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The Hypocritical Censure of Hiplife Lyrics
By Linda A. Annan
Ghanaians will rock to the pulse of any American or European sound without the least bit of analysis, let alone criticism. A certain kind of music becomes more appealing because of its touch of Western influence. But nothing is more maddening than criticism of Ghanaian artists – practicing similar styles – by individuals who listen to and enjoy Western music seeped in profanity.
Those remonstrating to the present state of Hiplife lyrics claim they are too explicit for children; apparently it entices some kids to act upon what they listen to, causing concerns among parents.
Now while such an alarm is understandable, one cannot help but wonder how many Ghanaians called for a ban of Marvin Gaye's “Sexual Healing.” Some lyrics from the 1982 hit song go:
“Ooh, now let's get down tonight…Baby I'm hot just like an oven…I need some lovin'…And baby, I can't hold it much longer…It's getting stronger and stronger…And when I get that feeling…I want sexual healing.”
Gaye's, in much milder tones compared to others might be able to escape such criticism; but consider R. Kelly's “Ignition”:
“Now it's like “Murda She Wrote”…Once I get cha out them clothes…Privacy is on the do'…But still they can hear ya screamin' mo'…Girl I'm feelin' whatchu feelin'…No more hopin' and wishin'…I'm about to take my key ‘n'…Stick it in da ignition.”
Words from Bryan Adams' third #1 single in 1996, “Have You Ever Really Loved A Woman,” go:
“To really love a woman…Let her hold you - til ya know how she needs to be touched. You've gotta breathe her - really taste her…Til you can feel her in your blood.”
We can skip all the others as I believe I am making my point. I must state though, that this is not justification of Western lyrics and neither is it meant to be the victim of a stomping foot. It is only to demonstrate how such songs are eagerly embraced by Africans with very little or no lift of the brow; some are even deemed romantic by those who love them.
So why are Hiplife artists – some of who may have borrowed lyrical styles from Western artists – the only ones being berated by the very people they work hard to entertain? The message it clearly screams is that the Western approach to things still holds a place of superiority in the minds of many Africans so much so that the worst things are accepted without questioning.
And what arguments can be raised to condemn these artists? That the call for refined lyrics is due to the fact that Africans are brought up to be modest and perhaps sacrilegious? If that were the case then there should never have been the Nana Acheampongs, Daddy Lumbas and Kwadwo Antwis.
While uplifting, educative messages are needed today to empower our youth, a fair and consistent stance on community issues as these are imperative for positive change. One group of people cannot be treated differently from the other, especially when the other is your own. Ghanaians should protest for rapper 50 Cent's “Candy Shop” to be taken off air before any Hiplife artist's lyrics are ever scrutinized.
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