"Men, it has been well said, think in herds; it will be seen that they go mad in herds, while they only recover their senses slowly, and one by one." - Charles Mackay
Monday, January 23, 2006
Don't believe the hype -- rap anger isn't a meaningful message
By John McWhorter,
senior fellow at the Manhattan Institute; his "Winning the Race: Beyond the Crisis in Black America" will appear in January.

Word on the street is that hip-hop is a message, the black CNN. Anyone who questions that winds up at the bottom of a verbal dog pile. Such traitors, we're told, just don't listen to enough of the music — that, in particular, the work of "conscious" rappers would change their minds.

Please. One can take a good dose of Talib Kweli, Common, Mos Def and Kanye "Bush doesn't care about black people" West and still see nothing that resembles any kind of "message" that people truly committed to forging change would recognize. Hip-hop, "conscious" or not, is music, and that's it.

For one thing, a lot of the "conscious" work sounds as much like street fighting as the gangsta stuff — an upturned middle finger set to a beat. Yes, Mos Def and Talib Kweli decorate their raps with calls to stop smoking and drinking, starry-eyed timeouts when they sing the praises of their baby daughters and vague calls for black Americans to look sharp. But there's a decent amount of that even in so-called gangsta rap, such as Tupac Shakur's chronicle of the vicious cycle of urban poverty in "Papa'z Gong," or Nas' hope that he will be able to redeem his past through his child in "The World Is Yours."

Meanwhile, Kweli tells us that when he's at the mike "you get hit like a deer standin' still in the light" and how in one competition he "smacked them in they face with a metaphor."

OK, he means it in the abstract. But why so violent? Why, exactly, must "consciousness" so often sound like a street fight? The "conscious" rappers just relocate 50 Cent's cops-and-robbers battle from the street to the slam contest.

I know: "Politics" means questioning authority. But street battle is not the only metaphor for civil rights activism. Since the '60s, millions of black people have achieved middle-class or even affluent status, founded businesses and attained higher degrees in this country, and very few of them did so by smacking somebody, literally or in the abstract.

It's true that violence is a matter of atmosphere in the "conscious" work. But I have a hard time gleaning exactly what the "message" is beyond, roughly, "wake up" — which does not qualify as constructive counsel in times as complex as ours.

Take Kweli again, in "The Proud." The "message": Blacks are worn down by oppression, the cops are corrupt thugs who either killed Tupac or know who did, and "we survive." But how we get beyond that is, apparently, beside the point.

Mos Def's "Mr. Nigga" first shows us the improper black thug we all could do without, but then argues that whites see all blacks the same way many blacks see the thug. It's a great piece in the formal sense. But how many people's "consciousnesses" in our moment are unaware that racist bias still exists? How does saying it for the nth time teach anyone how to make the best of themselves despite reality's imperfections? Or Kanye West's famous "Jesus Walks" cut is less "inspirational" than catchy. It's about Jesus; that's nice. But one more announcement that black America is in a "war" against racism inspires, well, nothing, nor do other bonbons West gives us on "College Dropout," such as the notion that crack makes white men rich or that blacks are only placed in high positions as window dressing.

Maybe these "conscious" lyrics are better than gangsta raps about tying women to beds and shooting them dead. But the politics are a typical brand of self-perpetuating, unfocused leftism. It sounds good set to a narcotic beat full of exciting cut-ins, but it offers nothing to the struggling black woman with children trying to make the best of things after her welfare time limit runs out.

Yes, her. In 1991, Tupac's "Brenda's Got a Baby" told about a single mom who tries to throw her daughter in the trash, turns to prostitution and is murdered. Many Brendas at that time went on welfare only to find that in 1996 it was limited to a five-year cap. So, these days, "Brenda's Just Off Welfare" and is one of the working poor. How about "consciously" rapping — a lot — about the difficulties Brenda faces today.

We do not look to raps for detailed procedural prescriptives, like government reports on how to improve school test scores. But there are places raps could easily go, still blazing with poetic fireworks. What about the black men coming out of jail and trying to find their way after long sentences in the wake of the crack culture 15 years ago? There would be a "message" beyond the usual one simply deploring that the men are in jail in the first place.

Why do "conscious" rappers have so little interest in the political issues that directly affect poor black people's lives? Could it be because those issues do not usually lend themselves to calls for smacking people and making the streets run red? If so, then chalk up one more for people who do not see hip-hop as politically constructive.

The "conscious" rappers themselves make the "message" analysis even harder to fall for because they tend to squirm under the label. "They keep trying to slip the 'conscious rapper' thing on me," Mos Def says. "They try to get me because I'm supposed to be more articulate, I'm supposed to be not like the other Negroes, to get me to say something against my brothers. I'm not going out like that, man." So it would be "going out" even to question the theatrical savagery that hip-hop's critics fail to see the good in?

"Conscious" rap, like gangsta rap, is ultimately all about spitting in the eye of the powers that be. But this is precisely what the millions of blacks making the best of themselves in modern America have not done. And contrary to what we are often led to believe, spitting is not serious activism. It's merely attitude.

There is not a thing wrong with "conscious rap" fans enjoying the beats and the rhymes and even valuing the sprinkles of an awareness of something beyond guns, Hennessy and women's behinds. But if we have gotten to the point that we are treating even this "conscious" work as serious civil rights activism, then black America is in even worse trouble than we thought.
posted by R J Noriega at 10:24 AM | Permalink |


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