A Bad Rap Michael O'Malley, Associate Professor of History and Art History, George Mason University Introduction TLC's "No Scrubs" delivers almost exactly the same message as "I Don't Like no Cheap Man", written about a century earlier and sung by the great blues artist Bessie Smith. "I Don't Like No Cheap TLC, "No Scrubs," 1999 Man," 1897 But a scrub is checkin' me I don't like no cheap man But his game is kinda weak Dat spends his money on de And I know that he cannot 'stallment plan; approach me ... I hate to be done Cuz I'm lookin' like class and In front of people that's he's lookin' like trash sittin' here too Can't get wit' no deadbeat ass You's a cheap man, and you won't do! It's true that all popular music tends to revolve around the same themes--love, heartache, jealousy, pride. And all popular music tends to also explore themes or experiences common to everyone's life-death, money, joy, violence, playfulness, melancholy, sexuality. But African American musicians have had to make their music under an unusual set of circumstances. African Americans combined their various African traditions with European musical forms to produce a distinctive, vibrant musical style. Early on, as early as the American revolution, white audiences recognized the distinctive qualities of African American music, and began to imitate it. The most disturbing form of this imitation developed in the 1830s, in what became known as the "minstrel show." In the minstrel shows white men dressed up as plantation slaves. Faces "blacked" with greasepaint, they imitated African American musical and dance forms, combining savage parody of black Americans with genuine fondness for, and interest in, African American culture. As you can see, the images of minstrels were buffoonish and insulting. But the music they sang, while most often written by whites, drew directly on melodies African Americans sang. In this way, African American music first entered into popular culture. Most of the classic American songs of the 19th century, including Camptown Races, My Old Kentucky Home, Way down upon the Swanee River, Dixie, and virtually all songs by Stephen Foster, were written for the minstrel show. By the Civil War the minstrel show had become world famous and respectable. The minstrel show usually made black Americans into grotesques. But it's also clear that white Americans, then as now, were strongly drawn towards the creativity and vibrancy of black culture. The minstrel show allowed them to play out fantasies that ordinary life forbid, but it also created a vast audience for African American culture--an audience willing to pay for songs and performances. By the 1890s there were many African American minstrel performers, all of whom had to "black up" to make money. Not only did they wear the minstrel's black greasepaint, they also had to sing songs and act in ways that conformed to white people's prejudices. Blackface minstrel shows continued well into the twentieth century. The first "talking picture" the Al Jolson film The Jazz Singer (1927) was a blackface film, and major white entertainers like Judy Garland, Mickey Rooney and Bing Crosby all performed in blackface. At first, actual African Americans were not allowed on the minstrel stage. But by the end of the nineteenth century, as the minstrel show became more respectable, African Americans began performing "in blackface" as well. In the 1890s, some of the most important African American composers got their start performing minstrel songs. The bizarre minstrel show might be easier to understand in modern terms. Think of white rappers like Eminem, or white rock musicians who play blues-derived music. There are many white people who love African American music but don't particularly like African Americans. When they imitate black musicians, are they expressing admiration, or are they just stealing? Are they sincerely trying to come to some understanding of cultural difference, or are they just engaging in minstrel parody without the make up? Consider also that the largest audience for rap and hiphop music today is white, just as, in 1890, the largest audience for sheet music and music performance was white. MTV, when it shows music videos at all, tends to show rap, especially hard edged rap that features an emphasis on violence, hostility to women and flashy materialism. Record companies, theaters, and stores—the distribution system that publicizes music and gets it to the buyer's hands—are still overwhelmingly owned and controlled by whites. Many critics have pointed out a similarity between the minstrel show of the 1890s and the rap music of the 1990s Comparison Here are some comparisons of the 1890s with the 1990s The music of both eras emphasized dialect and slang. Minstrel show lyrics inevitably use odd abbreviations, truncated spellings, and apostrophes to try to convey a sense of "authentic" African American speech. Both styles of music used the word "nigger" frequently. Minstrel show performers prospered in direct relation to how "real" they seemed; "real" in the 1890s meant conforming to stereotypes of laziness and violence. "Real" in the 1990s also meant conforming to stereotypes of thuggish and criminality. In both eras, "real" meant "outside of respectable society." Sean "Puffy" Coombs, the most successful rap artist and producer of the 1990s, effects a pose of urban thuggishness and "real" authenticity. But Coombs attended private schools in suburban New York, and in high school and college played on the football team and showed a strong interest in entrepreneurship. In other words, though he goes to great lengths to depict himself as a dangerous character on the edges of respectable society, and writes lyrics about crime, sudden wealth, magical attractiveness to women, and threats of violence, his upbringing and career also conforms to middle class notions of success and self making. Similarly, Will Marion Cook was one of the most successful African American composers and musical entrepreneurs of the late 19th century. Classically trained, with aspirations towards respectability, he made most of his money writing minstrel show tunes like Darktown is Out Tonight, which included lyrics about "tough coons who want to fight" and ended with "bring out your blazahs/fetch out your razahs/Darktown is out tonight!." Like Coombs, Cook was both an extremely talented musician and an extremely successful producer. Like Coombs, he traded in depictions of African Americans as violence prone, money obsessed, and thuggish. These themes formed a staple in minstrel show depictions of African Americans, as the example below suggests. White people delighted in seeing African Americans as razor and gun-toting criminals who loved to drink and spend money in showy ways. The lyrics to this song describe the figure on the left as he "drawed a razor from down his back; I aimed that gun an he gin' to squawk. Another example, from I Don't Allow No Coon to Hurt My Feelings: I'm going to knock that coon's teeth out and stop him from his talk; i'll shoot him in the feet and I guess that'll hold his walk I've cleaned my revolver, honed my razor for the fight I intend to give some nearbye undertaker work tonight "Gangsta Rap" lyrics constantly make threats, especially to other African American, as in this example, from Real Niggas by Puff Daddy Now how you gon' act wit my nigga? Just remember there's a gun to your dome And I will lick shots and run through your home Or better yet I put your son to the chrome Turn the music up and unplug the phone I will kill him, read my lips You too, motherfucker if I don't see no bricks. (http://www.ohhla.com/anonymous/puff_dad/forever/niggas.dad.t xt) The two forms of music are clearly not the same—there are many significant differences. However, there are also many similarities worth considering. No two eras are exactly the same, and there are many differences between "gangsta" rap and the minstrel show of the 1890s. And of course, rap music itself is a highly varied musical form, complex and subtle, with many different varieties and strains. But both "gangsta" rap and the minstrel show share a fixation with money, and a sense of African Americans as money obsessed. This song, Money, was published in 1908 What is it that talks but doesn't make a sound? Money, Money You may be crazy, you may be lazy, but then you'd like to know What is the reason, keeps you from freezin, out in the hail and snow.... Money money money all the time... money money money hear the people cry you hear it when you're born and till you die While one of the biggest hits of the late 1990s was Sean Coombs's It's all About the Benjamin It's all about the Benjamins, what? I get a fifty pound bag of ooh for the mutts Five carats on my hands wit the cuts And swim in European figures Fuck bein a broke nigga Minstrel show tunes generally depicted African Americans as lacking money, while modern gangsta rap lyrics often involve the rapper boasting to his rivals about his wealth. In each case, African American music tends to express values outside the mainstream middle class. For both black and white Americans, middle class values include hard work, honesty, dependability, thriftiness and self discipline. Both rap music and the minstrel show depicted the opposite--easy money, criminality, flashiness, undisciplined anger.