Track 05. Bling: A Planet Rock (a review)
Many things are associated with hip-hop today—some are positive, some are negative; some are accurate, some are fabricated. One facet of the music and the culture that is true, however, is the admiration of bling—jewelry that is big, shiny, and expensive. Hits from the past, such as B.G.’s 1999 hit “Bling, Bling,” have emphasized the importance of this iconic symbol, a symbol that has been associated with hip-hop since the start (see the gold ropes that Run D.M.C. fashioned). Little has been discussed in the rap world, however, about where these diamonds come from. In the film, “Bling: A Planet Rock,” a documentary by UNDP and VH1, rap stars are taken to Sierra Leone, a poor African country that has been subjected to wars over diamonds, thus calling them “blood diamonds.” Hip-hop icons like Raekwon, Paul Wall, and Tego Calderon traveled to the country to obtain a first-hand look at how the money they dropped on their bling affected men and women, boys and girls halfway across the globe.
Before they go, the film discusses the state of rap music in the context of money—MCs like Jadakiss, Kanye West, and Juelz Santana discuss the desire for jewelry. At one point Jadakiss talks about how, as a rapper, when the paycheck comes, first comes the house, then comes the car, and third comes the jewelry. Little is known by rappers in general, however, about where these diamond come from. West is different however, as he comments, “It’s just ironic that what made Black people feel so empowered was completely demoralizing and destroying other Black people.” West, who has spoken out about the tragedy in Sierra Leone in “Diamonds are Forever,” did not travel but did have wise words regarding blood diamonds. The truth is this documentary shows the juxtaposition of Black people worldwide, via the African Diaspora, in the differences between rappers and Sierra Leone citizens.
The three artists that are brought to Sierra Leone represent the diversity of hip-hop. Paul Wall is a White rapper from Texas who owns his own jewelry store (the co-owner also went on the trip). Tego Calderon is a big name in Latino rap, and Raekwon is one of the founding members of the Wu Tang Clan, a highly influential New York based rap group. Their trip was not a vacation, but rather, they traveled to see the horrors of a war created by diamonds. They met amputees and ex-child soldiers and visited miners and slave stations. While talking with diamond miners, Paul Wall discussed how much certain diamonds would cost, and the miners asked him to pay them that price—which he could not do (the diamonds they were discussing still needed to be cut). The difference in lifestyle between the hip hop stars and the African people they come into contact with is extreme—where Africans have worked in hellacious circumstances to mine diamonds, these rappers dropped a significant amount of money to purchase their own.
Throughout the film, Raekwon seems to be the most outspoken opponent against the diamond industry in Africa. At one point he begins to confront the owner of one diamond mine that he was not giving enough money back to Sierra Leone. It is here that it seems that Raekwon comes across as showing off for the camera. Although Tego Calderon seems sincere in his actions and Paul Wall does too, (albeit, somewhat confused at times), Raekwon shifts between overwhelmed, melodramatic, and sympathetic. This belief may have been strengthened when, on the same day that they visited a slave hub, where shackles still exist on some walls, they also go to a nightclub and get lost in the moment. In fairness, this can show the potential of Sierra Leone to evolve beyond the decimated war-torn country of the 90s into something more. At the same time, however, it must be acknowledged that it seems odd that the same day someone is so bent out of shape about the lives of some Africans (and rightly so), he is out partying at a nightclub and discussing how great of a club it is. This is not to say that one cannot enjoy himself while recognizing injustice, but this seems to be too extreme.
Regardless of Raewon’s inability to let go of his hip hop persona, the film still successfully touches on a very difficult subject that is widely unheard of. I do not know what these hip hop stars have done for the country since their trip to Sierra Leone, but it was an eye-opening experience for both them and the viewers. Not only does it discuss the problems of the diamond trade, but it also helps define the international impact of hip hop music. During the diamond war of Sierra Leone, many wore Tupac and Wu Tang Clan shirts—shirts that they related to and connected with. The impact of these rappers halfway across the globe should not be a complete surprise—as hip hop should not be viewed much differently from rock music (which has infiltrated all corners of the earth, by-and-large). Still, the global impact of hip hop must be acknowledged not as a minimalistic artistic expression, but as a cultural, world-wide movement. The impact of hip hop digs deep. In the case of Sierra Leone, this deepness is twofold: first being the music that these Africans have attached themselves to as a form of expression and hope; second being the struggle that hip hop stars (and many other Americans—from Hollywood to New York to Miami and all in between) have helped create over the diamond trade. Bling: A Planet Rock does not offer a solution to the tragedy that has taken place, but it does offer the victims of this terrible war a voice. With that voice, they can impact not just Raekwon, Tego Calderon, and Paul Wall, but many others as well.
