Today we read from the Prologue "Chicago--for Howlin Wolf" by Qunicy Troupe (14-15), "Hip Hop Poetry" by Jerry Quickley (38-42), Saul Williams (55-60). We spoke of the Beat Poets and how politics gives rise to a new aesthetics, but not really. It's just "new" to those who hold onto the status quo, those who shape policy or those content to let the boat float and not tip it over.
Hip Hop Culture not only tipped the boat over, it drowned the captain. I was reading another essay in Total Chaos, and what I suggest again is that to increase your knowledge base, especially on those topics you plan to write about, read other articles and chapters in Chaos. The chapter, "Found in Translation: the Emergence of Hip-Hop Theatre" by Eisa Davis (70-91) was excellent. Besides a great discussion on the topic what is hip hop theatre, she explained or defined the genre--theatre and hip hop and how the collision or union of the two was often not embraced by the cultural gatekeepers. This is an excellent essay and a great model for your papers on the various genres.
I hadn't noticed her essay before and because I am familar with her work and she is currently one of the stars in the film, (which just opened), "Passing Strange," her words have currency. I also know her mother and have met her aunt on a number of occasions, Angela Davis.
Finish reading the Quickley essay and post a response. Also comment and respond to Saul Williams's essay. Also respond to the poetry we listened to today and to others in the chapters (2-3).
Look at my responses to student's work to gage how I'd like you to respond in the future, I'd like the comments to be substantive and to expand the discourse. You are graded on these responses, and I found out that if you have a gmail account your html is accepted in the comments (smile).
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3 comments:
I am intrigued greatly b this essy by Quickley because I feel like I am one of the children if that poetry slam in 1996. I know that I look up to Saul Williams and my familiarity with Jessica, Mums, and Sarah Jones makes me feel honored to be a writer reading this literature. I also know that I became more hip hop when I started doing spoen word poetry. The culture was swarmign with people full of songs and beats that originated in the 1970s; ideas that originated in the 1970s and names that originated in the 1970s. I was more hip hopthan the friends I had that were trying to be like Jay-Z with all of their might. However, as I grow as a person, I can see myself being drawn away from trying to sound hip hop and this essay brings that to light. I feel compelled to pay homage to hip hop by remaining dope to a degree.
I, having been introduced to Spoken Word back in 2001 amongst a rather small crowd of teenagers, was notaware of how far this tradition had reached back. So, to hear about its roots drving down into the soil of hip hop, crossing through the times of Kool Kerc and Afrika Bambaata. I feel new to the game,and thus, required to to retreat into the past that I didn't know eexisted to properly re-present spoken word to the people listening.
Reading the extended peopm that I first saw him perform on the movie slam in a prison, transforming the atmosphere of muscles and madness, tatoo-buried fears and a countdown to murder into a classroom and a church wherein transformation was encouraged. I looked on as a lad, awe-struck at this beautiful creation, haven gotten bored with all the misogony and flexing of skills in rap at the time. Listening to this version of Amethyst Rocks gave me a new perspective on the poem. In the movie the poem was about an elevated person speaking to a group of people that needed to do the same. However, on the paper it was about a black male thta loved who he was and "flossed" on white people with their lack of spirituality, wisdom playing off the stereotype that black males are drug dealings. This shined light on how the context of a poem can change the meaning of statements therein. The other poems in this packet are interesting becasue they are so different in their format and cadence from what I am used to. I am used to rapid sounds, not slow ones; I am used to one climax and not six.
Itzel Diaz
English 1B
Response to “Hip-hop Poetry” and “The Future of Language”.
“Hip-hop Poetry” by Jerry Quickley explains the relation between Hip-hop and poetry. Quickley expresses that “To actually represent hip-hop flavor and styles within poetry, you must be able to represent, or rap straight hip-hop.” (41). Poetry is more than writing; poetry is about being able to perform and make others feel what you are feeling, to affect reality with your words. Saul Williams explains the importance of communication and the sound of words in “The Future of Language”. Unlike Quickley, Williams explains the possibility of our words and expression affecting our reality and not our reality affecting our words and the way we express them.
The poem “Chicago” by Howlin Wolf is an example that illustrates Quickley and William’s point. “Chicago” is a strong worded poem that expresses the cruel reality that some kids have to live day after day. Based Quickley’s point of view, Howlin performance makes others picture what his poem is talking about; he makes others feel empathy towards his words. Howlin’s use of hip-hop helps young people identify with the words that are coming out of his mouth. According William’s point of view the poem “Chicago” has a massage within itself; it communicates the interpretation of Howlin’s view on reality. The way Wolf communicates his words to others can have an effect on reality. Words can move people and have the power people to change reality.
Citations:
Quickley, Jerry. “hip-hop poetry”. The Spoken Word Revolution. Ed. Mark Eleveld. Naperville, Illinois:
Soursebooks, Inc. 2004, 38-42.
Williams, Saul. “The future of Language”.The Spoken Word Revolution. Ed. Mark Eleveld.
Naperville,Illinois: Soursebooks, Inc. 2004, 58-60.
Wolf, Howlin. “Chicago”. The Spoken Word Revolution. Ed. Mark Eleveld. Naperville, Illinois:
Soursebooks, Inc. 2004, 14-15.
The poem Hear O’ Israel is a brilliant critique of the author’s people. From the standpoint of a Jewish person that travels, reads and watches the news, he expresses his discontent with his people’s actions, investments and wars. He cites the exploitation of their land by other powers in the lines, “Israel/ you pawn. Middle east/ western military base./ you are strategic oil insurance/ for American mongrels….” Giving reverence to the God of Israel, he removes the vowel when mentioning God, like they used to do in the biblical times, and perhaps still today. He also speaks of the selfishness of the people in the lines, “Can you be chosen alone/ in an interconnected universe?/ Will you open your doors/ to all children who cry/ silent in bombed nights?” Unsure as to whether or not he endorsing opening the borders to other countries or opening their hearts to show love to the other people in the region, I cannot clearly determine what he wants Israel to do with the other nations. The author addresses their worship in the statements “for the messenger calls constant/ but before which altar/ do you burn incense?/ I saw you in South Africa/…”
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