Two critiques... One of a Times article, the other of an Academic Essay
Walt, Vivienne. “El Général and the Rap Anthem of the Mideast Revolution.” Time, February 15, 2011. https://time.com/archive/6953513/el-general-and-the-rap-anthem-of-the-mideast-revolution/.
Two-time Pulitzer Prize nominee journalist and foreign correspondent Vivienne Walt covers the biggest stories of the 21st century, sometimes traversing into hot zones gurgling with unrest.[1] One such piece of history that Walt covered was the Arab Spring revolutions that doused the Arab world in turmoil and strife.[2] During her time working on the subject, Walt interviewed renowned hip-hop artist El Général about the massive impact his song had on the revolts in Tunisia and the rest of the Arab world. Walt refers to El Général as ‘the bard of the North African revolutionary wave’ and relates his story and struggle with a sense of awe and respect.
Before the Arab Spring revolutions began, El Général was banned from making music, distributing soundtracks, or performing live due to his critical views on the President and the government. El Général was not deterred however, instead, he began posting his songs on his personal Facebook page. His songs had a message; they called out the government for not taking care of its people and requested better conditions for the public. El Général began to amass a following of like-minded individuals who also took issue with the way things were being run.
The power of his music became a threat to the police and the corrupt government who finally arrested him on December 24, 2010, after releasing the song ‘Tunisia Our Country’ on December 22. He was held for three days in the National Security Bureau before finally being released. During this time period, he was questioned and accused of being paid to post the songs about the President by political rivals of the current government. Eventually, the police realized that El Général was a celebrity because of the public’s reaction to his arrest. Protestors demanded his release in the form of chants and the President himself even called asking for his release.
Walt describes El Général’s experience as a catalyst of change with harrowing detail and a respect for the young artist. El Général himself came away from his experience feeling proud of how his music helped to change things for his people. Walt’s purpose is to clearly state the circumstances of El Général’s involvement in the Arab Spring revolutions, his kidnapping, and the government’s attempts to silence him. The article is purely based on El Général’s experiences and is an interview of the event from his perspective. This helps to showcase the viewpoint of someone who directly impacted the Arab Spring revolutions, even though they were not directly involved on purpose in the beginning. While the article is not purely historical, it is a first-person account of the events that took place. Walt places links within the article to more information about the Middle East revolts during that period and also photos of the infamous self-immolation of the vegetable vendor in Tahrir Square. This aids in the understanding of the surrounding situation referred to in the article. The article itself has great value as a primary source because it is a direct interview of someone who was heavily influential in the Arab Spring revolts.
[1] Pulitzer Center, Vivienne Walt
[2] Pulitzer Center, Vivienne Walt
Morgan, Marcyliena, and Dionne Bennett. “Hip-Hop & the Global Imprint of a Black Cultural Form.” Daedalus 140, no. 2 (2011): 176–96. http://www.jstor.org/stable/23047460.
In Hip-Hop & the Global Imprint of a Black Cultural Form, authors Marcyliena Morgan and Dionne Bennett take readers on a journey of exploration into the diffusion and immersion of hip-hop culture on a global scale. The roots and origins of hip-hop are discussed and proposed as not just foundations but as a blueprint for future Hip-Hop community members. The authors detail the expansion of Hip-Hop culture, form, and ideology as it has dispersed into the global community; the concept of local culture and issues combined with the base theory of expression and innovation adversely occurring to change, broaden, and enculturate the society surrounding the movement reigns supreme.
The authors of this article, Marcyliena Morgan and Dionne Bennett, are both educators and researchers specializing in African American Studies. Morgan is a professor at Harvard University and has published works that discuss race, hip-hop, and African American culture. Bennett is an assistant professor at Loyola Marymount University and has published work relating to the achievements and sense of community amongst Black Americans. This article was published in the Daedalus, a journal featuring works by Fellows of the American Academy of Arts and Sciences.
This article does an excellent job of highlighting the many different cultures that have embraced and affected their own version of hip-hop. The section detailing the heights of success for international hip-hop artists was especially compelling. Though hip-hop originated in America, there have since been dynamic and important influences that have altered the culture which originated from outside the U.S. The article also describes how protestors and activists have successfully utilized hip-hop or rap to affect change in their countries. This article embodies the feeling that hip-hop originally gave the youth who created it; that their ideas, opinions, and points of contention mattered and could affect change on a real level. Hip-hop is a method of expression for voices that are marginalized and unheard. Another point that the article made very clear is the global commercial success of hip-hop. From the streets of the Bronx to the major international market, hip-hop has taken the world by storm. It not only dominates the musical market but also the fashion and art industries. Hip-hop influences consumerism all over the world and it makes a lot of people a lot of money.
This article holds great value for those studying the art of hip-hop, the Black cultural experience, and the effects of a growing art form on global consumerism. This article relates a variety of information that can be used to understand and explain hip-hop culture, Black America, and the intricacies of the music industry. Furthermore, the examples provided in the article of how hip-hop has dispersed itself out into the world showcases the versatility and influence of hip-hop culture. There are many topics covered in the article that serve as inspiration for further research into the topics of hip-hop culture, Black America, and the impact of music on global politics.