Hip Hop’s Knowledge

After my second workshop with high school students as a part of the Hip Hop Academy, I officially feel outdated in the Hip Hop world. Not to say that I do not stay up to date with the current Hip Hop releases and activities, but it is clear that the same artists and music that caused me to fall in love with the culture are irrelevant, if not unheard of, according to teenagers just four or five years than me. Common, Talib Kweli and Jay-Z have been replaced by Meek Mill, Drake and Kendrick Lamar. While there are positive qualities to be discussed regarding these contemporary rappers, (particularly in terms of Kendrick) they distinctly lack the 1990’s style of early Hip Hop that defines the genre. These rappers helped establish true Hip Hop, and albums such as Mos Def and Talib Kweli Are Black Star, Reasonable Doubt, Illadelph Halflife and Resurrection embody the fifth and most essential pillar of Hip Hop: Knowledge, more than anything Drake or Meek Mill has produced. So even though Biggie Smalls and Tupac are still synonymous with early Hip Hop, Nas, The Roots, and the A Tribe Called Quests of the 90s are no longer discussed or noticed.

Comparatively, this is a shame. The majority of Drake and Meek Mill lyrics focus on drugs, money and women, and the glorifying fame this lifestyle brings. Of course, Common, Nas and the rest were rapping about these topics as well, but they were doing it in a much more socially minded, creative manner. For instance, one of Common’s most famous tracks, “The Light” serves as a platform for Common to discuss how his love for a woman extends beyond a purely sexual relationship, and how he would never use sexist terms such as “Bitch” directed at her. Meek Mill’s song “Amen” featuring Drake features lyrics like, “Shorty wanna f**k me, I say get on top and roller coast.” Not the most intellectual statement about women ever delivered in music. The same topics of drugs, women and fame have transitioned from forms of economic hustle, entrepreneurial spirit and meaningful relationships to testaments of power, success and male dominance, which perpetuate the negative stereotypes against Hip Hop culture. Any critic examining Hip Hop today would obviously assume that the genre of music promotes taking advantage of women, abusing drugs and alcohol and irresponsibly partying, as that is what the majority of Hip Hop says today. This is a shame, because Hip Hop has always, and always will, stand for so much for more.

However, it is not surprising that today’s youth idealizes Meek Mill and Drake. They produce catchy, attractive music that offers an identity and culture to which to attach; and not all of it is bad. Meek Mill promotes a life outside of prison (having gone to jail and sworn never to return) and Drake has said something intelligent here and there. Kendrick Lamar, while producing aesthetically different music than the 90s rappers, preserves their habit of writing creative, intelligent and socially conscious lyrics. As much as I would love to share my love for the artists that, for me, define Hip Hop, I unfortunately cannot force 10^th graders to see it the same way. I am left with the only prospect of finding the same values, creativity and genius in today’s rap if I hope to support Hip Hop’s last and crucial pillar.