Classification, not censorship

We should expect fans of an art form that is subjected to public criticism and vilification to leap to its defence. Some of these aficionados- whether the medium in question is cinema, fine art or pop music- make the case for the value of their favourite mode of expression by overstating its positive effects. Hip hop has long been the focus of controversies surrounding violent music. Hip hop is closely associated with low-level criminality, as noted above. A number of highly successful hip hop artists have been attacked or killed as a result of feuds within the industry and links between managers, promoters and criminal gangs. As the academic John McWhorter has pointed out in numerous[1] publications[2], the positive political and social impact of rap music has been massively overstated, as a result of highly charged media coverage of hip hop-linked violence.  As a result, attempts to address some of the hips hops most objectionable content- lyrics that are misogynist and blankly and uncritically violent- have been condemned as unjust assaults on the right to free expression. Attacks on negative content in hip hop have been made all the more emotive, because they appear to be an attempt to restrict the speech of members of vulnerable and marginalised communities. Side proposition agrees with McWhorter that listening to music that contains violent themes will not, in the absence of other factors, cause individuals to behave in a violent way. However, the content of rap, and its strong links with the youngest inhabitants of marginalised, stigmatised urban areas mean that it damages the developmental opportunities of teenagers and young people, and harms others’ perceptions of the communities they live in. Hip hop trades on its authenticity – the extent to which it faithfully portrays the lived experience of the inhabitants of deprived inner city areas. The greater the veracity of a hip hop track, the greater its popularity and cache among fans. Musicians have gained public recognition as a result of being directly involved in street crime and gang activities. 50 Cent, a high profile “gansta” artist owes his popularity, in part, to a shooting in 2000 that left him with 9 bullet wounds[3]. This supposed link to reality is the most dangerous aspect of contemporary hip hop culture. Unlike the simplistic make-believe of, say, action films, the “experiences” related by rappers are also their public personas and become the rationale for their success. Rap, through materialist boasting and sexualised music videos tells vulnerable young men and women from isolated neighbourhoods that their problems can be solved by adopting similarly nihilistic personas. The poverty that affects many of the communities that hip hop artists identify with does more than separate individuals from economic opportunity. It also confines the inhabitants of these communities geographically, politically and culturally. It prevents young men and women from becoming aware of perspectives on the world and society that run contrary to the violence of main stream rap. With television dominated by the gangsta motif, marginalised youngsters are left with little in the way of dissenting voices to convince them that hip hop takes a subjective and commercialised approach to the lives and communities that rappers claim to represent. In effect, controversial hip hop is capable of sponsoring violent behaviour, when it is marketed as an accurate portrayal of relationships, values and principles. Under these circumstances, adolescents, whose own identity is nascent and malleable can easily be misled into emulating the exploits and attitudes of rappers[4]. Side proposition advocates the control and classification of controversial forms of music, including but not limited to hip hop. Consistent with principles 1 and 10, classification of this type will follow similar schemes applied to movies and videogames. Assessments of the content of music will be conducted by a politically independent organisation; musicians and record companies will have the ability to appeal the decisions of this body. Crucially, the “ban” on music containing violent lyrics will take the form of a categorisation scheme. Content will not be blocked from sale or censored. Instead, as with the sale of pornographic material in many liberal democratic states, music found to contain especially violent lyrics will be confined to closed off areas in shops, to which only adults (as defined in law) will be admitted. Its performance on television, radio and in cinemas will be banned. Live performances of restricted music will be obliged to enforce strict age monitoring policies. Online distributors of music will be compelled to comply with similar age restrictions and intentionally exposing minors to violent music will be punishable under child protection laws. This approach has the advantage of limiting access to violent content only to consumers who are judged, in general, to be mature enough to understand that its “message” and the posturing of singers does not equate to permission to engage in deviant behaviour. [1] McWhorter, J. “How Hip-Hop Holds Blacks Back.” City Journal, Summer 2003. The Manhattan Institute. [2] McWhorter, J. “All about the Beat: Why Hip-Hop Can’t Save Black America.” [3] “What’s In a name?” The Economist, 24 November 2005. [4] Bindel, J. “Who you calling bitch, ho?” Mail & Guardian online, 08 February 2008.