In the lead up to The Roots’ new album “…And Then You Shoot Your Cousin,” (due out on May 13) drummer Questlove has taken to New York Magazine for a six-piece series on black music. His first topic: the trouble with all of black music being categorized as hip-hop. He writes:
I want to start with a statement: Hip-hop has taken over black music. At some level, this is a complex argument, with many outer rings, but it has a simple, indisputable core. Look at the music charts, or think of as many pop artists as you can, and see how many of the black ones aren’t part of hip-hop. There aren’t many hip-hop performers at the top of the charts lately: You have perennial winners like Jay Z, Kanye West, and Drake, along with newcomers like Kendrick Lamar, and that’s about it. Among women, it’s a little bit more complicated, but only a little bit. The two biggest stars, Beyoncé and Rihanna, are considered pop (or is that pop-soul), but what does that mean anymore? In their case, it means that they’re offering a variation on hip-hop that’s reinforced by their associations with the genre’s biggest stars: Beyoncé with Jay Z, of course, and Rihanna with everyone from Drake to A$AP Rocky to Eminem.
And that’s what it’s become: an entire cultural movement, packed into one hyphenated adjective. These days, nearly anything fashioned or put forth by black people gets referred to as “hip-hop,” even when the description is a poor or pointless fit. “Hip-hop fashion” makes a little sense, but even that is confusing: Does it refer to fashions popularized by hip-hop musicians, like my Lego heart pin, or to fashions that participate in the same vague cool that defines hip-hop music? Others make a whole lot of nonsense: “Hip-hop food”? “Hip-hop politics”? “Hip-hop intellectual”? And there’s even “hip-hop architecture.” What the hell is that? A house you build with a Hammer?