By Angel-Amon Wildgoose
The direct stakeholders involved with the issue I am exploring this summer are Hip-Hop scholars, including Dr. D’Amico whom I am working alongside this summer. She is a professor at three different Canadian universities with an emphasis on the history and progression of the genre. I would consider other scholars, hip-hop artists, and DJs to also be direct stakeholders. Indirect stakeholders include the city of Toronto, which benefits from the popularity of the Canadian artists who represent where they’re from. Although the city does not directly contribute to the success of the artists, the culture of the city plays a big part in what they make their songs about.
The connection I have to the issue starts with my curiosity to want to understand a sub-genre of the music I enjoy and study. Hip-Hop is not limited to Americans just because the birthplace is New York. I have also always had an interest in traveling to Canada as well. My assumptions stem from what I have heard and seen through the media about Canada and its music scene. Since I have been here, some of them have been proven right and others proven wrong. First, regarding music, many Canadians have their own critiques on why Canadian Hip-Hop is not as popular in the States despite proximity and why many Canadian rappers do not make it past being locally known. I spoke with a woman named Michelle who happened to be the mother of a very popular Toronto rapper who has reached international status. She says the issue many Canadian rappers have is trying to create an image that is nowhere near a reflection of Toronto, but a reflection of Los Angeles, Atlanta, or New York. She says authenticity is key. Secondly, I also assumed the country would be full of overly nice people, honesty, and safety. Though that is not the case, it’s ignorant to assume any place will be exactly as you saw it on TV or wished it to be in your head.
The perspectives that are currently represented in my research are from those who are fans of Hip-Hop music, not those who make it or actively contribute to it. Within the next week I have plans to sit down with a couple of artists and DJs to get their perspectives on the past, present, and future of Canadian Hip-Hop. I want to engage in honest conversations and honest critiques from the ones who invest themselves in the genre everyday and have made it their livelihood. I want to bring together as many perspectives as I can in my research; musicians, scholars, executives, even the ones we consider to be skeptics or “haters” when it comes to hip-hop.
After reviewing the four roles of social change video, I want to inhabit the role of “The Organizer”. This role brings together people in the community to create tactics for change. I believe that I, as an American, am not in the position to be a Rebel in a foreign country where I am not fully aware of the laws and consequences of standing so boldly for an issue I do not carry as heavily as Canadians do. Being a Helper makes me feel like a bystander because the issues will continue to persist if no one speaks up about them. Lastly, we talked about the Advocate, who will go the political route. I do not think my research calls for me to be a lobbyist or try to convince decision-makers to do anything. The Organizer, in my opinion, will make the biggest impact in highlighting these artists within their communities and working with said community to create avenues for global exposure.
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