Saulsberry 1 Traci Saulsberry Professor Overman English 155 Comp March 22, 2007 Dead Prez

From the melodic crooning of the sultry bebop lyrics, to the conscious rhetoric of spoken word; through the swift notes of jazz and blues that were laced with lyrics that encompassed the totality of the Black experience, the African American community has continuously expressed themselves through what has come to be defined as the Black Aesthetic. The Black Aesthetic was created during the Harlem Renaissance and developed formulaic criteria to define what would be considered Black art. African American artists contended that for Black art to be real and relevant it has to be functional in its message, collective of all peoples, and committed to urging others to become involved in the struggle (Karenga). Through the perils of the entertainment industry one influential duo, comprised of M-1 and stic man who create lyrical art under the name of Dead Prez, has stayed steadfast in maintaining applicable lyrics encouraging participation in the struggle despite the pressures from society to conform. It has been through music that Blacks have exercised the intentions of the Black Aesthetic. Through the decades that the Black man has been living on American soil he has continued a legacy of coping with the adversities of life through music; first through the socially and religiously charged spirituals and continuing to the songs of work and leisure that were built on the shared fate by slaves toiling plantation soil. Blues was then evolved

Saulsberry 2 and took the responsibility of depicting the Black experience which consisted of love, loss, and the social burden of being Black in America. From Bop in the 40s to swing and the big band era, African Americans succeeded in lyrically projecting themselves in a positive yet realistic light. The Emergence of Hip Hop in the 70s was the ignition of a powerfully conscious flame, which would ignite explosive content. Like its predecessors Hip Hop spoke of the African American struggle, the ups and downs of surviving in a racist and oppressive society. This new form of Black expression became one of most sought after music revenues to hear pertinent and genuine lyrics. However through time Hip Hop music has veered from the integrity of the black aesthetic spitting lyrical rhymes that demean the African American community. However the eccentric duo Dead Prez has continued to promote the Black Aesthetic and has consistently promoted Blacks in an encouraging and militant manner. Dead Prez have maintained a valid compilation of lyrics in spite of the pressures of society’s expectations. It is because of this symbolic death of Hip Hop lyrics that I propose the monumentalizing of the relevant, functional, and artistic commitment of the Hip Hop lyrics of Dead Prez. Their organic beats and raw vocals speak of revolution and express their innovative and socially conscious lyrics. Though aggressive at times, Dead Prez represents the realities of the Black existence, rather than simplistically rhyming about “bling,” “dubs” and sex; they delve beyond rapping about one night stands or how they sling crack; completely deterring from the content that is expected from modern day hip hop. Careful to never shy away from the jargon spoken on the dilapidated streets depicted in their songs, through signification M-1 and stic man verbalize real issues and the reality of the African American existence, and show that knowledge profundity exists in the language

Saulsberry 3 donned by some as Ebonics. Their artistic fusion of metaphors, hyperboles, and blatant facts separate them from their fellow hip hop lyricist whose songs are crammed with simple and uninspiring lyrics like “pop lock and drop it” which offer nothing more than funky beats to mask verbal idiocy. Dead Prez music evokes an urge for spiritual and physical independence both socially and within the soul. Their evolutionary expression of music creates a serene haven amongst an industries landslide of spiritless and senseless content. The creative minds behind the influential group are M-1 and stic man. Stimulated by radical self- defense groups like the Black Panthers, Dead Prez, short for Dead Presidents, create moving poetry about the plights of Black Americans. Originating from Florida the duo collaborated to forge a socio-conscious hip hop style. Their afrocentric mentality aided in creating their debut album Get Free. In “They Schools,” on their first album, Dead Prez vehemently scorned America’s school system: They Schools can't teach us shit. My people need freedom, we tryin to get all we can get. Tellin me white man lies straight bullshit. They schools aint teachin us, what we need to know to survive. They schools don't educate, all they teach the people is lies. School is like a 12 step brainwash camp. They make you think if you drop out you aint got a chance. . . I tried to pay attention but they classes wasn’t interesting. They seemed to only glorify the Europeans. Claiming Africans were only three- fifths a human being. . . They ain’t teachin us nothing related to solvin our own problems. (They Schools) Through raw lyrics and aware material Dead Prez explains how the educational system is not designed towards the interests or talents of young African Americans. Rather than

Saulsberry 4 rapping about living life in the streets, M-1 and stic man depict the truth; that young hopefuls in high school are unable to connect in schools that teach them to be followers rather than leaders and fail in teaching them how to solve problems that are prevalent in the African American family. Unlike most hip hop artists Dead Prez releases their frustrations through art. Their crafty lyrics are not reserved to the exploitation of the American educational system; their lyrical phrases delve into the pride of the Black community’s African roots. In the song “I am a African” M-1 and stic man relish in the pride of being an African and address the historical connotations that have been linked to the presence and derision of Blacks in America. Verse three says: No I wasn't born in Ghana, but Africa is my momma And I did not end up here from bad karma Or from B-Ball, selling mad crack or rappin Peter Tosh try to tell us what happened He was sayin if you black then you African So they had to kill him, and make him a villain Cuz he was teachin the children I feel him, he was tryin to drop us a real gem. ( I am ) Combining history with fact, truth with art, Dead Prez has always revered presenting the truth; as stic man said in an interview with K-Salaam, “It’s all about bringing the truth forward” (Dead Prez Interview). It is because of their need for truth, their never ending perseverance, their necessary lyricism about political hypocrisy, constant racism, and

Saulsberry 5 vital pedagogy that Dead Prez lyrics will be eternally memorialized in Harlem, the epicenter of Black artistic expression. To mimic the immense relativity and artistic direction behind Dead Prez lyrics and content, the monument memorializing the influential duo will derive their same passion and conscious creativity. Since M-1 and stic man connect their messages through historical facts, it is important that the monument withhold historical purpose. Firstly, the monument will be submerged below the streets of Harlem, which was where the formation of the Black Aesthetic and the basis for the Dead Prez ideology occurred. The reason for its submersion is because of two factors: music, especially hip hop, can be interpreted as being the roots of Harlem and Black people. Secondly it forms a connection to the Underground Railroad which was an escape for Blacks to gain freedom; which can be said of music, the overwhelming presence of Blacks in the music industry can and should be used as a verbal weapon to gain knowledge. The monument is moving and interactive, never a quiet moment, never a chance to stop and think. Unlike the serene normality of monuments, the walls of the Dead Prez monument will project the lyrics of the duos albums. As one walks through the tubular capsule underneath Harlem’s bustling city, the importance of M-1 and stic man’s influence becomes apparent. The tin covered capsule is splattered with renditions and interpretations of local graphite artists. The spray can writers illuminate the lyrics of Dead Prez in a pictorial manner while also incorporating the actual lyrics. Depictions of the duo plaster the walls, and everything is encapsulated by the medium of spray paint. The elongated tube that leads to an opening at the end gradually morphs into the different highlights of Dead Prez content; blending their political messages, with their stress on the

Saulsberry 6 importance of Black women, to the faults within the educational system and so on. The monument is cautious to not be too simplistic, but rather chaotic and jumbled correlating to the complexity of the issues that are raised in Dead Prez songs. It is impossible to exit the monument without gaining its intended purpose: to educate people on the powerfully influential group Dead Prez and the need for more artists like them; and also to provoke a desire in visitors to develop a more socially aware mindset. Although the monument of Dead Prez lyrics and content is unconventionally designed compared to that of other monuments, regardless it evokes the same emotions and withholds similar intentions. As Andrew Butterfield, author of “Monuments and Memories: What history can teach the architects at Ground Zero, states, “The primary meaning of moneo is to bring to the notice of, to remind, or to tell of. . . Monuments provide an enduring physical demonstration of the fact of the existence of a person or an event” (361). This is the exact purpose of the Dead Prez monument nestled beneath Harlem’s sleepy streets; to bring notice to revolutionary ideas and an inspiring duo while also creating a concrete structure that will allow the notions of the Black aesthetic and revolutionary dreams to endure through the tests of time. The lyrics are monuments themselves, simply placed on concrete; they are outlets for individuals who don’t have a voice, they are outlets for voices that don’t get heard. It is vital that the content of this aware group be monumentalized for the nation to learn from, a haven for citizens of all colors and creeds to gain knowledge and appreciation for highly artistic and apposite lyrics than reinforce the goal of the Black Aesthetic.

Saulsberry 7 Annotated Bibliography Butterfield, Andrew. Convergences. Atwan, Robert. Boston: Bedford/St. Martin, 2005. 361. Provided a definition for what a monument is and helped to validate the monument created for Dead Prez lyrics. Dead Prez Interview. Dir. K- Salaam. Perf. stic man. video. Youtube, 2006. The video provided personal words from stic man that proved that the intentions of Dead Prez are truly the goals and mindset of the duo. Gladney, Marvin. “The Black Arts Movement and Hip-Hop”. African American Review, Vol. 29, No. 2, Special Issues on The Music. (Summer, 1995), pp. 291301. Gave an indepth look into the history of Hip-Hop and the artistic growth of the African American community. Provides current artists whose song lyrics support the notion that rap music, an extension of hip hop, has steered away from the concious mindset hip hop was intended to represent. Nothing specific was taken and used in the paper, although it did help to validate opionions developed. Hess, Mickey. “From Bricks to Billboards: hip hop autobiography.” Mosaic (Winnipeg) 39.1 (March 2006): 61(17). Expanded Academic ASAP. Thomas Gale. California State University ,Northridge. 18. 2007. Exemplified the created purpose of Hip Hop and its mindful lyricism and delved into the empty intentions of rap lyrics and music today. Actual segments were not taken from the article, however it stimulated thoughts that helped to better develop the paper. “I’m a African.” Mp3 Lyrics Organized. 25, March 2007 . Gave a visual for the words heard on their albums and helped to prove the fact that M-1 and sic man

Saulsberry 8 combined history with music and veered away from the simplistic lyrics of their fellow rappers. Karenga, Maulana. Introduction to Black Studies. 3. Los Angeles: University of Sankore Press, 2002. Defined the Black Aesthetic and what it meant to the African American community. “They Schools.” Mp3 Lyrics Organized. 25, March 2007 . Aided in proving the notion that Dead Prez lyrics are socially relevant and are functional in their messages; tied back to the focus of Black artists fulfilling the Black Aesthetic.