How I Define Ghetto and its Context within Hip-Hop

When I hear the term “ghetto” the first thing that comes to my mind is an image of poverty and a sympathy of disenfranchisement. In America, this image is grounded in the impoverished black and brown communities in most great cities, especially in my hometown of Chicago. I think of neighborhoods like Humboldt Park and Englewood where ghetto is usually synonymous with little opportunity, constant violence, and a general sense of desperation. People are often found doing what it takes to survive with what limited resources the have.

            Unfortunately, I do not think most people have much sympathy for those who live in such neighborhoods. Most Chicagoans who don’t live inside these neighborhoods have virtually segregated themselves physically and mentally from a lot of the issues concerning these communities. This only aids to the sense of desperation and lack of hope that most black or brown communities in these areas have towards their chances of mobility. Sadly, most people I’ve met treat these areas as a “lost cause”, often speaking about the terrorism and violence that occurs in these areas as if they were occurring in a different country or continent as opposed to 15-20 minutes away from their doorstep. I think that if most people realized the potential of those who live in these communities, they would recognize that they have much more to offer than what most of the media and politicians portray.

I think the rise of hip-hop and many of the stories described by Charnas help positively steer the narrative of what the ghetto means to American culture and enterprise. The countless stories of intuitive DJs, resourceful artists, and ingenious businessmen help counter the stereotypes of limited talent and genius in these areas. I believe all Americans have such potential but the opportunity to exercise such talent is unfortunately limited to those with access. I find it a very intriguing question to ask if hip-hop would exist if there were no ghetto. That’s difficult to say, but I certainly can’t argue that the motivation behind all facets of hip-hop is clearly based on countering the establishment and fighting the oppression that many in the ghetto face. Since black people in America have typically been the most marginalized and coerced by society, hip-hop seems like a logical backlash, through artistic expression, of those who want to overturn or bring to light the conditions of the ghetto. Hip-hop has certainly shaped the perception of the ghettos of America but I believe it is much more a reflection of what’s occurring and not a symptom--as some media outlets (i.e. Fox) would like to present.

This has unfortunately set up hip-hop, especially in its music, to be one of the easily more exploitable forms of entertainment in recent history. Many involved in the music are generally more concerned about a big pay day then seriously cultivating the art. While this has pushed hip-hop to the top of pop and sales charts, many are dissatisfied of the storylines of the music today. Those from poor backgrounds usually don’t have the foresight to capitalize on the genius and value they are able to produce without education. I’m certain Dre could have started his own audio company without Iovine and would have found immeasurable success anyways, but the lack opportunity to study business or engineering probably kept Dre boxed in to thinking he was just a musician and not a brand. Although this narrative is changing it has led to some grave mishandlings of wealth from some of the most iconic artists of our time as described by Charnas. The cut-throat nature of the corporate side of hip-hop has had a profound effect on its rise to popularity but the backdrop of the impoverished ghetto is inseparable to its identity.