As part of the continuing fascination with the blackity black part of my intellect, a thought occurred to me that resides like a splinter in my mind. It is the greatness that is Michael Franti.
I cannot remember when I first heard of Franti, as I never really got so very deeply into the Disposable Heroes (or Digable Planets for that matter). But I think it must have been sometime around my boohabian phase. Hard to say. What I do recall specifically was that one of my online friends was telling me that my writes (what you know about my writes?) resembled those of Franti. Full disclosure: before I was married, whilst living in Brooklyn, I believe that I had the potential to save hiphop from itself. I was one and a half degrees of separation from Brooklyn Moon, Fez Cafe, Nuyorican, The Freestyle Fellowship and Greg Tate's band. Get me drunk and I'll tell you what I did at a reverse poetry slam. So when I heard that compliment, a bit too late, it still went to my head. So I had to hear what this dude was all about.
If you ask me, Spearhead 'Home' has to be one of the greatest hiphop albums ever. Everything about it is close to perfection. It spun on my player many, many times, and despite and perhaps because of the difficulty in just grooving to cuts with serious themes like 'Positive' and 'Caught Without an Umbrella' it never got really tired. Franti pushed the envelope even further with 'Chocolate Supa Highway', his follow-up album, moving into a realm of art far beyond the groove.
I listened only once to the album that came after CSH. I think Franti just went off the edge of edgy into the realm of radicalization - he practically went Gangsta where the beats were just sublimated to the power of harsh words. Or maybe I was on my way to a right turn and it hurt my neck to turn my head and listen to his left direction. I mean I can get into an artist with the humor and wisdom to say within the same song 'fuck the police / we can keep the peace / we can make love and conquer that disease' and then 'throw your hands in the air / let me see your armpit hair', as he did on the Home album but after listening to Gas Guage for the fifth or sixth time, it just gets a bit too depressing.
But the fact that Franti can, with wit and style evoke such heart rending stories is testament to his craft and the possibilities of hiphop. His is true poetry, the kind you can't simply bob your head to without it rattling your brain. He handles mature subjects with maturity, and beyond that with respect for the genre of hiphop and a real flair for the right groove. His deadpan delivery strikes the perfect balance of coolness and gravity, his music a mix of funkified, ganjafied instrumental fusion. You never once get the impression with Spearhead that he has poked his head outside of a life of elevated blackified consciousness. I say without any sense of exaggeration that if anyone deserves to inherit the mantle of the crown worn by the late Curtis Mayfield, it would be Franti. And while I am just a bit too pragmatic in my politics to cosign all the stuff he's saying, he's got the right flavor. The only reason I don't compare him to Gil-Scott Heron is because I think Franti's life is more together. Check out this sample:
I am not a muslim but I read the final call
because within it's pages there is something for us all
and I am not a professional, but I love basketball
the squeakin of the sneakers they echo in the hall
But if I don't have enemies I'm not doin' my job
I might throw out a curve ball but I never throw a lob
people criticize me but I know it's not the end
I try to kick the truth not just to make friends
(chorus)
but hey diddle diddle
to the people in the middle
we got hot wax
and it's cookin' on the griddle
Got the guitar strummin
the drummer drummin
the people all hummin
and the vibe was lovin
on and on and on
'till the breakadawn
That's the kind of jam I expect from a righteous black brother. Except. Michael Franti doesn't fit the genetic profile.
I would not be so bold to suggest anything beyond the obvious. Franti's pedigree, as perfect as it stands within the context of the art, has not endeared him to a mass audience. And I'm surely not the first person to think what a tragic irony it is for hiphop to make a greater star out of Eminem than Franti. Which goes to the real meat of this piece aside from my intent to communicate how cool I think he is.
One of the most oft-quoted bits of popular wisdom about hiphop's commercial success is that is that it owes to the listening habits of white suburban teenage boys. I'm going to step out on a limb and suggest that I'm something of an expert of this dynamic. Or at least I'm willing to say that sometimes it's real easy as a man to see what's going on in boy heads. I'll reduce it to a simple concept, over-mothering. The reason suburban teen boys go for the dirrty is because they can't get dirty at home and their parents are trying desparately to raise little princes. Stereotypical enough? That is essentially the gut of the 'frat boy' audience of rap. I'm not trying to raise this analysis to anything about the suburbs or whitefolks except to the extent as it is not what we are inclined to think about as the core audience for hiphop. But let me keep it real, I'm talking about my hiphop. After all it was my generation that wore the bandannas on our Chucks in 1985. We were the ones responsible for overloading it with significance in our desparation not to be completely subsumed into New Wave and sick and tired of that same old funk.
Then again, we had a cultural agenda and we were mad successful. American pop culture is blacker because we did our part, but please distinguish between our producers (Jimmy Jam, Babyface, Full Force, Prince) and those running sh*t today. Franti inherits the mantle of those people who listened to groups like Madhouse, oh yeah and like I said, Curtis Mayfield and Gil Scott-Heron.
So let me be so bold as to beat the dead horse of black cultural nationalism again and ask if hiphop is black in the sense of demographics or in terms of a constructed and maintained aesthetic. I, of course, would prefer the latter taking Culture seriously. For those reasons I promote Franti over just about every hiphop artist out there save Chuck D, Dres, Wycleff, Andre 3K, QTip and Posdnous. And still I say Franti is the most mature and thoughtful of the bunch. I call his art black consciousness in and quite frankly you can't get any more explicit than Dream Team:
Well Chuck D'sannouncin'/ Flava's doin' color
halftime enterntainment by Dre and Ed Lover
Malcolm X is the coach he's drawin' up the strategy
he's choppin up America's anatomy
'cause they're the ones/ we're up against of course
are general manager is Chief Crazy Horse
Huey Newton/ 'cause he was extra hard
he's the one/ who would be playin at the shootin' guard
I dreamed Charles Barkley would be
played by Marcus Garvey
he'd be throwin people off his back and makin
sure they never got a rebound rebound / and
he'd throw it to the outlet
Nat Turner/ 'cause he can turn the corner when
he's out there
he be flyin through the air/ throwin passes like
he really doesn't care/behind the back /and in
between the legs
he's handlin the rock /as gently as an egg
he's throwin it in/ to Angela Davis's neighborhood
she's postin up down in the extra hard wood
So there you have it. To the extent that hiphop is political culture, nobody exemplifies it like Franti. I disagree with him of course, but he's an artist and his statements are clear, his art is nuanced and he's a smart rebel. He has respect for the genre and extends and expands it, and quite frankly, he knows how to jam. None of it would be worth a dime if he didn't, and so he gets props.
I'll just leave it this way. If there were more artists like him hiphop wouldn't be so sorry. We can only hope for the sake of what it might have been, that more of the younger set grow up with Franti's example in mind.
The Old School of hiphop was not politically expressive, it was dance music, and those of us who got sick of those annoying talk boxes used by Midnight Starr and Newcleus couldn't be happier. There was no real message in hiphop until De La Soul and Public Enemy around 88. Before that, the'deepest' message from hiphop were the exceptions of 'The Message' and then 'Friends' by Whodini. (Produced by the late lamented Arif Mardin, who also worked with Herbie Hancock at the time). If there was a renaissance in hiphop towards the 'intellectual' it was the now long dead era of 'gods and earths' exemplified by groups such as Brand Nubian, Rakim, Wu-Tang, X-Clan et-al. On the more popular side were Arrested Development and PM Dawn (yes PM Dawn). All of this was done in closer communication with the Spoken Word movement, and if there ever was a golden age of conscious rap, it was right there between 90 and 92. Including Gangstarr and ATCQ, Latifah and the Native Tongues, who through Jimmy Jay started to take rap international and bring non-English speaking rappers into the American fold.
But the death of that era came with the LA Riots and the incredicble concession that Ice Cube and NWA were prophetic, that Gangsta was more in touch with the 'reality' of blackfolks than somebody like Speech from Arrested Development. That KRS-1's militant posturing was an authentic expression of the deep seated frustrations that plague inner-city at risk youth in America today.. you've heard it a million times.
So if hiphop became prostituted into violent misogyny and to quote the now vindicated Cornel West 'nihilism', it is because so many left intellectuals conceded to the artistic expressions of those hard streets. All it took was a modicum of talent (Tupac) and then no matter what rappers like Onyx said, the critical response was "I ain't mad at ya".
Left critics are responsible as any for cosigning that which was 'keeping it real'.
There were some bright spots of hard resistance to the ugly directions of hiphop, most notably the protestations and steam roller of C. Dolores Tucker. I honestly can't remember what my reaction was at the time, but I've always had a gripe about the distance critics had from it. The only person I thought who really had a handle on all of the implications of the messages and artistic sensibilities of hiphop was Greg Tate. If anybody on the planet ought to be blogging, it should be Greg Tate,. I should find out where he stands on this particular issue. I'm sure his ideas are not static. Obviously I didn't read The Source or much of Vibe so I was never hip to Danyel until I became informed by Jimi. I'm sure there was an anti-censorship contingent making noise at the time, but it was too late for Tucker anyway. Black critics didn't nurture hiphopers and so there was no stopping them by the time they became commercially successful.
Remember that even in the heyday of Public Enemy, hiphop's longevity was still in question. Quincy was still trying to make that point when 'Back on the Block' came out. But the Tevin Campbells of the world were sunk by the time there was a body of critical literature on the genre. At this point, the intrigues of the The Source, Vibe and the hiphop industry are a fasciating subject, and Jimi Izrael is the online factotum.
The cultural revolution that is the bomb that hiphop dropped on American pop is a mixed blessing for sure. In one way it formed a multi-racial context for American youth culture that was once only sustained by the Jackson 5, Stevie Wonder and EWF. In another way it hardened anti-black stereotypes and corrupted the very idea of what is legitimately political. In that context despite the complete destruction of KRS-1 by a black female intellectual whose name escapes me, I find the Left responsible for goosing along these rebels.The Right on the other hand has been completely dismissive of rap as not music at all. And their alramist predictions about Public Enemy as well as their advocacy of political harrassment of Ice Cube by the FBI was reactionary and foolish. In the end they were no more wrong than Tucker or Tipper Gore, too much of rap is in fact degenerate and has, without question, lowered the standards of decency of commercial radio. But their default in delivering that message in a manner appropriate to music criticism is yet another great failure.
One is left to wonder how much energy of American youth has been misdirected into the 'politics' of hiphop. I tend to believe that it is another species of ignorant and youthful rebellion given too much attention and gnashing of middle class teeth, like the most lightweight of 'radical' hippies of the 60s.
In the wake of this legitimation of the commercial aspects of youth culture, we are left with 'Kidz Bop' and other mindless pap. Maybe country music will save us from ourselves.