key component is learning to listen to their music. Most important, recreation and leisure service providers need to understand that not all rap is negative and that, instead of viewing hip-hoppers as losers, we should see them as potential achievers in need of direction. References
Baker, H. A. ( 1993). Black studies, rap and the academy. Chicago: University of Chicago Press. Costello, M, (1990). Si^nifyin rappers: Rap and race in the urban present. New York Ecco Press: Foster Wallace. D. Chuck. (1997). Fi^ln the power: Rap, race, and reality. New York: Delacorte Press. Jawanza, K. (1993). Hip-Hop vs. MAAT: A psycho/social analysis of values. Chicago: African American Images. Jones, K. (1994). Say it loud! Voestonofrap music. Brookfiel(, CN: Millbrook Press. Kitvvana,B. (1994) TJje rap ojjansta rap. Chicago: Third World Press. Lois S., Mozeson, I.E., & Mozeson, D. R. ( 1995^). A 2 Z: The book of rap & hip hop slang. Perkins, W. E. (Ed.) ( 1996). Droppin'science: Critical essays on rap music and hip-hop culture. Philadelphia: Temple Universitv' Press. Rose, T. (1994). Black noise: Rap music and Black culture in contemporary America. Middletown: Wesleyan Universit)' Press. Small, M. W. Brak it down: The inside stoiy fi-om the new leaders of rap. Stance, S. (1996). Rap: The world of rap music. New York: Schirmer Books.