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Nicole Matteson

Ethical Theory, Robertson

March 23, 2017

Final Paper

Valuing Hip Hop As a Format for Impure Dissent

In Tommie Shelbys novel, Dark Ghettos: Injustice, Dissent and Reform, the author

decides, In publicly communicating condemnation of injustice, a healthy sense of self-respect,

solidarity with the oppressed, and defiance in the face of illegitimate authority, impure dissent is

a vital element of the political ethics of the oppressed, and hip hop is sometimes the vehicle for

its expression (Shelby, 273). This opinion is important for society to hear because it

demonstrates the circumstances in which rap and hip hop music is considered Impure Dissent,

while simultaneously expressing the severity of the message behind the music. When dissent is

impure, it is not to pass judgement of the artists or critique its purpose. Shelby uses this term to

address a common phenomenon of normatively transgressive political dissent (Shelby, 257).

With provocative lyrics explaining in brutal honesty the daily injustices these artists endure, the

general public has been exposed to countless examples of racial inequality within the United

States, which provides more evidence towards the necessity of societal modification.

In his last chapter, Shelby focuses on Impure Dissent and how to refute arguments

which devalue the message of hip hop artists. He explains many people view hip hop as

nihilistic and devoid of serious political content, because rappers themselves indulge in the very

behaviors associated with the ghetto poor's negative stereotypes (Shelby, 253). Support of drug

use, disrespect of women and law, and idolization of street living are some subjects talked

about in songs. Simply because the lifestyle they speak of is different than the majorities should
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not be reason enough to completely ignore the message of dissent behind their music. Shelby

argues that morality and behavior of the dissenter does not devalue the message they are

attempting to portray. He calls hip hop a form of symbolic exit because its artists are proudly

standing their ground, remaining firmly opposed to the prevailing social order and to the

malicious, selfish, and complacent attitudes of their fellow citizens (Shelby, 272). The author

does not believe hip hop has to be explicitly aimed at inducing change, but the artists still inform

the public of the reasons behind their dissent, even though it is highly unlikely the music they

produce will make a serious impact. Social change can come as an unintended consequence of

hip hop, but the point of hip hop music is arguably public expression of dissent.

Shelby provides valid arguments towards the value of hip hop music, and why the public

should not pass judgment on the medium to which artists express their dissent. Criticism of hip

hop shows ignorance of the critic because they are unable ignore the provocative aspects of the

genre and cannot recognize the valuable message of dissent. It is crucial for society to respect rap

and hip hop artists because society is partially responsible for many of the injustices talked about

in their music. Ignoring the message ignores the fact the United States has prevailing injustices in

desperate need of modification.