Hip-Hop has historically existed as a male-dominated industry. Being a reflection of urban life and struggle, past Hip-Hop artists have been forced to maintain a certain level of masculinity in order to be accepted by their urban communities. Old school rappers who talked about love were often viewed as soft or corny. Because of this perception, the existence of love in Hip-Hop is a fairly new concept.
As the movement has gained support and recognition throughout the world, love has become an increasingly common theme in Hip-Hop music and poetry. However, the taboo still exists. Even today, Hip-Hop artists and poets present their love stories in a manner that allows them to maintain socially acceptable identities. Hip-Hop stories about love must still meet the masculine ideology in which the movement is rooted in order to be perceived as real and true.
The purpose of this study is to analyze Hip-Hop love narratives and how artists present these love stories in order to construct socially acceptable identities. I believe personal narratives are closely tied to the construction of identities. It is through personal narratives that people can recount life-changing events, realize socially acceptable behavior and create individual identities.
I have researched and studied several Hip-Hop love songs and analyzed the lyrics as text and poetry. In my research, I have found five common narrative forms used by Hip-Hop poets to tell their love stories: contrasting, perceptual, spiritual, conversational and metaphoric. These five narrative forms are used not only to present the story correctly, but also to maintain positive perception among a society that might view this sensitivity as weak or disrespectable. I plan to demonstrate each of these narrative forms and show how the poets use them to tell their love stories while establishing acceptable identities.
<b>The Contrasting Narrative</b>
One of the most common forms of Hip-Hop love stories is the contrasting narrative. Many artists use Hip-Hop music and poetry to tell stories about the negativity surrounding their urban environments. The contrasting narrative allows the poet to express his or her love story as a contrast to this negativity while constructing an acceptable identity because that negativity is real and understood in urban communities.
A great introductory example to the contrasting narrative would be the following passage from Method Man’s “All I Need”:
<i>Back when I was nothin’
You made a brother feel like he was somethin’
That's why I'm with you to this day boo no frontin’
Even when the skies were gray
You would rub me on my back and say "Baby it'll be okay"</i>
In this song, the poet uses the contrasting narrative to show his love for someone who stood by him when “skies were gray.” He speaks of his love interest as someone who helped him get through troubled times, thus providing a positive contrast to his negative surroundings.
Another example of the contrasting love narrative can be seen in this passage from Guru’s “All I Said”:
<i>This world is crazy, she's supposed to help me stay sane
Supposed to help with the pain, supposed to help me maintain</i>
In this song, Guru uses the contrasting narrative to share his view of what love should be. He admits that his “world is crazy”, and that his love interest is the one person who can make it bearable.
In “She Tried”, Bubba Sparxx uses the contrasting narrative to tell a story that actually recalls his love being there for him when he was in trouble with the law:
<i>A fly country girl, just workin’ them gifts
She's my queen, was a virgin I guess
But I ain't never ask and I ain't never tell
But Betty had the cash every time I went to jail</i>
This song further illustrates the use of contrasting narratives to express love. Though the poet confesses spending a lot of time in jail, Betty was always there to bail him out, again acting as a positive contrast to his troubles.
<b>The Perceptual Narrative</b>
Another common narrative form of Hip-Hop love stories is the perceptual narrative. Like the contrasting narrative, the perceptual narrative is based around the negativity that surrounds the poet’s life. But instead of presenting this love as a contrast to that negativity, the poet uses this narrative to explain how that love changed his or her previously negative perceptions. This narrative form also allows the poet to construct a socially acceptable identity due to the acknowledgement of the negativity of urban life.
In “Jazzy Belle”, Andre of Outkast uses the perceptual narrative to tell of how his love changed his former perception of women:
<i>Went from yellin’ crickets and crows, witches and hoes to queen thangs
Over the years I been up on my toes and yes I seen thangs …
Now I’m willin’ to go the extra kilo-
Meter just to see my senorita get her pillow
On the side of my bed where no girl ever stay
House and doctor was the games we used to play
But now it’s real Jazzy Belle...</i>
In this song, Andre talks about a personal change of perception caused by love. He admits that at one time he thought of women as “witches and hoes.” But “now it’s real”, and he has a new perception of women as “queen thangs.”
Another great example of the perceptual narrative can be found in the following passage of Black Star’s “Brown Skin Lady”:
<i>I don't get many compliments, but I am confident
Used to have a complex about, gettin’ too complex
You got me, willin’ to try, looked me in the eye
My head is still in the sky, since you walked on by</i>
In this example, the poet admits to having relationship issues, but tells of how love helped him to overcome these issues. The poet’s love interest helped him to change his perception of love and fear of “gettin’ too complex”.
In “Ms. Fat Booty”, Mos Def further illustrates this point by demonstrating the perception of other men and speaking to his love on how he is different:
<i>Yo, let me apologize for the other night
I know it wasn't right, but baby you know what it’s like
Some brothers don't be comin’ right
I understand, I'm feelin’ you
Besides, ‘Can I have a dance?' ain't really that original</i>
In this song, the poet uses the perceptual narrative to acknowledge that some men “don’t be comin’ right”, but that he has a different perception of women than these other men.
In “Come Close”, Common uses the perceptual narrative to express how love has made him change from his old ways:
<i>I want to build a tribe wit you
Protect and provide for you
Truth is I can't hide from you
The pimp in me
May have to die with you</i>
Although the poet used to be a “pimp”, an urban term for a man who romances a large number of women, he tells of how his love interest has changed his actions and perceptions.
<b>The Spiritual Narrative</b>
A third common form of Hip-Hop love stories is what I like to refer to as the spiritual narrative. The spiritual narrative relies on the poet’s characterization of love as a kind of godly being, spiritual force or royalty, often with the feeling that the story teller has to protect that force. The spiritual narrative allows the storyteller to construct an acceptable identity by characterizing love as spiritual or perhaps even predetermined.
A great example of the spiritual narrative can be found in this passage of The Roots’ “You Got Me”:
<i>Somebody told me that this planet was small
We use to live in the same building on the same floor
And never met before
Until I'm overseas on tour
And peep this Ethiopian queen from Philly
Taking classes abroad</i>
Here, the poet uses the spiritual narrative to describe the time, place and emotions that his love was founded on, speaking of them as if they were somehow meant to happen. He also refers to his love interest as “this Ethiopian queen from Philly”, using the royal characterization so common in spiritual love narratives.
In “Love Language”, Talib Kweli also uses a spiritual narrative form and refers to his love as a kind of royalty:
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