Hip hop identity in a township reality. - Poppunt
Hip hop identity in a township reality. - Poppunt
Hip hop identity in a township reality. - Poppunt
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pills <strong>in</strong> their socks / guys who / and I really know what he is talk<strong>in</strong>g about /<br />
more than the guys from the States.”<br />
Shaun, also a U.N.I.C. group member, claims it is necessary for him that his hip<br />
<strong>hop</strong> conta<strong>in</strong>s a message <strong>in</strong> any sort of way. Under ‘message’ he also categorises<br />
th<strong>in</strong>gs as for example be<strong>in</strong>g <strong>in</strong> love and talk<strong>in</strong>g about it <strong>in</strong> a song, because people<br />
who hear the lyrics can also learn from that. If they are ever <strong>in</strong> the same situation,<br />
they can th<strong>in</strong>k about what Shaun said <strong>in</strong> his lyrics and do the th<strong>in</strong>gs he has done.<br />
As seen <strong>in</strong> the chapter about language use, he uses Xhosa to rap, because he<br />
makes music for the people around him who live <strong>in</strong> similar circumstances. If he<br />
spreads a message they need to be able to understand him.<br />
Like others, Shaun does not have a fixed list of topics he writes about. When he<br />
sees someth<strong>in</strong>g he wants to write about, he does so. When he has a concept <strong>in</strong>side<br />
his head, he will try to formulate a song about it. He simply makes songs about<br />
everyth<strong>in</strong>g that seems to be relevant for him, and the <strong>in</strong>spiration mostly comes out<br />
of the <strong>township</strong> he lives <strong>in</strong>.<br />
“There are a lot of concepts you know / so my music is not basic on / I don’t<br />
write about one th<strong>in</strong>g I write about everyth<strong>in</strong>g that’s relevant everyth<strong>in</strong>g that’s<br />
around me I experience and I see.”<br />
S<strong>in</strong>ce the conditions he lives <strong>in</strong> can not be called optimal, it is a necessity to spread<br />
a positive message, and to use the music <strong>in</strong> order to educate his listeners. The<br />
spread of AIDS needs to be prevented, and the same goes for poverty and<br />
crim<strong>in</strong>ality. The system needs to be criticised. Some underground American rappers<br />
give their op<strong>in</strong>ion about the system they live <strong>in</strong>, <strong>in</strong> their songs, and Shaun says he<br />
can relate to them, although both ‘systems’ are not totally comparable. He mostly<br />
prefers South African rap to American rap, because the situations the South<br />
Africans are rapp<strong>in</strong>g about are similar to the conditions he is <strong>in</strong> at the moment,<br />
though he can get mean<strong>in</strong>g from the Americans’ lyrics.<br />
“That relate to me you know it relates so much because situations that they’ve<br />
been to / that’s what I’m <strong>in</strong> now.”<br />
Eavesdrop, one of the few ladies we <strong>in</strong>terviewed, sees rapp<strong>in</strong>g as a comb<strong>in</strong>ation of<br />
the th<strong>in</strong>gs she always loves do<strong>in</strong>g: keep<strong>in</strong>g a diary and writ<strong>in</strong>g down the th<strong>in</strong>gs that<br />
happen, and s<strong>in</strong>g<strong>in</strong>g. Writ<strong>in</strong>g songs is a way to cope with th<strong>in</strong>gs she is exposed to<br />
through her life. Her lyrics can be compared to a k<strong>in</strong>d of fairytale she tells the<br />
people, but it is not fiction; they are true, real life stories processed <strong>in</strong>to a lyrical