White Niggaz

At the heart of these thoughts, is the desire to initiate an HONEST conversation on the ways in which race, racialization, and racism are carried out in America. The exigencies responsible the construction of the song “White Niggaz” are rooted in the experiences of a contemporary African-American. The experiences are mine. Through a period of [un]employment and [non]opportunity, I was able to experience phenomena that reinforced and reminded me of what it means to be a “nigger” in America. Coupling these experiences with conversations I’ve had with non-blacks and their use of the word “nigger”---especially as related to “Hip-Hop”---led me to articulate thoughts on a piece of lexicon that remains just as powerful today as it did in the years 1619, 1776, 1865, 1955, 1984, or 2008. Today, “nigger” [and all the subsequent symbols associated with the word] remains as over-used and under-discussed as it has ever been. History unequivocally demonstrates that race has been an issue in this country for as long as the country as existed. This is difficult for some people to admit, but we all know it is fact. “Nigger” is as American as apple pie. –and that is one of the reasons “White Niggaz” is such an effective communication tool. The song immediately challenges audiences to operate from a position of raw truth—as uncomfortable as it may be—for the sake of having an honest discussion on the issues. If we are mature enough to begin the discussion with honesty, then perhaps we will conclude at a place of new insight…a place closer to freedom.

The organization of “White Niggaz” is Key. Dare I say, the organization of the song is just as important as the lyrical component. “White Niggaz” is built as ONE seamless verse separated by rhetoric aimed at TWO different audiences. The first part of the song is directed toward White people, and the second part of the song is directed toward Black people. Both audiences are referred to as “Niggaz” throughout the entire song. In fact, the word “nigga” is used a total of 20 times within the 1:09 verse. The portion of the song that is directed at the white audience is aimed specifically at two specific groups within the greater white community. These groups are the (1) elites and the (2) gullible group of people who have been historically used by the elites as “foot soldiers” for overt racist action. In short, this verse is directed at the Cheneys, Rumsfelds, Kochs, and Wolfowitzes AND the Reagan Democrats, Tea-Baggers, and any other poor/working-class whites who have been unwittingly used by elite groups.

The second half of “White Niggaz” is special for a variety of reasons. An obvious reason is that it is a surprise. The title, “White Niggaz,” leads most people to believe they are about to hear a song totally dedicated to chastising white people. As a result, many are surprised to hear rhetoric that critiques the black community—and challenges black people to correct their mis-steps and question their participation in the continuing destruction of their own interests. Indeed it is rare to hear this type of rhetoric, and blacks who have offered constructive critique to the African-American community, in the public forum, have been labeled “Uncle Toms” or crazy (i.e., Bill Cosby). Similar to the first half of the song, there are two distinct groups within the black community that are the focus. These groups would be the stereotypical lower-class young “gangsta/hoodrat” who idolizes rap fiction. –and the second group is the bourgeoisie black families that deem themselves far too reformed to participate in the issues that affect the greater black community.

WHITE Niggaz:
WHITE NIGGAZ---
--always wanna FIGHT NIGGAZ.
REARRANGE the GAME
Just to fuckin’ SPITE NIGGAZ.
Don’t LIKE NIGGAZ.
But, yet and still, they BITE NIGGAZ.

BLACK Niggaz:
These WHACK NIGGAZ
These fiction over FACT NIGGAZ
Insecure as fuck—so they ride around in PACK NIGGAZ.
Tis-for-TAT NIGGAZ

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WeBeGeekin'
www.ghettogeekin.blogspot.com

Hip-Hop 101: On-line Syllabus

Department of Organic Intellectualism
ghettoGEEKS University
Daejeon, South Korea

Bustin' Gats thru Spittin' Raps: Culture, Power, & Politics
Spring/Summer 2011

Instructor: eRiC Durham, Ph.D.
Office Phone: 042-821-5296 [Country Code: 82]
E-mail: ghetto_geeks@yahoo.com
Office: Building W-7, Room 420, 인문대학
Office Hours: TBA (To Be Announced)

Required Text:

1. ghettoGEEKS. (2011). WeNeedBeatz mixxtape, vol. 1 [Audio recording]. Portland, OR: ghettoGEEKS.

2. Durham, E. (2009). Before Barack there was Tupac: Manifestations of Afrocentricity Within the Lyrical Component of Tupac Shakur. Germany: VDM Verlag Dr. Muller.

3. Durham, E. (2009). Bustin’ Gats through Spittin’ Raps: The Rhetorics of Violence in the Lyrics of Dead Prez. Germany: VDM Verlag Dr. Muller.

Course Assignments:

In this course you have two primary responsibilities: you must read and write extensively and you must think. The effort you put into your reading and writing and the quality of the thoughts you produce as a result of that effort is what I will attempt to evaluate in determining your final grade for the course. I have developed the following assignments toward that end.

1. Participation in Class Discussion: Your first assignment is to come to each class meeting having carefully read the day’s readings, in turn, being well-prepared to discuss the content and your introspective insight during class discussion. The level of your preparation and quality of your participation in the class discussion will determine 10 % of your final grade. At various points in the semester, I may ask for your input in helping to determine this portion of your grade.

2. Reaction Papers: Your second assignment is to keep a written account of record of your reactions to our reading. I want to know what you think of each of the major perspectives that we will encounter during this term. You are to write thoughtful responses on issues that will very well include—but in no way limited by—the following:

1. Human Communication
2. The intersections between Language and Culture
3. The current Geo-political Situation
4. World Travel
5. Race, Racialization, and Racism
6. Oppression
7. Gender Issues
8. Music and Culture

Please note these assignments ARE NOT to be a compilation of book reports. I do not want these writings to be mere summaries (or worse, collections of quotations) of your readings. Analysis and critique is what is desired; along with a sense of interaction and engagement with the readings. Think of this assignment as a way for you to show that you have fulfilled the primary purpose of this course, as stated above: you have been reading and thinking. (Indeed, like you have never read and thought before.)

Reaction papers are due at each individual’s discretion. Each reaction paper must be turned in on the day when the particular topic is to be discussed. Please refer to the schedule to determine when the reaction papers are due for each topic. Papers are 3-5 pages in length.

Course Expectations:

• All class members are expected to read both assigned and other materials and be prepared to discuss them in class.

• You must write all your papers according to the guidelines outlined in the Publication Manual of the American Psychological Association. Please make sure that the print of your paper that you submit is clean and readable. Please proofread carefully to check for spelling, grammar, logic, clarity, and completeness. In summary, all your papers should be focused, tightly organized, and well written. For your protection, please make a copy of the final draft of all your written assignments for your own files.

Deadlines:
All written assignments must be turned in class on the day they are due. No exceptions. Assignments turned in late will receive a letter grade reduction for that particular assignment. Each student is also responsible for collecting whatever information is given in class, such as announcements and handouts, etc.

Non-duplication of Credit:
Work should be original for this course. Work submitted for grading elsewhere will be denied credit. Plagiarism is unaccepted and will be severely penalized.

Grading Criteria:
Paper Presentation………………………………10 %
Reaction Papers (5 @ 10% each)………………………………50 %
Pop Quizzes (4 @ 10% each) – Participation & Attendance…………………40 %
TOTAL……100 %

*All students will respect the rights of others, including the right to freedom of speech, freedom of religion, and freedom of thought.
* Instructor reserves the right to change the schedule/and requirements as necessary

WeBeGeekin'
www.ghettogeekin.blogspot.com