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Dying to Get Rich


In 1971, Melvin Van Peebles produced, directed, edited, and starred in Sweet Sweetback’s Baadasssss Song, which has now been dubbed the first “blaxploitaion” film. The films of the decade that followed used the commercial success of this film showing a Black man against the system and diluted the revolutionary-ness of the image to cater to white mass-market sensibilities. It’s this marketing and the re-appropriation of the caricature to a commercially viable creation that concerns me. As long as rappers can espouse “thug life” as cool and make lots of money from it- for themselves and more for their white owned record companies- this stereotype retains it’s power to terrorize white America while creating dangerous situations for Black men at large. The phenomenon of racial profiling is hinged on this caricature.
In Sweetback the movie’s stars were the Black community. In later movies, such as New Jack City (directed by Melvin’s son Mario Van Pebbles) the idea of community is used only to create a market for its own destruction. I use New Jack City as an example because it shows the generation of children born in the blaxploitation era and raised in the Reaganomics era of excess. Given the rise of drugs and violence in everyday urban life and the image of whites living “Dynasty” lives on TV, these children (now teenagers and adults) see money as the great equalizer. But the pursuit of material comforts demand an individualist capitalist modus operandi that is destroying the Black community and making Black men moving targets while commodifying Black women. In New Jack City, while they gave away turkeys to the community at Thanksgiving the “Cash Money Brothers” were in the process of turning a low-income apartment building into an all-inclusive crack haven. Therefore their seemingly generous gesture was really just a marketing scheme to win the trust of the community they were about to decimate and murder for profit.

Now with the popularity of everything hip-hop, what began as protest and revolution in lyrical and musical style, the line between commercialism and revolution has been smashed. Hip hop/ rap is used to sell everything from Kentucky Fried Chicken to Chevy cars. Hip-hop as a culture has, beginning in the mid ‘90’s become about “money, hoes, and clothes- all a nigga knows” (Notorious B.I.G. “Juicy”). The line between fiction and reality in hip-hop has blurred and the drug dealers become rappers Notorious B.I.G., Snoop Doggy Dog, Fat Joe, Jay-Z, Master P. are just a few of the more popular (and lucrative) examples. The violence needed to become a successful drug dealer bled into the reality of being successful rappers. Even rappers who had more middle class upbringings, like Tupac, fed into the brute stereotype because it sold albums. The “badass” moved from being an agent for revolution to a puppet for capitalism. Notorious B.I.G. and Tupac paid for their roles with their young lives.

The flip side of this image is the searing of it in the minds of white America. The brute image was created to instill fear of free Blacks into the minds of the post Civil War white consciousness, particularly white women. The conglomeration of the sexually indiscriminate and uncontrollable Black buck with the violent animalistic Black brute is what can be seen today most in media images. D.W. Griffith’s Birth of a Nation was the visual marriage of the two images locking the Black man’s sexuality with violence leaving the brute image as a predominate staple of American popular culture.

In the  1991“Law and Order” episode, Subterranean Homeboy Blues, the perception of the threat of rape, whether real or imagined, got a man killed. The perception of violence got Amadou Diallo massacred. Emmett Till was murdered for allegedly looking (sometimes the story is whistling) at a white woman in Mississippi in the 1950’s. Not to mention this, or this. It’s a commonly held perception that Black men are dangerous and they are being sold as such. From the Supreme Court to Brentwood, even outside of the hip-hop community Black men are dangerous.

But are they? I think so. I think so not because of the threat of physical violence but as a Black woman who is acutely aware of the psychic violence that is currently breaking down the Black community and communal ties. I’m aware of being called a bitch or a ho or being perceived as a gold digger or being bought for the price of a dinner. The media doesn’t tell me that’s how I’m treated, experience does. The rapper Nas released a song “You Owe Me”; he tells a young lady that she owes him her body because he’s bought her things. Female rappers aren’t blameless either; they perpetuate the wonton sexuality slave masters used as an excuse for their rapes of female slaves. It’s costing all of us our lives.

Sweetback was necessary viewing for the Black Panther Party because a Black character standing up for himself and rebuking a comfortable life as a nonentity was unprecedented. He used his sex to get himself out of trouble and even his sexual encounters were communal activities. He moved from being controlled by it to controlling it and using it as power. There are still flaws in that schematic, but he’s not a victim. Nino Brown killed his “brother” G-Money in New Jack City over what came down to his capitalistic individualism at the expense of the Cash Money Brothers (his created community), but still in the midst of that, a woman he “took” from G-Money. The notion of being “your brother’s keeper” keeps literally getting shot to bits and forget about being “your sister’s keeper”. There is no responsibility taken by these men (and women) for their actions.

Yes- as an artist one should have the right to express themselves however they see fit. But it’s the proliferation of this one image for more than a century that is obviously gotten into our psyches as well. The saddest part is that as evidenced in the Fat Joe and R. Kelly video “We Thuggin’’” simply being Black and Latino means thug… because they’re singing, dancing, talking about what they have and ogling women. That’s not thuggin’ not by Nino Brown’s standards. The contemporary rappers with their “ghetto fabulous thug” mentality now equate sex with money with power and it’s destroying the community- by my estimation. (In addition to imperialist white supremacist hetero-patriarchy, naturally.)

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