Elton John meets Krumping

This week’s lecture on hip-hop got me thinking about a documentary I saw last year called “Rize”. The film highlights two relatively new dancing sub-cultures of Los Angeles: Clowning and Krumping. In particular, the film’s final song “Ghetto Gospel” by Tupac seems (in light of the lecture) more symbolic.

Hip-hop, after all, originated from the urban African American community. In the decades since it has become ‘mainstream’ (in that it is now widely recognized, socially accepted and commended). “Ghetto Gospel” reflects this acceptance: Tupac represents a traditional hip-hop artist (in this case a rapper), however the song also features Elton John. Elton’s involvement reflects the acceptance and appreciation of hip-hop on a number of levels. Firstly and most simply, as a Caucasian artist he symbolizes the way in which hip-hop has crossed racial boundaries (further evidenced by the fact the song is produced by Eminem). In fact, Elton John (at 60) is a musical icon to multiple generations and is a veteran of the music industry. In embracing hip-hop he is reflecting the way in which the industry itself, and multiple generations, have begun to embrace hip-hop.

With that in mind, the song’s placement at the end of “Rize” seems more deliberate. As mentioned, Clowning and Krumping are relatively new dance subcultures that are still gaining acceptance and recognition. In this sense, they are analogous to hip-hop in its early days. They are largely African American subcultures and few outside of these subcultures fully understand or appreciate the skills involved.

Thus “Ghetto Gospel” provides a snapshot of the success these dance-forms could enjoy. Through the song, the film ends with a sense of hope a sense of hope, as the song is proof that art-forms can be born in disadvantaged or minority areas and nonetheless become incredibly popular and accepted.