american political poetry in the 21st century - STIBA Malang
american political poetry in the 21st century - STIBA Malang
american political poetry in the 21st century - STIBA Malang
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178 AMERICAN POLITICAL POETRY<br />
more of <strong>the</strong> senses to <strong>the</strong> stimulation of one.” The primary senses<br />
directly stimulated dur<strong>in</strong>g a small club hip-hop show are hear<strong>in</strong>g,<br />
sight, and touch, which is not to mention <strong>the</strong> sense of taste often stimulated<br />
by alcohol or <strong>the</strong> sense of smell created by alcohol, sweat, and<br />
smoke. Without one of <strong>the</strong>se elements, <strong>the</strong> o<strong>the</strong>rs would have a less<br />
palpable effect. For <strong>in</strong>stance, if <strong>the</strong> sense of touch—largely a product<br />
of venue size—were sacrificed, <strong>the</strong> <strong>in</strong>timate connection with o<strong>the</strong>r<br />
audience members so crucial to Arendt’s <strong>the</strong>ory would be greatly<br />
compromised. One cannot merely “watch” <strong>the</strong> artists on stage without<br />
be<strong>in</strong>g assaulted by <strong>the</strong> sonic power of microphones, recorded bass<br />
l<strong>in</strong>es and snare drums, and o<strong>the</strong>r people’s bodies. But perhaps <strong>the</strong><br />
most <strong>in</strong>terest<strong>in</strong>g synaes<strong>the</strong>tic-like experience is <strong>the</strong> way that <strong>the</strong> audience<br />
experiences <strong>the</strong> <strong>political</strong> through <strong>in</strong>tense sensory stimulation. It<br />
is rare for citizens to have an <strong>in</strong>timate <strong>political</strong> experience via <strong>the</strong>ir<br />
senses, especially an <strong>in</strong>teractive experience that jo<strong>in</strong>s <strong>the</strong>m to<br />
o<strong>the</strong>r people.<br />
A fur<strong>the</strong>r dynamic illum<strong>in</strong>ated by <strong>the</strong> form/content dist<strong>in</strong>ction <strong>in</strong><br />
live hip-hop is <strong>the</strong> role of lyrics <strong>in</strong> live hip-hop performances. Though<br />
lyrical content is to some extent immaterial to <strong>the</strong> <strong>political</strong> work of<br />
live hip-hop, it is important to hip-hop aes<strong>the</strong>tics as a whole.<br />
Understand<strong>in</strong>g many hip-hop lyrics requires <strong>in</strong>tensive listen<strong>in</strong>g and<br />
well-tra<strong>in</strong>ed ears. This task is especially difficult at live shows, where<br />
<strong>the</strong> acoustics and sound levels may not be conducive to understand<strong>in</strong>g<br />
all of <strong>the</strong> performer’s lyrics. For example, if <strong>the</strong> bass levels are tuned<br />
too low (where lower means more bass) and <strong>the</strong> microphones’ volumes<br />
are not loud enough, it may be difficult to understand an MC’s<br />
lyrics. So, though it is easy to understand calls-and-response, it may be<br />
difficult to understand <strong>the</strong> lyrics <strong>the</strong>mselves. But as Potter writes,<br />
“Hip-hop audiences do not, at any rate, merely listen—passive reception<br />
is no longer possible” (108; orig<strong>in</strong>al emphasis). Passive reception<br />
is difficult <strong>in</strong> a live show at a small club as MCs demand that <strong>the</strong>ir<br />
audiences stay responsive. As such, <strong>the</strong> live show functionally elim<strong>in</strong>ates<br />
<strong>the</strong> problem outl<strong>in</strong>ed <strong>in</strong> Little Bro<strong>the</strong>r’s “The Listen<strong>in</strong>g”<br />
(The Listen<strong>in</strong>g 2002). The song suggests that passive reception is<br />
not only possible but may be <strong>the</strong> norm for many fans who listen to<br />
hip-hop <strong>in</strong> <strong>the</strong>ir home or car.<br />
In “The Listen<strong>in</strong>g,” Little Bro<strong>the</strong>r’s two MCs, Phonte and Big<br />
Pooh, rap about <strong>the</strong> current state of hip-hop music, rem<strong>in</strong>isc<strong>in</strong>g about<br />
<strong>the</strong>ir childhood obsessions with memoriz<strong>in</strong>g rap lyrics while lament<strong>in</strong>g<br />
that currently, “don’t nobody care what you’re say<strong>in</strong>g.” Dur<strong>in</strong>g<br />
one verse, <strong>the</strong>y dramatize an encounter with a fan who says that<br />
“all she listens to is beats,” mean<strong>in</strong>g that she cares only about <strong>the</strong>