Hip Hop…for Grown Folks!

I might’ve failed to mention that this chick was creative
But once the man got to her, he altered her native
Told her if she got an energetic gimmick
That she could make money, and she did it like a dummy
Now I see her in commercials, she’s universal
She used to only swing it with the inner-city circle….- I Used to Love H.E.R. (Common)

When Nas said hip hop was dead, at the time, I tended to agree with him. I believed that my long love affair with hip hop, for me as a thirty-something professional male, was winding to a sad conclusion. Too much Soulja Boy! Way too many novelty acts and mediocre music! I felt like an old curmudgeon, complaining about these “kids” ruining “my music.” I didn’t know hip hop anymore. She and I had grown apart. So I resigned myself to reminiscing about our past good times together, which meant loading my Ipod with old De La Soul, Nas, Wu-Tang, Biggie, and Jay-Z. I felt Common’s pain, and I would need to move on like he did. My mourning period would be quick but probably painful. Like removing a band aid. It would be best for all involved.

Thankfully, it never came to such a depressing end. I can now happily report that hip hop is not dead, my relationship to her has just changed. Hip hop has also evolved, and now has more room for my generation. It is not only about us celebrating what hip hop was, but reflecting on and looking to its future. Some recent releases further highlighted my hope for hip hop for the over 30 set. Surprisingly, it wasn’t the two most anticipated albums of the fall, Jay-Z’s Blueprint 3 and Raekwon’s follow-up to his seminal work Only Built 4 Cuban Linx II, which gave me renewed optimism. Frankly, besides his track with Alicia Keys and his two singles, it felt that Jay was going through the motions. His passion, or at least his sense of competition, appeared gone, long replaced by the business need for commercial success and relevance.

My feelings about Raekwon’s album are a bit more complex. I knew that it would be impossible to top Only Built 4 Cuban Linx, and the long delays of the album’s release further heightened the sense of anticipation. Overall, I think it was a good album, but that it just suffered from letdown syndrome. I appreciated the effort, given the immense pressure he must have been facing, but I left wanting more. It was satisfactory, just not life-altering. I had no sense of pure ecstasy after listening to it. Basically, it wasn’t Illmatic, Enter the Wu-Tang 36 Chambers, 3 Feet High and Rising, or Only Built 4 Cuban Linx I. That is not a criticism, it’s just the reality. It’s like A Tribe Called Quest’s Midnight Marauders (great) vs. Beats, Rhymes and Life (good). Good, but not great.

On the other hand, it was Raekwon’s fellow Wu-Tang member Ghostface Killah who created an album that showcased hip hop for grown folks. Ghostdini Wizard of Poetry in Emerald City is Ghost’s so called R & B album, and I think a vastly underrated one. I believed that it is actually the reflection of his personal growth and development, and represents what cats of my generation discuss. Relationships, children, transitions, back in the day times, all in Ghost’s unique style. From asking for a second chance (“Do Over”) to thinking about a love lost (“Lonely”), it also demonstrates a level of vulnerability not often found in mainstream hip hop. While the songs may not be cookie cutter, radio-friendly, it is a complete album. Definitely a must listen and the perfect example of mature hip hop.

The other album which blew me away and reflected my new relationship with hip hop is M.O.P.’s Foundation. Yes, those fellas from Brownsville created a gem. I always appreciated M.O.P.’s ability to get my adrenaline flowing, imagining their criminal hijinks on St. Mark’s Ave. and being pumped up vicariously through it. Grimy, the way I like it. Unfortunately, I gave up on them once they signed with G Unit, fearing they would be lost under the weight of 50’s huge shadow and ego, watered down into oblivion. Well, with Foundation, they have sounded the alarm that they are back, and with a vengeance. Taking the independent record route (E1/Koch Records), M.O.P. seems revitalized and accepting of their place in the game. They are still spinning tales of their Brownsville hard knock life, but with a more nuanced perspective, and even some social commentary thrown into the mix. Like Billy Danze’s lyrics from “Forever and Always”:

I never thought I’d come out of the hallway
To focus and become a commodity some day
While stricken by poverty, sitting in gunplay
Forever and always
Perfecting the grind
While trying to become one of those expected to shine

and

Yeah, we do what we do, but somehow it’s their fault,
Here’s the fatal attraction, they got us caged in,
They offered us magnums and asked us not to blaze’em,
Tell’em I ain’t sinning for them no more,
I’ll sin if I gotta sin, but I’m more into winning the war

I now understand that my hip hop won’t be found on the radio. She has migrated to Itunes and benefits from word of mouth communication and the blogosphere. My hip hop is about how to retain our youthful vigor and enthusiasm, without being childish and immature. My hip hop isn’t about “keeping it real,” it’s about authenticity. My hip hop will never die, but will learn to grow old gracefully. I have come to terms with this change, and am excited about the possibilities.