Don't believe the hype -- rap anger
isn't a meaningful message

By John McWhorter
[LA Times]
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.

[LA Times]