The Hip-Hop Generation and the Politics of Disconnect

My first (and more than likely only) Utah Christmas has come and gone. What does this have to do with hip-hop you say. Ah, only everything. One of gifts this year was Jay-Z's new memoir titled 'Decoded', which purports to break down the story behind the songs. I was a little skeptical at first, but the book is very insightful (whether he wrote it or not) and the layout is real nice. But I digress.

A major theme of the book is the role hip-hop has played in defining this generation of African-American males and just how terrifying that definition is to most of America. Jay quotes a famous Biggie line that concisely displays this them:

Look at our parents, they even fuckin' scared of us...

Jay-Z's life is undoubtedly worthy of a memoir. The story of the rise of a young black man from the Marcy projects to being in Forbes magazine is enough, and really Jay-Z's entire career has been centered on telling that story from start to finish. But what has always made Jay-Z's music special is that his story is incredibly normal despite it's exaggerated nature. While he may tell it eloquently, the theme has always been the struggles of what has come to be known as the hip-hop generation

But even the label of hip-hop generation is misleading, for the message of the hip-hop generation is omnipresent, but it is one white America is often hesitant to confront. Go to any urban center and you will see the same problems. You will see the dilapidated public schools, corrupt local governments, police brutalizing, and the ever-increasing amount of young black people being put into the prison system. Despite this, there seems to be a consensus from white America: we have done enough.

It is no secret that America's discussion of race has stalled. And what this has led to is a view of African-Americans that is still defined by a homogenization of stereotypes. This can be said for hip-hop as well, and it is something that Jay-Z indirectly addresses throughout his memoir. He often complains that there is much more to his music than many have given him credit for, and this is a statement that applies on a much broader scale. In his book Decoded he writes:

To tell the story of the kid with the gun without telling the story of why he has it is to tell a kind of lie. To tell the story of the pain without telling the story of the rewards is...a different kind of evasion. To talk about killing niggas dead without talking about waking up int he middle of the night from a dream about the friend you watched die, or not getting to sleep in the first place because you're so paranoid from the work you're doing, is a lie so deep it's criminal.


Jay-Z tells the story of the hip-hop generation with this statement: there are more complexities existing within the hip-hop generation than many care to admit. And this gets to a much deeper point. Not only do many not want to examine these complexities and lend a critical thought to what it means to be black in America in the present day, but there still exists a deep, visceral fear of African-Americans that many refuse to confront.

And this applies very much to my rather liberal Utah community. There seems to be a notion that most will vote for a black president and espouse liberal ideals, but for most people's comfort levels concerning race ends. Jay-Z once wrote on The Black Album that he had '...demons deep inside that would raise when confronted'. This is an incredibly telling statement for the hip-hop generation. And while Jay-Z has made a career from speaking for the hip-hop generation, is a message that still hasn't been heard by most.

#1: Kanye West - My Beautiful Dark Twisted Fantasy

For this selection, there was no doubt. Kanye West may have created not only the best hip-hop album this year, but the best album period. As the release date for this album approached, people were expecting big things. Kanye was on a roll with his G.O.O.D. Friday series and even went to the lengths of creating a short-film to promote the album. We all knew that RZA, Pete Rock, Pusha, No I.D., and Q-Tip were hanging out with Kanye in Hawaii as he was putting the finishes touches on the album, and we all struggled to predict what would be the result of an album they all said was incredible. But even with all these factors that pointed towards My Beautiful Dark Twisted Fantasy being all sorts of fantastic, I don't think anyone expected anything like this.

What Kanye has created with his latest album may very well be his masterpiece; his album that helps redefine what rap music is, and this is due to multiple factors. As with every Kanye album, the production is unparalleled. From the triumphant 'All of the Lights' to the more understated 'Blame Game' and 'Runaway', Kanye seems to be able to combine where hip-hop has been to where hip-hop should go. But one of the most common knocks against Kanye is that his rapping skills would keep him from creating that era defining album. And then he created 'Gorgeous', a song that may be the lyrical song of the year:

I was lookin' at my resume
Feelin' real fresh today
They rewrite history I don't believe in yesterday
And what's a black beetle anyway? A fucking roach?
I guess that's why they got me sittin' in fuckin' coach

But this album is more than just the epic beats and Kanye's best rhymes to date. This album is something only Kanye West could have created. From the moments of unrelenting bravado on 'Power' to the self-deprecating moments on 'Runaway', the album shows the power hip-hop (an all music) can have when raw emotion is channeled through a talented vessel.

Almost a decade ago, Jay-Z created the now legendary Blueprint and it's supposed theme was that it would be what all hip-hop artists would try to emulate going forward. People did try to emulate it, but what made it so special is that no one truly could recreate it. When listening to Kanye West's My Beautiful Dark Twisted Fantasy, this realization comes back even stronger. It's easy to see that this album, hyperbole aside, will be the benchmark for the coming decade. It is, in essence, the next decades blueprint. But it's also easy to see that it will be a blueprint that all will fall hopelessly short of, perhaps even the creator himself. This is a testament to the completely uncompromising work Kanye West has created, and it certainly is not only the best album of this past year, but an album many will be trying to catch up to for years to come.

#2: Big Boi - Sir Lucious Left Foot: The Son of Chico Dusty

In many ways, Big Boi's long delayed album Sir Lucious Left Foot represents the state of modern hip-hop in it's current retrofuturism movement as it is attempted to be molded by the record label forces that be. Big Boi's album had become as famous as Dr. Dre's Detox for it's seemingly never ending delays. But while listening to this album there is one question that pops into one's mind: Who in there right mind would delay the release of this album?




Big Boi has often been thought of as the other guy in Outkast, and when many heard that his solo album was finally going to see the light of day, many were skeptical. It was possible to think of Andre without Big Boi but impossible to think of Big Boi without Andre. It's now fair to say that there is no 'other member' in Outkast as Big Boi has proven that he was more than a passenger in creating Outkast's funked out southern beats that have come to define the Atlanta duo. That same sound that defined Outkast is in full force on Sir Lucious Left Foot.

However, to say this album was just a throwback to the Outkast days would be missing the other half of it's greatness. On songs like 'Follow Us', Big Boi succeeds where many have failed in creating a hip-hop song crossed with a dash of indie rock as Vonnegut makes a guest appearance. But the theme of this album is there is always more, and while the unbelievable sound of this album is enough to wow the listener, the lyrics are what elevate it to the next level.

Big Boi celebrates the past while reminding us all that he is still one of the best rappers in the present. He plays the part of street connoisseur, conscious rapper, disgruntled veteran, and the sweet talker. What it all combines to make is one of the most refreshing albums in hip-hop. It is neither revolutionary nor formulaic. It has the songs that are clearly meant for mainstream play (like Shutterbug and Tangerine), but they still have a certain twist that Big Boi throws in to make them a little more unique, whether it's the thumping bass on Tangerine or the funked out Shutterbug. It's just one of the best albums of the year, choke full of great songs from start to finish, that never seems to get boring to listen to. And all from one of the most unappreciated artist in hip-hop.

Big Boi - Sir Lucious Left Foot: The Son of Chico Dusty

#3: Cee-Lo Green - The Lady Killer

Ok, I know, it's not a hip-hop album. But Cee-Lo is perhaps the greatest dual threat when it comes to singing and rapping. From his days with the legendary Goodie Mobb to his more recent works as the singing member of Gnarls Barkley, it's fair to say that Cee Lo's talents are diverse. And for that reason, coupled with the fact that Cee Lo's newest solo album titled The Lady Killer is irresistibly great, Cee Lo finds himself on this list.




Of course, when most people think of Cee Lo these days they think of the smash 'Fuck You' which is most definitely one of my favorite songs of 2010. But Cee-Lo's album is so much more than the one hit. Cee-Lo's gift, whether he is rapping or singing, has always been his soulful voice and it is on full display here as he creates an album that immediately transports the listener to the time of Motown and soul.

In an interview conducted in the midst of the the 'Fuck You' madness that swept across the country, Cee Lo said that the song was about the music industry, and on closer examination this makes perfect sense. The music industry has been notorious for it's mishandling of a talent such as Cee-Lo. And you have to wonder if 'Fuck You' wasn't a demand by the label in order to have an easily marketable single.Of course, in true Cee-Lo style, 'Fuck You' is not your normal single. It's still musically glorious and, of course, has the profane chorus that is undoubtedly directed at the music industry. But despite the enigma that is Cee-Lo, he has managed to create what is not only one of the most unique albums of this year, but one of the albums that is simply the most fun to listen to. And, for once, people are finally realizing his talents.

#4: The Roots - How I Got Over

The Roots have become hip-hop's consummate professionals. Evidence of this fact can be found on Late Night with Jimmy Fallon, but it has more to do with the remarkable consistency of The Roots without the benefit of a true smash hit or what one would define as a typical classic album. Still, The Roots not only perform one of the best live shows in hip-hop, but they are also able to put out a new album every so often that sounds like it's just a little bit further ahead than everything else everyone is trying, and that is certainly the feeling that their latest album, How I Got Over, presents.

The album features the same unbelievable production that seems to be formulaic for The Roots, but would be revolutionary for everyone else. It also features the rhymes of Black Thought, one of the most underrated rappers of this era. But the Roots also branch out slightly on this album, calling on the services of the Monsters of Folk and Joanna Newsome.




With all of the indie rock guest appearances and the late night show, it's easy to think The Roots have gotten complacent. That their music has perhaps become a little too business. However, on multiple listens to How I Got Over this thought is easily dispelled. For most other groups, The Roots subject matter would immediately earn them the label of conscious rap. The Roots, for the most part, escape this categorization. This is mainly because The Roots have created their own lane in rap, and there is no other musician (or group of musicians) to even compare them to. In an age where flash is one of the several defining themes, The Roots still manage to make great music and people still manage to depreciate it.






The Roots - How I Got Over

#5: Big K.R.I.T. - K.R.I.T. Wuz Here

Hip-hop is motivational music. It's hard to listen to legends such as Rakim and Jay-Z and think that you are doing enough with your life. This makes sense when one studies hip-hop and realizes that one of the defining themes in the genres history is making something out of nothing. This is why hip-hop was birthed out of the concrete jungle of the South Bronx with little other than a crate full of old disco and soul records and a speaker system.

However, with the multi-billion dollar industry that it has grown into it's tough to recognize those roots sometimes. With artists like Kanye making a short-film to help promote his own album, it's fair to say hip-hop is no longer an underground genre. However, the modern music industry presents complications. With record companies completely unwilling to take risks in an era of depleted record sales, many artists are left to fend from themselves. And where most artists flounder under such weight, Big K.R.I.T. rises with one of the best, and certainly the most motivational, hip-hop album of 2010.





In an era of hip-hop consumerism, Big K.R.I.T. stands out as an artist on his own. Complaining on the song 'Viktorious', "I'm making my own beats what the fuck!" this album displays the thoughts, ambitions, and frustrations of a young artist with the music industry that he desperately needs to break into. Even the title suggest a person anxious to leave their mark on the world whether others want him to or not. And even though he had to write insightful lyrics, produce his own beats, and ultimately distribute his own album, it's fair to say that mark has been made.

Days after his K.R.I.T. Wuz Here was released, labels came knocking at his door. They will undoubtedly be looking for the next 'Country Shit' or the next 'Children of the World', but what is on full display in the career of Big K.R.I.T. is the embodiment of hip-hop traditionalism. He is an artist that no label expected anything from, and while that is a shame and it shows the continued dysfunctional relationship between hip-hop artists and hip-hop labels, it have been for the best. In an era of hip-hop consumerism, Big K.R.I.T. was forced to return to the hip-hop tradition of making your voice heard by any means necessary and with it created one of the most unexpected hits of this year.

Big K.R.I.T. - K.R.I.T. Wuz Here

#6: Shad - TSOL

Hip-hop, like any genre, is subject to classification. Hip-hop fans obsess over categorizing what is real hip-hop and what isn't, whether something is conscious rap, cocaine rap, gangster rap or any of the other countless subgenres. This practice is hardly unique to music, it can be found in studies of literature to cinema. But every once in a while their comes along a musician, artist, or author that seems to defy classification. They seem to defy everything their genre portrays and stand out from the lineage of progression along which most others can be found.

This is certainly the case when listening to Shad's TSOL. Make no mistake, the album features your traditional hip-hop beats and it's focus is still the clever wordplay that has been the focal point of hip-hop for over two decades. But none the less something about Shad seems different. Perhaps it's that he's from London, Ontario (which is perhaps the least likely hip-hop setting of all time) but Shad seems to be outside of the hip-hop tradition yet steeped in it at the same time.

A fine example of this can be found on the song 'Keep Shining' which decries the absence of woman in hip-hop in what is the most appropriate example of self-reflection any hip-hop artist has displayed on the subject in a while. And in reality, the song not only applies to hip-hop but to American society in general. Shad pin-points a fact that few can grasp in a mere three minutes: equality has less to do with a shallow mirage of acceptance and more to do with a deep understanding of the other and this can only be gained through letting others do and speak for themselves. This lyric can truly be transformed to almost every aspect of American society:

I talk to women I just can't talk for women, that's for you
We need women for that, more women in rap


Shad will undoubtedly be labeled a 'conscious rapper', and this is truly a shame. Not only is his wordplay some of the cleverest I have heard all year, but to pigeonhole an artist like this is a mistake. Shad is so unique it's tough to make sense of him. He raps about typical conscious rap subjects but does so in his own creative way that still focuses on creative writing as well as important subject matter. He's a Kenyan born Canadian bred rapper working on his Masters in Liberal Studies. He's an artist too unique for specific categorization and that's what makes this album so uniquely great.





Shad - TSOL