In university I read “And It Don’t Stop: the Best American Hip Hop Journalism of the Last 25 Years.” It’s a collection of articles spanning back some 30 years recording the rise and ultimate growth of hip-hop. Recently I’ve been reading it over and wanted to share my thoughts on it.
The book did a couple things… First it inspired me.
The articles from these well known journalists were articulate, covered controversial topics, and were written with depth and knowledge of their subject. These writers wrote bold, insightful articles committed to hip-hop culture, unafraid to defend or critique it. Reading the works of dream hampton, Harry Allen, or Danyel Smith and more motivated me because I look up these journalists.
One of the things that first attracted me to music journalism was the thought of writing my own commentary and sharing my opinions on a genre I’m passionate about. After reading the book and examining how these journalists did just so, it instilled a stronger zeal in me for my voice to be heard. I’m aspiring to embody the same audacious approach like the writers from the book.
It wasn’t just what they were writing about, but how they wrote it. I referred to the works as articles before but most of them were essays, short stories even, that immersed the reader into the world the writer created with their words. I’m talking about 10+ pages from one writer being printed in Spin, The Village Voice The Source, or Vibe.
Their sharp, intellectual coverage, addressing deeper issues ranging from politics, misogyny, religion, or class is something I thrive on. I love articles that give readers no option but to think, shares theories, and offers introspect. Top picks that did that in the book are “What The White Boy Means When He Says Yo” by Charles Aaron and “No Respect” by Hilton Als. Both pieces discuss the intersection of race in the hip-hop culture in two different angles.
Another topic is when the writer defies the artist and the fan by not stopping short on their critique. Joan Morgan’s “That Nigga You Love to Hate” is one favorite from the book. She has a confessional tone and uses a sequential format structured as a series of “Snatches” that are brief scenes into her life as she reviews Ice Cube’s AmeriKKKa’s Most Wanted album. It’s not the ordinary album review because she writes personally about her battle of loving the music but hating the misogyny and her slow surrender to it.
These journalists were critical and yet at the same time avid about chronicling the culture. You feel this when reading. It was more than just being about the music, but about exploring contentious issues within hip-hop.
Yet although I was moved, I was disheartened at the same time. I say that because today hip-hop or music journalism even, like most of the rap today lacks originality. A lot of writers now do not offer the same thoughtful in depth analysis.
In a chapter prelude, the book talks about this decline. Coverage shifted from exclusive broadcasts on the culture to the consumerism of rap music. While rap music is the most reported aspect of hip-hop journalism, the reporting has reflected music in its current state. This has reversed into redundant and rehashed articles from magazines to the websites.
The majority of articles now entice with celebrity gossip, make readers look and listen but not think. Rap news, new music, track or album reviews- it’s all the same.You’ll see articles about Kanye West ranting on twitter but not about the negative impact of social media on hip-hop or a rapper’s image. Or reviews praising the lyrics of Future’s plethora of mixtapes but not analyzing the painful experiences he’s had to write these dark trap songs.
Popular cultural magazine Complex has experienced heat from their articles over the years. They’re known for creating lists, which is something I’m on the fence about. For one lists keep rap at its competitive edge. If a rapper is low on a list, or didn’t make it should show him he needs to step his game up and fuel his next track or album to come out swinging (not literally on the journalist of course).
I must admit I enjoy reading Complex. However, I also feel like such lists (and ones similar on other websites) are lazy writing and sometimes degrading to an artist. When Wale didn’t make their 50 Best Albums list of 2013 he was so outraged he called the publication and threatened the staff. This kind of coverage has more to do with staying relevant than an intrinsic eagerness to critically report. Lists are commercial; leave that for Billboard, or MTV.
Music is so subjective that to reduce artists or albums to them is not doing the culture any justice. Lists like “10 Underachieving Rappers” (another one published by Complex) are hurting the culture. Nipsey Hustle made that list and later in an interview with them said, “These radio hits, these charts, they don’t validate the truth and the message.” He has a point.
Today the term “hip-hop journalism” is losing its recognition. The journalists mentioned earlier have even separated themselves from the label. Some will say that the journalism has suffered because of the rap that is out now. It’s been static for a while. But even that is a lame excuse.
We may not like the current actuality the music or culture is at right now but there is always room to investigate the substance below the surface. Although journalists in 1980’s and 90’s were living in an exciting time writing about hip hop’s infinite potential, we must remember hip hop is still relatively young. It’s still evolving and reinventing itself which means there are stories out there.
I’ll be writing some.
-C