Hip Hop Career Essay

The opening of De La Soul’s “Intro” (from the Stakes Is High album) is an expertly mixed chorus of four voices saying these six words…

When I first heard “Criminal Minded…”

…which refer to Boogie Down Productions’ 1987 album of that name, one of the most acclaimed albums in hip-hop history. De La Soul’s sentiment is clear and can easily be translated to “When I first heard that album that changed my life,” be it from BDP or Black Thought or Bob Dylan: the moment the listener hears an album that is both talking to and for them, bearing witness to a reality and helping to create a better reality. BDP and its lead rapper KRS-One became entertainers, journalists, and prophets to a South Bronx, N.Y., context full of poverty, drugs, and pop music — whether disco or rock — that was served to them but not made by them. As invisible as the politics of the day made them, hip-hop represented the soundtrack of resistance.

The notion of creating music as a way of creating or articulating reality has its roots in other genres. James Cone reminds us that blues music was created in the midst of the black struggle for being in another era, King David of Israel becomes a brilliant psalmist (that is “songwriter”) in the midst of deep pain, and Samuel Livingston traces humankind’s first songs to the African concept of neferu (cultural manifestations of functional beauty). In other words, music has always had a purpose before it had an industry, and its economy was purely social, made up of those who would listen, identify, and be identified by those artists.

When I first heard “Criminal Minded”
When I first heard 2Pac’s “All Eyez on Me”
When I first heard Common’s “One Day It’ll All Make Sense”
…It changed my world
…Because I heard myself, for the first time

Rap is scary to some because it is loud, which is entirely the point. It is a response with deep intention toward the systemic silencing by privileged whites, the wealthy, and the ignorant men who hold the center at this particular moment in time. It is the first bell that rings after the death around us young black Chicagoans has silenced us.

It is the cathartic response of Job after being stunned over and over, pathologically pummeled to the brink of nonbeing, and his first words — “Let the day perish on which I was born… let that day be darkness!” — which begin to reaffirm and reconstruct his being. His words are harsh and explicit and feel grossly emotional; in our context they would seem anti-intellectual when in fact they are super-rational, transcending intellect.

In 1988 and today, N.W.A.’s “Fuck Tha Police” is shocking and controversial — “uncalled for” by most tastes — until you hear the songwriters recall their inspiration, being pulled over in Los Angeles, handcuffed and forced to lie on the ground for being one thing: black. Was N.W.A. having a Job moment, or was Job having one of the first hip-hop moments? Either way, both texts comprise wisdom, both utterances remain necessary.

If you want to understand the violence epidemic in Chicago, listen to the “drill” music of the shooters. You will hear the struggle for being that too often describes and destroys. If you want to understand the beautiful complexity of our youth, listen to Chance the Rapper’s “No Problem,” where he talks about “scoopin’ all the blessings out my lap” and by the end of the same verse brusquely reminds us that his “shooters come for free.” His message is clear: He’s keeping his, by any means necessary.

What he’s really saying — perhaps in every verse Chance has ever written — is that his being matters. His album Coloring Book, along with BDP’s Criminal Minded, expresses the “courage to be” without probably ever hearing (and certainly never caring about) the name Paul Tillich. These are theological projects as much as they are musical ones, and hip-hop has a way of reminding us that the separation of the head and heart is mostly an academic and superficial one. Job should have written an album; maybe Notorious B.I.G. was reading the famous text when he settled on a name for his first album, Ready to Die.

Growing up on the Southside of Chicago in rap’s “Golden Era,” I had no need for church; I had already found an adequate object of worship in the music that blared through my cassette player — music from Christians and Muslims and Five-Percenters and Black Hebrew Israelites — music that was loud and confident and confrontational, explicit in every sense of the word. For all I had seen and endured, it needed to be.

We — that is, most young, black boys — take our cues from rappers, perhaps to a fault, but at least they show better journalistic integrity in accurately describing reality than most news outlets. This trust in entertainer as journalist evolves rappers into a greater role: the poets who shape culture, the poetry whose purpose is to create a new reality. You hear rappers who don’t understand this and use their microphone to spread a dangerous gospel of misogynist and capitalist urges — no different from some pulpits. But you also hear the proclamation and affirmation of the #BlackLivesMatter movement, its anger and its spirit engorged as a people fight to be made visible. In the rhythm and lineage you see Africa. It is neferu. It is the catharsis of Job. And for those hearing it for the first time…

When I first heard “Criminal Minded”
When I first read Job
When I saw myself

…it is like coming alive again. It is that Resurrection that many classically trained theologians spend too many words describing. It is a hip-hop moment.


This essay originally appeared in Sightings, a publication of the Martin Marty Center at the University of Chicago Divinity School. Sign up for their email newsletter.

This is the first in a weekly series of six essays looking at hip-hop's recent past, thinking about its distant past, and wondering about the possibility of a future. Read the second one here, the third one here, and the fourth one here.

There are three famous quotes that haunt me and guide me though my days. The first is from John Bradford, the 16th-century English reformer. In prison for inciting a mob, Bradford saw a parade of prisoners on their way to being executed and said, “There but for the grace of God go I.” (Actually, he said “There but for the grace of God goes John Bradford,” but the switch to the pronoun makes it work for the rest of us.) The second comes from Albert Einstein, who disparagingly referred to quantum entanglement as “spooky action at a distance.” And for the third, I go to Ice Cube, the chief lyricist of N.W.A., who delivered this manifesto in “Gangsta Gangsta” back in 1988: “Life ain’t nothing but bitches and money.”

Those three ideas may seem distant from one another, but if you set them up and draw lines between them, that’s triangulation. Bradford’s idea, of course, is about providence, about luck and gratitude: You only have your life because you don’t have someone else’s. At the simplest level, I think about that often. I could be where others are, and by extension, they could be where I am. You don’t want to be insensible to that. You don’t want to be an ingrate. (By the by, Bradford’s quote has come to be used to celebrate good fortune — when people say it, they’re comforting themselves with the fact that things could be worse — but in fact, his own good fortune lasted only a few years before he was burned at the stake.)

Einstein was talking about physics, of course, but to me, he’s talking about something closer to home — the way that other people affect you, the way that your life is entangled in theirs whether or not there’s a clear line of connection. Just because something is happening to a street kid in Seattle or a small-time outlaw in Pittsburgh doesn’t mean that it’s not also happening, in some sense, to you. Human civilization is founded on a social contract, but all too often that gets reduced to a kind of charity: Help those who are less fortunate, think of those who are different. But there’s a subtler form of contract, which is the connection between us all.

And then there’s Ice Cube, who seems to be talking about life’s basic appetites — what’s under the lid of the id — but is in fact proposing a world where that social contract is destroyed, where everyone aspires to improve themselves and only themselves, thoughts of others be damned. What kind of world does that create?

Those three ideas, Bradford’s and Einstein’s and Cube’s, define the three sides of a triangle, and I’m standing in it with pieces of each man: Bradford’s rueful contemplation, Einstein’s hair, Ice Cube’s desires. Can the three roads meet without being trivial? This essay, and the ones that follow it, will attempt to find out. I’m going to do things a little differently, with some madness in my method. I may not refer back to these three thinkers and these three thoughts, but they’re always there, hovering, as I think through what a generation of hip-hop has wrought. And I’m not going to handle the argument in a straight line. But don’t wonder too much when it wanders. I’ll get back on track.

*

I want to start with a statement: Hip-hop has taken over black music. At some level, this is a complex argument, with many outer rings, but it has a simple, indisputable core. Look at the music charts, or think of as many pop artists as you can, and see how many of the black ones aren’t part of hip-hop. There aren’t many hip-hop performers at the top of the charts lately: You have perennial winners like Jay Z, Kanye West, and Drake, along with newcomers like Kendrick Lamar, and that’s about it. Among women, it’s a little bit more complicated, but only a little bit. The two biggest stars, Beyoncé and Rihanna, are considered pop (or is that pop-soul), but what does that mean anymore? In their case, it means that they’re offering a variation on hip-hop that’s reinforced by their associations with the genre’s biggest stars: Beyoncé with Jay Z, of course, and Rihanna with everyone from Drake to A$AP Rocky to Eminem.

It wasn’t always that way. Back in the late '80s, when I graduated high school, you could count the number of black musical artists that weren’t in hip-hop on two hands — maybe. You had folksingers like Tracy Chapman, rock bands like Living Colour, pop acts like Lionel Richie, many kinds of soul singers — and that doesn’t even contend with megastars like Michael Jackson and Prince, who thwarted any easy categorization. Hip-hop was plenty present — in 1989 alone, you had De La Soul and the Geto Boys and EPMD and Boogie Down Productions and Ice-T and Queen Latifah — but it was just a piece of the pie. In the time since, hip-hop has made like the Exxon Valdez (another 1989 release): It spilled and spread.

So what if hip-hop, which was once a form of upstart black-folk music, came to dominate the modern world? Isn’t that a good thing? It seems strange for an artist working in the genre to be complaining, and maybe I’m not exactly complaining. Maybe I’m taking a measure of my good fortune. Maybe. Or maybe it’s a little more complicated than that. Maybe domination isn’t quite a victory. Maybe everpresence isn’t quite a virtue.

Twenty years ago, when my father first heard about my hip-hop career, he was skeptical. He didn't know where it was all headed. In his mind, a drummer had a real job, like working as music director for Anita Baker. But if I’m going to marvel at the way that hip-hop overcame his skepticism and became synonymous with our broader black American culture, I’m going to have to be clear with myself that marvel is probably the wrong word. Black culture, which has a long tradition of struggling against (and at the same time, working in close collaboration with) the dominant white culture, has rounded the corner of the 21st century with what looks in one sense like an unequivocal victory. Young America now embraces hip-hop as the signal pop-music genre of its time. So why does that victory feel strange: not exactly hollow, but a little haunted?

I have wondered about this for years, and worried about it for just as many years. It’s kept me up at night or kept me distracted during the day. And after looking far and wide, I keep coming back to the same answer, which is this: The reason is simple. The reason is plain. Once hip-hop culture is ubiquitous, it is also invisible. Once it’s everywhere, it is nowhere. What once offered resistance to mainstream culture (it was part of the larger tapestry, spooky-action style, but it pulled at the fabric) is now an integral part of the sullen dominant. Not to mention the obvious backlash conspiracy paranoia: Once all of black music is associated with hip-hop, then Those Who Wish to Squelch need only squelch one genre to effectively silence an entire cultural movement.

And that’s what it’s become: an entire cultural movement, packed into one hyphenated adjective. These days, nearly anything fashioned or put forth by black people gets referred to as “hip-hop,” even when the description is a poor or pointless fit. “Hip-hop fashion” makes a little sense, but even that is confusing: Does it refer to fashions popularized by hip-hop musicians, like my Lego heart pin, or to fashions that participate in the same vague cool that defines hip-hop music? Others make a whole lot of nonsense: “Hip-hop food”? “Hip-hop politics”? “Hip-hop intellectual”? And there’s even “hip-hop architecture.” What the hell is that? A house you build with a Hammer?

This doesn’t happen with other genres. There’s no folk-music food or New Wave fashion, once you get past food for thought and skinny ties. There’s no junkanoo architecture. The closest thing to a musical style that does double-duty as an overarching aesthetic is punk, and that doesn’t have the same strict racial coding. On the one hand, you can point to this as proof of hip-hop’s success. The concept travels. But where has it traveled? The danger is that it has drifted into oblivion. The music originally evolved to paint portraits of real people and handle real problems at close range — social contract, anyone? — but these days, hip-hop mainly rearranges symbolic freight on the black starliner. Containers on the container ship are taken from here to there — and never mind the fact that they may be empty containers. Keep on pushin’ and all that, but what are you pushing against? As it has become the field rather than the object, hip-hop has lost some of its pertinent sting. And then there’s the question of where hip-hop has arrived commercially, or how fast it’s departing. The music industry in general is sliding, and hip-hop is sliding maybe faster than that. The largest earners earn large, but not at the rate they once did. And everyone beneath that upper level is fading fast.

The other day, we ran into an old man who is also an old fan. He loves the Roots and what we do. Someone mentioned the changing nature of the pop-culture game, and it made him nostalgic for the soul music of his youth. “It’ll be back,” he said. “Things go in cycles.” But do they? If you really track the ways that music has changed over the past 200 years, the only thing that goes in cycles is old men talking about how things go in cycles. History is more interested in getting its nut off. There are patterns, of course, boom and bust and ways in which certain resources are exhausted. There are foundational truths that are stitched into the human DNA. But the art forms used to express those truths change without recurring. They go away and don’t come back. When hip-hop doesn’t occupy an interesting place on the pop-culture terrain, when it is much of the terrain and loses interest even in itself, then what?

Back to John Bradford for a moment: I’m lucky to be here. That goes without saying, but I’ll say it. Still, as the Roots round into our third decade, we shoulder a strange burden, which is that people expect us to be both meaningful and popular. We expect that. But those things don’t necessarily work together, especially in the hip-hop world of today. The winners, the top dogs, make art mostly about their own victories and the victory of their genre, but that triumphalist pose leaves little room for anything else. Meaninglessness takes hold because meaninglessness is addictive. People who want to challenge this theory point to Kendrick Lamar, and the way that his music, at least so far, has some sense of the social contract, some sense of character. But is he just the exception that proves the rule? Time will tell. Time is always telling. Time never stops telling.

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