Abstract
No other cultural practitioner values authenticity, or “keeping it real,” more than rappers and hip hop musicians. Debates regarding what “real” hip hop is, however, remain contentious. This chapter examines how the Hong Kong hip hop group LazyMuthaFucka (LMF) localizes hip hop authenticity. Deviating from existing studies which label LMF as “conscious rap” or “gangsta rap,” the study introduces the notion of the “Lazy element” to reveal LMF’s artistic vision as one that is too “Lazy” to conform to any artistic conventions or categories. The examination focuses on how the group manifests the Lazy element in both its musical and lyrical aesthetics. This chapter concludes that LMF’s Lazy element represents the localization of the fluidity of hip hop authenticity in the Hong Kong context.
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Notes
- 1.
For an extensive survey of the debate of authenticity in hip hop, see Charry (2012, 310).
- 2.
For an academic attempt to define hip hop authenticity, see McLeod (1999, 137–148).
- 3.
“Mumble rap” gained prominence in 2016 and refers to a subgenre of rap music characterized by a relatively unclear vocal delivery of lyrics over hard hip hop instrumentals. Its controversy is largely due to the fear of sacrificing lyricism, which is viewed by many hip hop fans as integral to the genre. See billboard.com ’s article “The Rise of ‘Mumble Rap’: Did Lyricism Take a Hit in 2016” (2016) for an overview of the debate.
- 4.
Examples of localization of hip hop authenticity outside of America include IAM (France), Reggie Rockstone (Ghana), Deeb (Egypt). IAM notably addresses Islamophobia in France; Reggie Rockstone is the “godfather” of “hiplife,” a hybrid of African American hip hop and Ghanaian highlife; Deeb is one of the rappers who mobilized youths during the Arab Spring (2012).
- 5.
Critics such as Eric Ma (2002) and Angel Lin (2008) have refused to explicitly label LMF as “hip hop,” instead using the more ambiguous term “alternative.” Lin further argues that LMF is a “fusion of Rock and Hip Hop genres.” However, 1980s hip hop acts such as Run-DMC and Beastie Boys are precisely the result of synthesizing rock and hip hop.
- 6.
Since reuniting in 2009, LMF has officially released three songs: “Middle Finger in the Air” (2009), “Dictatorship in Numbers” (2010), and “A Century of Evil” (2014). While these songs are lyrically and musically consistent with their previous albums, they indicate a significant drop of productivity upon LMF’s return.
- 7.
See Chu Yiu-wai’s seminal study Hong Kong Popular Lyrics Studies: from the mid-1970s to the mid-1990s (1998).
- 8.
MC Yan’s post-LMF record label “Fu©Kin Music” can be considered an extension of LMF’s search for hip hop authenticity. See Chu (2011).
- 9.
This paper is not the venue for exploring why Hong Kong is arguably one of the few places that has failed to establish a sustained mainstream presence for hip hop music. See Mak (2014).
- 10.
For the multiplicity and constructedness of identity, see Brubaker and Cooper (2000, 1).
- 11.
The Cambridge English Dictionary defines “motherfucker” as “an extremely insulting name for someone you hate or for someone who has made you angry.” However, “muthafucka” is further associated with the African American oral tradition of the “Dozen,” which is a verbal game that competes in delivering the most powerful insult against the opponent’s mother. See Jarman-Ivens (2007, 121) for a critical survey on the term.
- 12.
Refer to the lyrics and music video of the song “Lazy Clan” (2000) for further insight into the group’s name.
- 13.
As remarked by the anonymous reviewer of this article, the “vulgarity” or use of Cantonese slang can be traced back to the Cantonese songs in the 1950s—or even earlier. Sam Hui is arguably the most recognizable and influential artist who incorporated Cantonese slang into his songs, such as Games Gamblers Play (1974) and The Private Eyes (1976). It should however be noted that Sam Hui’s style of vulgarity was generally received as lighthearted humor, whereas LMF’s vulgarity was deemed abominable.
- 14.
Ma (2002, 188). This point is eloquently expounded by Abbas. He describes colonial Hong Kong society as “doom and boom,” in which “the only form of political idealism that has a chance is that which can go together with economic self-interest, when ‘freedom,’ for example, could be made synonymous with the ‘free market.’” See Abbas (1997, 5).
- 15.
Angel Lin uses the homophonic but informal character撚 which formally means “to play,” but the context makes the reference to genitalia clear.
- 16.
Chan (2002, 3). The original source http://www.mcities.com/frontPage/lmf—interview.html is no longer accessible.
- 17.
The RZA contributed to the production of III: Temple of Boom (1995) and is the first producer to gain outside production credits in Cypress Hill’s discography. The GZA also made a collaborative album with DJ Muggs entitled Grandmasters (2005).
- 18.
- 19.
There are two generations of LMF members. The first generation consists of former members of Anodize and other metal/rock musicians, while the second generation is characterized by hip hop-influenced musicians. It is the mix of first- and second-generation members who are behind the band’s eclecticism, or the “Lazy” element, as discussed in this paper. See Ng et al. (2001, 3–38).
- 20.
“1127” (2001), 0:43–0:49 (first verse).
- 21.
“1127” (2001), 1:48–1:53 (second verse)
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Cheuk, M.K.C. (2018). The Lazy Element: LMF and the Localization of Hip Hop Authenticity. In: Polley, J., Poon, V., Wee, LH. (eds) Cultural Conflict in Hong Kong. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-10-7766-1_9
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