It’s Worldwide, Y’all
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[youtube=http://www.youtube.com/watch?v=izgS-nwwN0g&hl=en_US&fs=1&]
In Mali, they graffiti “50 Cent” on red-brown walls of concrete and tan-yellow huts of mud. Children battle dance in court yards between water wells and wire-woven chairs, popping and locking, and walking in circles on their hands. Markets sell t-shirts and pants with emblazoned faces of Biggie and ‘Pac. Many Malians listen to American rap on cell phones and boom boxes and in glitzy dance clubs. This is, for the most part, Hot 97, BET Countdown-type rap music. The songs with the beats that make you wanna shake it. Shaking it is fairly is universal. But there is Malian rap too.
In my three months living in Mali in 2008, I heard as much homegrown rap (and rap from neighboring West African countries) as I heard of the former kind. Malian rap tends to be more political. It discusses homelessness, youth issues, government, AIDS, unemployment, and cultural pride. Rappers call it an instrument for information. Education. A weapon to fight injustice.
And this is hip-hop in its truest form. The best way to determine (or prove, some might argue) the essence of hip-hop, is to examine the ways in which it manifests in other countries. Consistently, it works as a tool for change, just as it originally did for marginalized youth in New York City’s South Bronx. It emerges from a need for said change. And although this motivation for rap music may have relatively faded in the US, we can see it when we look at just about any other country with a bourgeoning hip-hop scene.
In France, immigrant rappers protest le racisme.
In Senegal, corrupt elections.
In Palestine, occupation.
In Morocco, rappers write songs to preserve their cultural history and to speak out against poverty and social ills.
In Brazil, hip-hoppers unite to combat racism, poverty, and street violence.

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