As a student of hip-hop, I am interested in the nominally realist view of the world expressed in some of the music that some construe as nihilistic or pessimistic. GZA, Nas, and perhaps Raekwon are significant proponents of a worldview I provisionally refer to as ‘hood realism. Hood realism is a worldview that takes the world for what it is, a what-you-see-is-what-you-get outlook, without superimposing, or having much tolerance for, romanticism, unselfish idealism, heavy metaphysics, or other potentially comforting but immaterial or impractical bullshit. It recognizes that the world is cold, unjust, brutal, harsh, violent, and unforgiving to all but those who brusquely go out and “get theirs,” sometimes by any means. As a hardcore atheist, scientific realist and naturalist, and dialectical/ historical materialist who only - and unapologetically - cares about shit that’s in this material world/ universe, in this impermanent and inconsequential life, and no other, I am increasingly interested in how the worldview I refer to as hood realism can potentially translate more avowedly into a scientifically-based social, political, economic, and material understanding of the world among a vaster body of Afrikan peoples, which I strongly assume would help us move forward much more quickly, constructively and decisively than under the religious/ metaphysical delusions which socialize most Afrikans today.
The GZA joint “I Gotcha Back” from the
Liquid Swords album possesses much content relevant to hood realism. I quote it in full, emboldening critical lines:
Chorus: GZA and RZAI gotcha back, but you best to watch your front
Cause it’s the niggaz that front, they be pullin stunts
I gotcha back, but you best to watch your front
Cause it’s the niggaz who front (they be pullin stunts)
Lyrics:
I was always taught my do’s and don’ts
For do’s I did, and for don’ts, I said I won’t
I’m from Brooklyn, a place where stars are born
Streets are shot up, apartment buildings are torn
and ripped up, stripped up, shacked up and backed up
from fiends, cause the bosses on the scene, they got it cracked up
Kids are slingin in my lobby
Little Steve and Bobby
Gettin paid but it’s a life-threatening hobby
Yeah, they still play hide and seek
The fiends seek for the crack, and they hide and let the cops peep
Grown folks say they should be out on their own
Before the gangs come and blow up their mom’s home
Because they lifestyle is hectic, so fuckin hectic
Blaow! Blaow! Blaow! Bullets are ejected
My lifestyle was so far from well
Coulda wrote a book with a title “Age 12 and Goin through Hell”
Then I realized the plan
I’m trapped in a deadly video game, with just one man
So I don’t only watch my back, I watch my front
Cause it’s the niggaz who front, they be pullin stunts
Back on the Ave of Lavonia and Bristol with a pistol
Stickin up Pamela and Crystal
You know your town is dangerous when you see the strangest
kid come home from doin the bid and nuthin changes
What is the meaning of CRIME (what?)
Is it Criminals Robbin Innocent Motherfuckers Everytime?
Little shorties take walks to the schoolyard
Tryin to solve the puzzles to why is life so hard
Then as soon as they reached the playground, blaow!
Shots ring off and now one of them lay down
It’s so hard to escape the gunfire
I wish I could rule it out like an umpire
But it’s an everlasting game, and it never cease to exist
Only the players change, so…
—–
I like how GZA highlights a world where oppressive conditions are overwhelmingly real and seemingly changeless, where danger is the norm. This is the world as seen by an Afrikan youth in a ghetto in America. It’s qualities are immutable, even in a media otherwise saturated by the mores and escapist whims of a cultural la-la land.
Inspecta Deck backs up these perceptions in the second verse of the famous track “C.R.E.A.M. (Cash Rules Everything Around Me)” from Enter the Wu-Tang (36 Chambers):
It’s been twenty-two long hard years of still strugglin
Survival got me buggin, but I’m alive on arrival
I peep at the shape of the streets
And stay awake to the ways of the world cause shit is deep
A man with a dream with plans to make C.R.E.A.M.
Which failed; I went to jail at the age of 15
A young buck sellin drugs and such who never had much
Trying to get a clutch at what I could not… could not…
The court played me short, now I face incarceration
Pacin — going up state’s my destination
Handcuffed in back of a bus, forty of us
Life as a shorty shouldn’t be so ruff
But as the world turns I learned life is hell
Living in the world no different from a cell
Everyday I escape from Jakes givin chase, sellin base
Smokin bones in the staircase
Though I don’t know why I chose to smoke sess
I guess that’s the time when I’m not depressed
But I’m still depressed, and I ask what’s it worth?
Ready to give up so I seek the Old Earth
Who explained working hard may help you maintain
to learn to overcome the heartaches and pain
We got stickup kids, corrupt cops, and crack rocks
and stray shots, all on the block that stays hot
Leave it up to me while I be living proof
To kick the truth to the young black youth
But shorty’s running wild smokin sess drinkin beer
And ain’t trying to hear what I’m kickin in his ear
Neglected, but now, but yo, it gots to be accepted
That what? That life is hectic
———–
Again, this verse stresses the impossibility of escaping the harshness of the real world, short of getting intoxicated on heavy drugs. As Malcolm X once declared to us, we are trapped! Trapped in the poisons of drugs, alcohol, and poverty itself, such as to keep us from seeing what is real, definitively. The escapism of the store-front church, the corner drug merchant and his whares, the corner bodega and its miserable food, or the every-other-block liquor joint, are among the poisons that keep us from waking up into fully accepting and thus being able to overturn our ugly reality. Because only those who fully face reality itself have any real chance of changing it. Which is why I take what I refer to as hood realism, and the glimpses there are of it in hip-hop - the music of my generation - very seriously.
Nas, in his track “Black Zombies” on the album The Lost Tapes, beautifully reminds us of how lost Afrikan peoples are on all levels (politically, educationally, spiritually, economically, etc.) in this matrix, this construct of contemporary capitalism, and being the victims of that global economic regime. I quote in full, highlighting important lines:
[Nas]
Yo, you believe when they say we ain’t shit, we can’t grow?
All we are is dope dealers, and gangstas and hoes?
And you believe when they be tellin you lie, all on the media?
They make the world look crazy to keep you inside?
Why you listen when the teachers at school
know you a young single parent out strugglin, they think you a fool
Give your kids bad grades and put ‘em in dumber classes
Killin shorty future, I wonder how do we last it
Underground in they casket? Ancestors turnin
I’m learnin somethin every day, there is no Lazareth
Words like God is Greek or Latin
So if you study Egypt, you’ll see the truth written by the masters
My niggaz is chillin, gettin high, relaxin
Envisionin, ownin shit, yo it can happen
What do we own? Not enough land, not enough homes
Not enough banks, to give a brother a loan
What do we own? The skin on our backs, we run and we ask
for reperations, then they hit us with tax
And insurance if we live to be old, what about now?
So stop bein controlled, we black zombies
[Chorus: (sung)]
Walkin talkin dead, though we think we’re livin (black zombies)
We just copy-cat, followin the system (black zombies)
Walkin talkin dead, though we think we’re livin (black zombies)
We just copy-cat, followin the system (black zombies)
[Nas]
Aiyyo we trapped in our own brain, fuck behind bars
We’ve already gone insane
They’ve already gave up, cut our own heads offs
Stab our own backs and dream too much
without fulfillin reality; too greedy and
can’t have one or two chains, we need three of dem
Can’t have one or two guns without squeezin ‘em
on our own people and, fuck black leaders
cause whites ain’t got none leadin them, the rhythm is cosmic
Nas is divinity, the deity’s prophetless
All get down and get up
Victims walkin ’round with Down’s Syndrome, all stuck
Faintin, shoutin, catchin Holy Ghost in church
Scared to do it for ourselves ‘less we see somebody doin it first
We begged, we prayed, petitioned and demostrated
Just to make another generation - black zombies
[Chorus]
[Nas]
You scared to be yourself, cause you in a trance
Feel free, hear the music and dance
If you cared what they think, why wear what they wear, just for you
Dumb niggaz with long beards like they Arabs or Jews
or from Israel, (?)bish’meal Allah, el-rachman, el-Rahim (?)
Islam’s a beautiful thing
And Christian and Rastafari, helps us to bring
peace against the darkness, which is unGodly
So what’s the black man’s true religion, who should we follow?
Use your own intuition, you are tommorrow
[roaring] .. that’s the sound of the beast
I’m a Columbia record slave, so get paid
Control your own destiny, you are a genius
Don’t let it happen to you like it did to me, I was a black zombie
[Chorus]
[Nas]
Wake up! Black zombies in a spell for more than fo’-hundred years
Ghetto niggaz won’t have it no mo’, can I get a witness?
Why listen to somebody else tell you how to do it
when you can do it yourself; it’s all in you, do it, do it
Do it niggaz..
—————-
Nas’ verses are mission-critical here. He not only highlights are embarrassing shortcomings, but he is also advocating for us to think for ourselves and to be our real selves. He is critical of the bizzare and culturally alien religions many Afrikans are tied up into, advocating instead the natural and free use of our own beautiful and fully-endowed intuition. He recognizes how the schools deliberately fail us, how we fail economically by being dependent and not owning our own homes, banks, etc. And he highlights how we have often failed to be innovative, independent-minded, and risk-taking to change our condition, instead relying too much on “black leaders” or awaiting the safe example of other groups and peoples before acting. This is the positive potential of a worldview of hood realism, which uses examples from the cold world we live in to exort us to use common sense to face it and change it for the better, out of our own natural and organic initiative.
Raekwon’s verses have often served to remind us how materialistic man is, which is fine inasmuch as forcing us to remember that material conditions and necessities (and modes of production) define the actions of human beings. Material conditions and modes of production include the illicit drug economy, the only one left in our community after de-industrialization and the criminalization of the youth and imposition of such desperate conditions that the youth can only meet their material needs at the expense of one another (horizontal or “black on black” violence). His refrain verses from some of his tracks on Only Built 4 Cuban Linx are demonstrative of this notion:
from “Incarcerated Scarfaces:”
Now yo yo, whattup yo, time is runnin out
It’s for real though, let’s connect politic - ditto!
We could trade places, get lifted in the staircases
Word up, peace incarcerated scarfaces
and from “Knowledge God:”
Yo why’s my niggas always yellin that broke shit
Let’s get money Son, now you wanna smoke shit
Chill God, yo the Son don’t chill Allah
What’s today’s mathematic Son? Knowledge God
—————
In these verses Raekwon asserts the urgency with which poor Afrikans must escape their conditions by any means. He says time is running out - and it sure is! He says it’s for real, and we have to connect politic - ditto! We have to analyze reality and analyze political realities, as well as real-politic - another notion for the politics of getting over by any means, which is the way of much of the world today. And then he asks frustratedly, “why’s my niggas always yellin that broke shit?” Why we just complaining about our poverty? We can’t just complain. He continues, “let’s get money son, now you wanna smoke shit!” He’s stressing that we must make moves to get material resources! And you can’t do that by smoking shit, by reverting back to your old escapist habits. Don’t smoke shit, change shit! And you can’t do both!
In the track “Motherless Child” from Ghostface Killah’s album Ironman, Raekwon asserts the end-result of real-world analysis in simple terms:
Rich man, poor man, read the headlines
Nigga getting murdered for spot and bigger dimes
Jobs and drug wars
Living by gun law
Jailcats come home and want to take yours
As the young one, growing up broke me and my people
as the self, huh, I guess we all in the same boat
Think it, plus drinkin that 90-proof
Playin’ on the roof sayin’
we need a next man to shoot…
—————–
Raekwon wants us to read the headlines, regardless of our class position: this is the reality! We are killing each other to get over, whether it’s for jobs or drug turf. Whether in the legal world or the illegal world, we all live by gun law. And if you are a sensitive black youth like Raekwon, you look around you, “read the headlines,” and see that we as a people are all in the same boat. Yet we revert to “that 90-proof” and the escapism of the drink, and keep doing the same thing over and over… Hence GZA’s statement that “it’s an everlasting game and it never cease to exist, only the players change…”
I think that the game CAN change if more of our people wake up to what the game really is and own up to our responsibilities as the played pawns we are or the revolutionaries we could be. Raekwon once again states in simple terms that this world right here is Hell, so who could believe in Heaven? This refrain from Heaven & Hell in Only Built 4 Cuban Linx:
What do you believe in? Heaven or hell?
You don’t beleive in heaven cause we’re livin in hell
(repeat 2X)
So it’s your life
————–
I think that the ability of hip-hop to perceive the dire straits of the world very clearly and unflinchingly can be a door-opener to using that perception in a more deliberately scientific way to inspire our people to change their own conditions concretely. The nihilism and pessimism many see in lyrics such as the ones I have highlighted here, to me, are refreshing signs that our people have a strong, natural urge to see the world as it is and nakedly share its nature and face it as it is. I’m always the kind of person that’s more comfortable with the real than with the fake, the mundane instead of the fantastic, science over religion, physics over metaphysics, Hell instead of Heaven. Hell is the world, Hell is our anger and frustration, our violence towards one another, the oppression we face and exist within, the illusion and escapism system that blinds us to the true nature of the socio-economic constructs which define our lives. But Hell gives people something to fight for. By seeing the nature of Hell clearly, we can come to terms with the means by which we can slowly convert it into Heaven. Human potential is such that it is within our power in our lives here in this world to transform conditions for the common good. Human beings created this Hell we all live in right now. Human beings can also undo it and create something far better.
But we also have to squarely see Hell for what it is. I am thankful to the rappers of my generation for being willing to show the world just what Hell is. It is up to folks, especially of the generation that sees the world in the vain of hood realism, to begin to move to a constructive realism, a scientific material analysis which can offer methods and means to make positive changes. The solution is in the problem, as the discipline of mathematics shows us. The five-percenter idiom, “what’s today’s mathematics?” can be a daily greeting that constantly reminds us to look at the world as it really is and search for the latent solutions within the problems.
The vigor of science, of dialectical and historical materialism, can be applied to hood realism to provide Afrikans in the ghettos of America, who are schooled in hip-hop, with powerful analytical tools with which to find avenues of transformation and revolution. Dead Prez, GZA or Nas might not necessarily be so far from Marx or Nkrumah. Let us draw more lines and make more links and think more critically. The naked brutality, the ugliness, the obvious contradictions - I need to always be reminded of that, so I can keep moving. It never depresses me because I also know where we need to go from there, on a scientific analytical basis, and motivated by deep humanism. Pessimism, nihilism? Nah, its school for those who might try to escape the wrong way. But we must add to that school constructive analytical lessons, too.
So thank you my rappers.
Here open the gates of Hell!
(Homage to Hell, the Great Bodhisattva!! - Hakuin)
hell is our best teacher