In a world where rap is often synonymous with fame, fortune, and a fast-paced lifestyle, Indian rapper Hanumankind challenges this notion, offering a unique blend of raw poetic expression and cultural commentary. "Big Dawgs," one of his most powerful tracks, exemplifies his ability to bridge diverse influences while staying true to his experiences and identity.
Born Sooraj Cherukat in Kerala, India, and raised across multiple countries, Hanumankind’s background is as diverse as his music. He spent his formative years in Houston, Texas, where his love for hip-hop was cultivated. The Texan hip-hop scene, with its emphasis on slow, "chopped and screwed" beats and artists like DJ Screw, UGK, and Project Pat, deeply influenced his musical style. This influence is palpable in “Big Dawgs,” but Hanumankind takes it further by imbuing his lyrics with themes of cultural defiance, identity, and reflections on mortality.
Identity: Between Cultures and Beyond Borders
One of the most striking aspects of "Big Dawgs" is how Hanumankind uses the song to grapple with his multifaceted identity. The lyrics reveal an artist who refuses to be boxed in by societal expectations, whether those are imposed by the West or his homeland of India. From the opening lines, “Wait a minute (uh), get it how you live it (uh) / Ten toes in when we standin' on business,” Hanumankind establishes himself as someone who stands firm in his identity, regardless of external pressures.
Growing up in Houston exposed him to the Southern hip-hop scene, a culture vastly different from the Indian environments he would later return to. Yet, rather than conforming to either, he blends both influences. This fluidity is echoed in the lines: “The skin colour like the bourbon / A worldwide sign that we face close curtains,” where he nods to his darker complexion, using it as a metaphor for his global identity and the racial barriers he navigates.
Cultural Defiance: Honoring Southern Hip-Hop
Hanumankind doesn't shy away from paying homage to the Southern hip-hop legends that shaped his style. His reference to Project Pat, a Memphis-born rapper known for his distinct flow, is apparent when he raps, “Swervin' while I'm bumpin' Project Pat.” The song’s structure itself is influenced by the Southern rap tradition, particularly the emphasis on the end of lines, reminiscent of Project Pat’s distinctive delivery.
This homage is more than just a stylistic choice—it's a statement. By blending Western and Indian cultural elements, Hanumankind positions himself as a global artist, someone who transcends the limitations of geography and language. This defiance is crucial, especially in a world where rap is often expected to conform to regional or national boundaries. As Hanumankind has stated in interviews, "I’m not an Indian rapper, but I’m a rapper from India." This subtle yet profound distinction is crucial in understanding how he sees himself within the global hip-hop landscape.
Mortality and Legacy: Defying the Limits of Life and Death
In the latter half of "Big Dawgs," Hanumankind pivots from exploring identity to delving into more existential themes. Mortality and the fear of being forgotten are central motifs in the song, as seen in the lines: “When I die they will not bury me, not what I want / Burn my body, pour my ashes in a river y'all / That's how we knowin' that the flow about to carry on.”
These verses reflect Hanumankind’s desire for immortality—not through conventional means, but through the lasting impact of his work. By requesting his ashes be spread in a river, he evokes imagery of flowing water, a symbol of continuity and legacy. The metaphor of “the flow” not only represents the river but also his musical flow, which he hopes will carry on long after his death. This philosophical musing on life and death adds depth to the song, taking it beyond the typical bravado associated with mainstream rap.
In this section, Hanumankind moves from personal reflection to a universal exploration of mortality, challenging the idea of permanence. “Immortality’s a fallacy, I prove ‘em wrong,” he declares, suggesting that his legacy will transcend the physical limits of life. This ties back to his belief in the power of music as a vehicle for cultural and personal expression, one that can defy the boundaries of time and space.
Poetic Elements: Juxtaposition and Wordplay
While Hanumankind’s themes of identity and mortality provide the emotional weight of "Big Dawgs," his use of poetic techniques further elevates the song. His clever juxtaposition is evident in lines like “Celly on silent but the product end up hella loud,” where he contrasts silence with the metaphorical “loudness” of his success. This wordplay demonstrates his ability to layer meaning within his lyrics, making each line resonate on multiple levels.
In another verse, Hanumankind proclaims, “The only thing I’m breakin’ is her back with the motions,” a line that could be seen as a brash flex on the surface. However, this can also be interpreted as a commentary on breaking away from societal expectations, much like how he breaks through cultural barriers in his music. This duality—a surface-level bravado hiding deeper reflections—runs throughout the song, making "Big Dawgs" as much a philosophical inquiry as it is a rap anthem.
Conclusion: A Defiant Voice in Global Hip-Hop
"Big Dawgs" encapsulates Hanumankind’s journey as an artist, one who has navigated the complexities of global identities, cultural expectations, and personal legacy. His lyrics, while firmly rooted in the traditions of Southern hip-hop, offer a fresh take on familiar themes, weaving in his own experiences of being an outsider in multiple worlds. The song’s poetic elements, thematic depth, and cultural defiance make it a standout track, both within the Indian hip-hop scene and on the global stage.
By choosing to honor his influences while carving out his own path, Hanumankind challenges not only the expectations placed on him but also the broader definitions of what it means to be a rapper today. In "Big Dawgs," he asserts his place in the hip-hop pantheon—unapologetically, on his own terms.
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