Rappers, Slammers and Duffers

By DON ROLLINS

Poetry is the lifeblood of rebellion, revolution, and the raising of consciousness. — Alice Walker

It was the precipitous year, 1776, when a female former slave sent to the colonial commander-in-chief what some scholars hold as the first cogent, American political poem. Written by Phillis Wheatley and forwarded through the ranks of General Washington’s ragtag forces, “To His Excellency General Washington” is a literary apologetic urging Washington to stay the difficult course of rebellion.

Political poetry has since been a witness to every era and critical historical event — an artistic take on a chapter in the broad American narrative. Such works have from time to time helped benight heroes or expose scoundrels; influence public opinion for wars or against wars and; rally support for social movements or protect the status quo.

Fast forward, for with the establishment of rap as a distinct genre, the political poetry spearheaded by Phillis Wheatley has come full circle: African Americans and other marginalized communities have created a vehicle very much in the mode of Wheatley’s politically-minded poem as they register pent up outrage, call out injustice, and depict on their own terms their unique cultures and contributions.

It should be noted that critics, black and otherwise, have rightly pointed out the isms and phobias present in segments of rap. And those record companies, producers, writers and artists should be held to economic account. Yet to dismiss rap’s aggregate contributions to social, political and economic justice is a form of chosen ignorance, sure to widen not narrow America’s already vast privilege gap.

A similar but less caustic artistic platform emerged almost in step with rap: slam poetry. A revitalized movement with ties to black and white 1950s Beat poets, modern slam uses the spoken word format, and is most often performed in competitions.

As with rap, slam has a strong prophetic, multicultural bent. Designed to loosen up traditional (see Eurocentric) forms of poetry, slam puts forth some of the best progressive social commentary in the nation. And no one and nothing is off limits: corporatism, sexual harassment, gender fluidity, white supremacy, racial profiling, guns, inequality in education, and all things Trump.

While not uncommon among rap artists, slam poets draw even more heavily from characters and personal experience. As Oakland-based poet, artist and writer, Josh Healy notes, slam centers around stories:

“In terms of social change, storytelling can get us beyond the talking points of this or that “issue” to connect with people’s deeper feelings and emotions. People don’t want to hear about “health care,” but they do want to hear about your aunt Stacy who had to sell her mom’s wedding ring to pay for her cancer treatments …”

Middle-aged and older white liberals largely lack appreciation for today’s envelope-pushing rappers or slammers. Unless the grandkids (or great-grandkids) turn us on to an artist or two, we’re prisoner to our own artistic inertia. Yet at our fingertips is a whole world of resources for inspiration, insight and solidarity.

So fellow duffers, we can still keep “War Pigs”, “Fortunate Son” and the Hendrix version of the “Star Spangled Banner” on our playlists. Nothing wrong with some old school, hippy-era favorites.

But there’s a vast array of 21st century Jeremiahs out there, writing rhymes, telling their stories and generally raising hell with things as they are. It’s all there for the typing. Don’t miss out.

Addendum: For slam poets, start with Brave New Voices or Poetry Slam Inc. For rappers, just keep sampling artists until you find some favorites.

Don Rollins is a Unitarian Universalist minister and substance abuse counselor living in Pittsburgh, Pa. Email donaldlrollins@gmail.com.

From The Progressive Populist, September 1, 2018

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