Last night on the Jimmy Fallon show, Obama decided to “slow jam” the news with musical backing from The Roots, and in doing so seemed to dip his toe ever so tentatively back into the hip hop waters.  As I’ve noted before, Obama was all about hip hop in the 2008 election but since then has backed off significantly, due in part to anticipated attacks from the right at a time he hopes to woo white independent voters.  I’ve also noted that I think playing into the hands of Fox News morons is not a good strategy for him, and so maybe he’s reading this blog and following my advice?  Here’s the performance:

This is funny, no doubt.  And while the issue of student loans seems to be a pretty soft one to be campaigning on (no tackling the really big issues related to debt, jobs, etc.) the pain for millions of Americans will be real if the interest rate on subsidized Stafford loans doubles to nearly 7%.  This will have traction with a significant number of whites, but also African Americans, who, based on proportion, borrow the most.  So Obama seems to have found a smart issue to highlight–it will simultaneously appeal to that coveted white independent voter and provide badly needed financial relief for African American voters, many of whom are dissatisfied with Obama’s first term.  He is navigating a course between the two constituencies, cautiously.

But what about hip hop?  Is this the first of many attempts to reengage rap music in his campaign?  Doubtful.  For one, this isn’t a hip hop performance, and The Roots, although widely acclaimed (for good reason), aren’t your typical hip hop group.  They play their own instruments, don’t get overly radical/controversial, and eschew the bitches-and-money rhetoric favored by most mainstream rappers.  They are the house band for Jimmy Fallon, so how dangerous can they be?  (Though they did stir up some controversy last year.  When Michelle Bachman came on the show, they introduced her with Fishbone’s “Lyin’ Ass Bitch.”  Fallon and NBC later apologized.)

The staging of the performance tells the story.  With Fallon (a white male) foregrounded and The Roots all the way back, we get a visual representation of Obama’s strategy here.  As with the student loan issue, he’s trying to find a safe middle ground by appealing to white independent voters, first and foremost, while giving a nod to the black community relegated to the background.  I think he’s betting that his roots will run deep enough to survive on a few drops while he waters different fields this time around.  We’ll see.

I was just waiting for the weird (and admittedly pretty cool) Coachella hologram of 2Pac to spawn more 2Pac-is-alive rumors, and sure enough, we’ve got one.  Not so reputable Suge Knight, who was sitting in the car next to 2Pac when he was killed–and took a bullet fragment himself–has just claimed that he thinks 2Pac never died.  He’s nowhere near the first to say this; for 15 years now, the Internet has been buzzing with various rumors that 2Pac faked his death (with some comical readings of his lyrics that reveal “clues” to his fake-my-own-death plan).  And while it’s pretty certain that he died, it’s also true that the murder raises all kinds of questions about who did it, who was watching him when he was murdered (pretty likely he was under police surveillance of some sort at the time), and why the murder of someone so famous and constantly watched by the police could possibly go unsolved.

All legitimate questions, and perhaps similar ones can be raised about the unsolved murders of Biggie, Jam Master Jay, and Big L.  After all, we know that rappers have for years drawn more than their share of attention from law enforcement, which should at least mean that they are more likely to have their own murders solved!  Whether fair or not, it’s hard for police to escape accusations that they are omnipresent when they want to contain rappers but invisible when those rappers need help.  Actually, come to think of it, you could replace “rappers” with “African Americans” and the accusation would be equally tough to escape.  And that’s what’s irritating about Knight’s claim–by saying that 2Pac never died in the first place, he does nothing to raise the larger questions about the policing of minorities in the U.S. and instead diverts attention to himself with a new iteration of this tired theory.

OK, the President has decided to weigh in on hip hop again.  At an Obama fundraiser in New York, David Samuels (the same guy who in 1991 argued that rap wasn’t really “black music”) recently asked the President a three-word question:  “Kayne or Jay Z?”  The President, calmly and confidently, answered “Jay Z,” even though he conceded that Kanye is “very talented” also.  Keep in mind that in 2009, after Kanye embarrassed Taylor Swift and himself at the 2009 MTV Video Music Awards, President Obama called him a “jackass.”  Reminded of this, Obama replied “He is a jackass.  But he’s talented.”

Not sure where to start on this one.  First off, Obama is right that Kanye West is talented–in fact, I’d argue he’s more talented than Jay Z.  David Samuels seems to agree, saying “Whatever you think of the many controversies he has ignited, you must admit that Kanye West is at least some kind of musical genius, ranking among the top five producers and the top five rappers of the past decade.”  This is half right.  Kanye is probably among the best producers (My Beautiful Dark Twisted Fantasy is but one example of his prowess), but nowhere near the top five rappers.  It’s widely understood by people who like and listen to rap that Kanye isn’t a premiere MC, and rapping alongside Jay Z makes that even more obvious on Watch the Throne.  But the issue is that Jay Z is not among the top five in either category (no disrespect intended) so it’s unclear why the President was so confident in his proclamation.  And Kanye’s a Chicago native to boot!  Is this just an attempt to double down on the “jackass” comment?

Actually, I don’t care.  But I will note that every time that he talks about rap these days, the President seems to betray his ignorance of the genre.  A year or so ago, when asked who he’s listening to, he shortlisted Lil Wayne of all people.  Really, you have hundreds of MCs to choose from, and you pick a guy who doesn’t even attempt to say something meaningful or positive–ever–and who raps about precisely the kinds of things you condemned during your 2008 campaign?  If you’re the President, what message are you trying to send with that?  Now, you let a reporter pigeon hole you into a choice between two mainstream rappers, neither of whom is regularly using his art to raise social consciousness (instead peddling what pioneering MC Rakim calls “luxury rap”), and you actually pick one?  And then it’s the wrong one?  A tip: save the petty “who’s better” debates for the teenagers.  Or me.

If the President is reluctant to talk about hip hop during this election cycle, I get it, but then it might be better if he just remained silent.  That would definitely be better than picking favorites among two players in a genre I am beginning to doubt he really understands.

Snoop is at it again.  This time, he is advertising a new book of lyrics to some of his most famous songs.  Another Anthology of Rap?  Not quite.  What distinguishes this book is that it is printed on removable rolling papers, and the outside of the binding has a striking surface perfect for matches. You’ve got to give Snoop credit for tenacity and consistency–he has long supported the legalization of marijuana, to the point that he recently expressed support for libertarian Ron Paul for President because of Paul’s pro-legalization stance.  Now he’s found a new way to combine his love of pot with his love of rap…

I think most rational people, regardless of political perspective, see at least some wisdom in legalizing marijuana, which is why I predict we will see significant progress on this issue over the next decade.  Until that happens, however, it will be interesting to see how people like Snoop continue to push the boundaries, even when that means getting arrested, as he did in Texas earlier this year.

Jon Caramanica of  The New York Times takes a big swing and a miss with his recent proclamation that Nicki Minaj is the the most influential female MC…ever.  Yes, this is the same Nicki Minaj who’s had one album, total, on Young Money (number 2 released last week), and who recycles the same two or three cartoon voices in all of her songs.  And she’s more influential than Queen Latifah, MC Lyte, Lauryn Hill, and Missy Elliott?  Nope. Sorry.  Going platinum with your first album and inspiring a few female MCs who could very well end up flaming out is not enough to get the title of most influential ever.

Without saying it, Caramanica seems to be pointing to the relative lack of influence women have had on rap music.  Just to keep it real, I am the first to admit that female influence on rap–especially over the last 10 or so years–has been underwhelming (with some notable exceptions).  But to declare that upstart Nicki Minaj is already the most influential ever is a true dis in my mind, ignoring the foundations laid by more talented–and yes, more influential–women before her.  Maybe Minaj will eventually take her place alongside them, but (a) I am not holding my breath and (b) she’s definitely not there yet.   If her embarrassing Grammy performance proved anything, it’s that she’s struggling to articulate a coherent artistic viewpoint, and until she finds that (still not holding my breath) it’s crazy to suggest she’s anything other than a fad within a genre that has had more enduring successes.

I have always thought April 30 was important because it’s my birthday, but for Lil Boosie I concede the day has a tad more significance–it’s the day his first degree murder trial is scheduled to begin.  Two important updates here.  First, The Advocate reports that the death penalty is now officially off the table.  If convicted, Boosie will face life in prison. Second, and more interesting, is that Boosie’s jury will be anonymous, meaning that jurors will be referred to by number rather than name.  This is apparently uncommon, but attorneys on both sides say it’s because of the high profile nature of the trial.  Of course, when I read that prosecutors requested it, I immediately assumed it was in response to–or to create the appearance of–possible jury tampering, something Boosie’s attorney’s were quick to dismiss.

One last thing caught my attention:  Prosecutors have asked for a sample of Boosie’s handwriting, and one of Boosie’s lawyers has suggested that this may be an attempt to tie him to certain rap lyrics.  I’ve written about this before, but it looks like prosecutors are going to use Boosie’s lyrics against him, which of course raises all kinds of issues.  I don’t know what the judge and jury will look like, but if it’s a mostly white panel in the deep south, then rap could end up going on trial along with Boosie.  And that’s a verdict I feel like I can predict already.

While fans and critics of American rap music have long bemoaned the lack of political change that rap was “supposed” to bring about in the U.S., the same criticisms can’t be made about rap in the Middle East–at least not right now.  Rap has played a central role in some of the so-called Arab Spring uprisings, particularly in places like Tunisia and Libya, and now it appears that authorities in Morocco are trying their best to ensure that rap doesn’t sow the seeds of resistance in their country as well.  Al Arabiya reports that Moroccan rapper Mouad Belghouat, aka al-Haqed (“The Vengeful One” in Arabic), was arrested today in Casablanca for a song denouncing the police.  Apparently, this is not the first time he has been put in jail for criticizing the state.

What’s important to remember is that rappers in the U.S. have long faced a similar threat from authorities.  In its earliest days, hip hop drew the wary gaze of law enforcement–there are countless examples of police surveillance, harassment, and containment of hip hop artists throughout the movement’s history, up to and including the present.  The FBI’s response to NWA’s 1988 song “Fuck tha Police” is a notable example, but it’s hardly an isolated one.  (See my piece in PopMatters for more on this topic.)   Indeed, hip hop has always had to contend with the oppressive state apparatus that tries to undermine or contain rebellion, especially among black Americans.

When trying to explain why rap has had a less-than-desired impact on American politics, scholars often point to the recording industry as the main culprit.  This is a legitimate but overplayed argument.  I think we also need to look more at the mechanisms of repression that have made planting the seeds of resistance extremely difficult for black artists in the U.S.  Only time will tell if rappers in the Arab world have better, more enduring results.

Australian attorney and satirist Hugh Atkin put together this ingenious video of Romney clips set to Eminem’s “The Real Slim Shady.”  Atkins manages to achieve a clever and consistent rhyme scheme while, at the same time, mocking Mitt Romney’s own inconsistencies over the years.  He also captures some of Romney’s best campaign trail gaffes, made all the more humorous when set to this soundtrack.  Good stuff, and definitely a glimpse of the challenges Romney will face in the general election when he is forced to confront his, uh, evolving positions on a range of issues.

By the way, why is it that I keep hearing more and more about the Australian hip hop scene?  Is it growing or just getting more attention here?  American rappers have been touring there for a very long time, but I am also hearing more on this side of the globe from Australian rappers like Iggy Azalea, whose most recent album was produced by T.I.  And I recently learned that New Jersey rapper GDP, still more of a local phenom than a national figure, went to Australia to produce his latest album.  (Thanks to Mickey Hess for that tidbit.)  It’s the first time I’ve heard of an American rapper traveling down under for production…

Washington Post music writer Chris Richards has a piece today on DMV rapper Fat Trel.  (For the uninitiated, DMV refers to the District, Maryland, and Virginia rap scene.)  To date, the only DMV rapper to have achieved nationwide success has been Wale, though it’s safe to say that even he hasn’t taken off the way many hoped and predicted.  His most recent album, Ambition, did debut at #2 on the U.S. Billboard 200, but nearly 5 months since the release, it hasn’t gone gold yet, and the lukewarm reviews suggest that it might not at all.

Richards, whose opinions I value and have referenced before, thinks Fat Trel might be the one to elevate the DMV scene to Wale heights and beyond.  I’ve heard a few of Trel’s songs, and he does have the qualities needed to be commercially successful.  He’s a fairly agile lyricist who rhymes over sometimes grandiose, heavily synthed, club-ready beats.  Here’s an example:

But does he rhyme about anything meaningful?  That’s debatable. Richards writes that “At his most thrilling, he manages to sound dangerous in a genre that has exhausted the notion of taboo.”  To me it all sounds a lot like the banal imagery of money, cars, violence, and women that has been played out for years now.  On the other hand, I happen to know Trel’s ‘hood very well.  The projects on Benning Road that he made his home were three blocks away from my house in DC, and I can attest that the violence that he raps about is not imaginary, even if his own role in it is exaggerated.  I witnessed multiple shootings personally, as well as high speed police chases on a regular basis, some of which ended in dramatic crashes.  The intersection at 16^th and E, NE, was one of the most dangerous spots in DC while I lived there (my house was at 16^th and D).  Gun shots were not uncommon, nor were drug-addled junkies roaming the alleys.  While the “E Street Bangers” that Krel references were kind of a sad attempt at a gang, they did know their violence…

And so the lifestyle that Fat Krel depicts in his songs is not entirely imaginary, but does that make it worth listening to?  I don’t really think so.  Yes, violence is a real part of life in much of DC and other urban centers, and so rapping about it is understandable and potentially important.  Nobody would deny that when NWA and many others first did it in the late 80s and early 90s, it changed American culture in profound ways.  But if Fat Trel is simply going to revel in it like so many other rappers do now, without adding something more innovative or intelligent to the mix,  I don’t see how the still-insignificant DMV rap scene is going to distinguish itself anytime soon.

Then again, rap’s top tier is chock full of bitches-guns-and-money rappers, so maybe there’s a little room for one more—even if he’s Fat.

His new mixtape drops at the end of the month.  I will reserve judgment until then.

So it’s March already, less than 8 months until the presidential election, and it’s difficult not to notice that hip hop has been left out of Obama’s campaign this time around. Leading up to 2008, he found all kinds of opportunities to associate himself with hip hop, tapping the energy of the music and culture to motivate young people across the U.S. to hit the polls.  I think it’s safe to say his strategy worked–and with the exception of the occasional stupid lyric (think Ludacris’s “Politics: Obama is Here”), there was minimal fallout.  I definitely admired Obama for this–previous presidential candidates, Democrat and Republican, generally went out of their way to distance themselves from hip hop.  Bill Clinton’s “Sister Souljah moment” comes up all the time, even now.  Obama flipped the script on all of that.

But after the election, the love for hip hop seemed to dry up, and now, in 2012, I think it’s fair to say that the Obama campaign is straight-up scared of it.   The president’s playlist, 29 songs long, has plenty of country but not a single rap song.  No way this is accidental.  It’s also not hard to figure out why the campaign is reluctant to go near rap.  When Common, one of the most positive and socially conscious rappers out there, was invited to the White House last May, right wing critics like Sarah Palin and Karl Rove had a field day, cherry picking (and intentionally misinterpreting) lyrics from his Def Jam poem “Letter to the Law.”  All of a sudden Common of all people was branded a violent thug and a would-be cop killer, even though anyone who has listened to Common knows he regularly takes a stand against violence in hip hop.  His track “I Used to Love H.E.R.” became a classic with this very message:

In any case, I decided to email Karl Rove about all of this, thinking (naively) that he might listen to reason.  But he’s a political operative through and through, and hatchet men don’t care about facts.  Here’s my (slightly abridged) email to him and his super-annoying response:

My email: 

I am writing to express displeasure with your recent characterizations of the hip hop artist Common. I am a hip hop scholar with years of experience listening to rap music, and I can say with absolute authority that Common is far from being a “thug.” He is, in fact, one of the most eloquent, positive-minded, peace-loving rappers in the industry today. I am not saying that I agree with every word he has ever uttered, but having listened to a great deal of his music over the years, I have found his messages to be inspiring and frequently critical of the lyrics that many “gangsta” rappers have introduced to the genre. 

His criticism of violence, for example, got him in trouble with Ice Cube, a well-known “gangsta” rap pioneer, and since then other rappers like Jay Z have used Common as an example of the kind of rapper they are NOT. His work is complex and always socially conscious; in fact, some of his songs recently appeared in a Yale UP anthology that was endorsed by the likes of Henry Louis Gates, Jr. and Cornel West. In short, he is a man of genuine intellect and talent, and I think you do him (and, honestly, yourself) a great disservice by lumping him together with the kinds of artists who are more deserving of your vitriol.

Rove’s entire response:  

So you think people who call for killing cops and President Bush and denigrate women are “intelligent” and “talented”?

Not a lot I could do with that…