Lupe, Tribe Called Quest & Hip Hop Elitism
by Davey D
So by now
damn near everyone has heard about Fiascogate. This is the name given to the drama involving Chi-town rapper Lupe Fiasco and
his recent verbal skirmish with Tribe Called Quest, their legions of fans and now Vibe Magazine. All this week I been getting
hit with emails and links to stories commenting on the incident. Many are now claiming that Lupe is NOT HIP HOP and they will NEVER LISTEN OR BUY his album.
Lupe in the meantime has responded to some choice words of his own about Hip Hop elitism and how he grew up being influenced by gangsta rappers like Spice 1
and that no one had a lock on what Hip Hop is and isn't. Just because he didn't grow up listening to Tribe Called Quest did not some how make him less
important than many of his critics.
For those who don't know about this, lemme give you a quick run down on the background to all this.
Last Thursday Oct 4th the VH1
Honors was taped. (It aired on Monday Oct 8th), Tribe called Quest was one of the acts being honored and Lupe Fiasco was part of the team which
featured Common and Busta Rhymes, chosen to pay tribute to the group by performing some of their signature songs. This caught
a lot of people by surprise because Lupe had been on record saying that he never checked for Tribe Called Quest when he was growing up. For some this was
incredulous and when Lupe flubbed some of Phife's lines during the performance it was all she wrote. People came down hard on Mr. Fiasco. They came down
even harder on him when he responded to his mistakes by basically saying 'Shit happens'.
Now normally, forgetting lyrics to a song is understandable. It happens to the best. Over the years, I've seen everyone from Rakim to
Chuck D forget their lyrics. And to be honest folks gotta lighten up, but when it comes to group like Tribe and Lupe messing up on national TV
some folks weren't trying to be understanding.
Now if, Lupe would've just left things alone, this incident would've probably blown over, but he decided to respond to his critics. From what I gather
his sentiments have more to do with him not being too fond of the backpack crowd which he finds elitist then it did with him messing up and ultimately
disrespecting Tribe. In a blog entry on Okayplayer.com and an interview with Vibe Magazine Lupe admitting that he never listened to the group's landmark album
Midnight Marauders. This admission coupled with what many interpreted as a cavalier attitude got under people's skin and rubbed
them the wrong way.
Many were left asking, how could a guy who recorded a backpack sounding song like 'Kick, Push' not have listened to
'Tribe Called Quest'? How could Lupe of all people try and distance himself from so called 'backpack music'? The fact of the matter is when
many heard Lupe's debut album 'Food and Liquor' many naturally thought he was in many ways picking up where Tribe left
off. Hence his remarks about not listening to Tribe caught everyone off guard.
Here's part of what Lupe originally posted on Okayplayer...
"I DID NOT GROW UP ON ATCQ!!!..."
THE LITTLE GHETTO KID FROM THE MEAN STREETS OF THE WESTSIDE OF CHICAGO GREW UP ON SPICE 1, 8-BALL & MJG, NWA AND SNOOP DOGG...
I WASNT A BACKPACKER RAP ENTHUSIAST!!!...I NEVER CLAIMED TO BE...I GREW UP ON GANGSTA RAP!!!
HAVE I LISTENED TO Midnight Marauders IN ITS ENTIRETY?...NO!!!...(Sorry Quest)...
GET OFF YOUR HIGH HORSES AND YOUR SACRED COWS...SOME OF YA'LL MAKE ME SICK...
AND FYI WHEN IT WAS INITIALLY OFFERED TO ME I TURNED IT DOWN BECAUSE I FELT IT WAS OUT OF PLACE FOR ME TO BE HONORING THEM BECAUSE WHILE I WAS FULLY AWARE OF THEIR IMPACT IN HIP-HOP I WASNT REALLY AWARE OF THEIR MUSIC LIKE THAT...BUT GUESS WHO WANTED ME TO BE APART OF IT....HMMMM...HOW ABOUT...Q-TIP!!!...
SO NOW ARE YOU GOING TO HATE ON "ATCQ" BECAUSE THEY WANTED SOMEBODY WHO DIDNT REALLY KNOW THERE MUSIC TO HONOR THEM BY COVERING SOME OF THEIR MUSIC?...THINK ON THAT OKP'S
This sent shockwaves around the Hip
Hop community and even garnered a response from Q-Tip who during an interview on New York's Hot 97 with Miss
Info refuted Lupe's claims that the group sought him out. He told Miss Info that he and the group never ever 'hunted down' or begged Lupe
to be a part of the tribute. Q-Tip noted that the idea of including Lupe was pitched to them by VH1 which initially he found to be amusing
because he knew that Lupe wasn't really into the group. Tip said it didn't make sense that Lupe would be on stage but he and group went along with it.
Last night (Oct 10th) I interviewed Q-Tip and attempted to get further clarification into this matter. He said he didn't wanna give this incident anymore light and offered no comment. Afterwards, we did talk briefly about an interview I did with Lupe last year where he noted that he grew up listening to jazz and how much of a big influence it played with his approach toward music. Not to say that it wasn't, but during our interview he never mentioned gangsta rap being a main cornerstone in his musical upbringing. He talked about his love for jazz hence neither Q-Tip or myself, could figure out how Lupe somehow missed Tribe Called Quest.
Tip who is is a jazz lover reiterated a point he made at the Vh1 Honors about how he was influenced by N.W.A. to do the classic album 'Low End Theory'. Tip also noted that Dr. Dre was and has always been his favorite producer. Years later, Dre admitted that he was influenced by Tribe Called Quest to do produce and record 'The Chronic'.
To me, this is important to note since so many people in particular Hip Hop purists like to somehow separate the two groups. In their minds one is the epitome of Hip Hop (Tribe Called Quest) while the other (NWA) shouldn't even have the word Hip Hop said in the same sentence. The bottom line here is that, had it not been for mutual admiration and respect, two of Hip Hop's most revered albums would've never been made and that N.W.A. is just as Hip Hop as Tribe and vice versa. It's the ying and yang of a culture and everything in between.
Now the story gets complicated when Vibe Magazine entered the fray. They posted up remarks from Lupe in what they described as an exclusive interview. Here's what they released…
"[Tribe] didn't sell 10 million records, so why would people think they had a blanket on the world like that? MC Hammer was way more popular to me than Tribe Called Quest."
It's all about hip hop vanity, Lupe explains. "Because there's kids in Harlem who right now would never ever listen to Midnight Marauders, I don't give a fuck what you do, they'll never listen to Q-Tip and they want to be rappers and they want to talk about positive things. So why would you shoot them down?"
His voice rises. "It's like, 'Oh, you ain't never listened to Midnight Marauders? You ain't expanding your horizons? Oh, you ain't real' cause they did that shit to me! 'Oh Lupe, that's fucked up man, I don't fuck with you now, I'm not buying your next album' and be dead serious! It made me feel like, 'You dirty bastards. Like how dare you.'"
Those hip hop elitists who think [Tribe] hold the crown and the copyright to hip hop," he says. "I listen to 8 Ball & MJG and I think they're better than you [Tribe]."
Now those are inflammatory remarks if I ever heard any which undoubtely inspired all sorts of 'Fuck Lupe Fiasco' emails. I know I received a few.
Lupe in turn is now suing Vibe Magazine for defamation of character. He notes that his remarks were not only taken out way out of context, but the interview was done almost a month ago when he had a larger conversation around the issue of Hip Hop elitism. I haven't seen Vibe's response, but if this is true, then it would be sad to see that this publication which played a huge role in furthering the Biggie vs. 2Pac beef would be up to their old irresponsible tricks again.
Now with all this being said, lets get to the heart of the matter which is Hip Hop elitism. Unlike some of Tribe fans who are upset, I can on many levels see and maybe even understand where Lupe Fiasco is coming from. For a music and culture which lays claim to bringing folks together from all walks of life we do have some over the top Hip Hop snobs who have made it their life's mission to narrowly define Hip Hop resulting in entire generations, regions and sub-genres under the the Hip Hop umbrella being excluded. These are the characters who will pompously run down this argument about some artists are Hip Hop while others are rap. They will assert that artists like 2Pac, David Banner or Ice Cube are not Hip Hop while Sage Francis, El-P and Zion I are. To me they are all part of the same family.
Chuck D of Public Enemy
described this arbitrary categorization as narrow-casting. What the Hip Hop elites do in terms of placing exclusionary limits on the music is no different that
what corporations do on the other side of the spectrum, where they will exclude so called underground artists in favor of corporate backed artists who's
raps center around a short list of sex, violence and money themes which reduces Hip Hop culture and Black people in general to two dimensional caricatures
When I read Lupe's remarks and then saw all the negative response to him, where people where laying claim that he is no longer Hip Hop because he didn't show proper homage to Tribe Called Quest, who arguably paved the way and laid down critical foundation for him and so many others, I had to chuckle to myself. I had to ask myself, how many of these Lupe critics are really 'bout it bout it', in terms of showing respect to Hip Hop's legends and icons who preceded Tribe Called Quest?
In other words are these same critics associating themselves and paying 'proper' homage to the pioneers of Hip Hop culture? Do they follow the words of Afrika Bambaataa? If they did many would not be so elitists and narrowly 'mis-define' Hip Hop music and culture. Have these critics picked up a new album from any of the pioneers? Have they attended a show or joined their organizations like Zulu Nation or Rocksteady or attended any of their events? More importantly have any of these critics even checked up on them just to see how their fairing in 2007? How many of these Lupe critics follow the evolution of these pioneers who continuously attempt to push and expand Hip Hop on a global level?
For example, I seen many people bemoan the fact that Afrika Bambaataa doesn't always spin traditional, classic break beats when they see him play. Some have even gone on to say that Bambaataa the Godfather of Hip Hop culture is no-longer connected to Hip Hop because he doesn't fall neatly into someone's rigid categorization. Yes, I have actually had conversations with people saying such nonsense.
A couple of years ago me and Bam had a conversation about this. He was playing at a club in Berkeley called the Shattuck Downlow and I asked him how come he no longer plays the old break beat records that many consider the cornerstone of Hip Hop music. He explained that he travels all over the world and has grown over the past 30 years. He said Hip Hop is worldwide and that break beats are no longer limited to James Brown and Sly Stone records. He said the world beats that he plays are the break beats of other lands and the break beats of the future.
To underscore his point, that weekend,
myself and fellow writer/ author Jeff Chang went record shopping with Bam. He spent hours at several San Francisco record stores seeking out
obscure artists from Peru, Venezuela, Germany and the former Soviet Union. Bam talked about how important it was for us to be INCLUSIVE and
expand our horizons. He said if we're really about Hip Hop how come we don't hear Go-Go music being played? That's part of Hip Hop. Where's the
Latin freestyle and eletro-funk? That's part of Hip Hop. Where's the trip Hop and reggae? That's part of Hip Hop. Where's the Hip Hop from
other lands? How come we don't hear more people playing that at a party since Hip Hop is worldwide? His criticisms about limits being placed on Hip Hop
have long been directed at radio stations, but they are also directed at many within Hip Hop who are exclusive and seek to lock everyone out by redefining the
culture.
Anyone who ever had the privilege of hearing Bam spin during Hip Hop's pioneering days in the 70s would know that the guy who called himself the Master of Records played everything from Fela Kuti to the theme from the Pink Panther and Mod Squad. I recall going to Bam parties and being somewhat frustrated because he never played the traditional breaks everyone else played. If you went to one of his gigs expecting to hear popular break beats of the day like 'Catch a Groove' or 'I just Wanna Do My Thing' you would be disappointed because by the time such joints became popular, Bam was pushing the limit by exposing new sounds to people.
Anyone who ever had the privilege of hearing Bam spin during Hip Hop's pioneering days in the 70s would know that the guy who called himself the Master of Records played everything from Fela Kuti to the themes from the Pink Panther and Mod Squad. I recall going to Bam parties and being somewhat frustrated because he never played the traditional breaks everyone else played. If you went to one of his gigs expecting to hear popular break beats of the day like 'Catch a Groove by Juice ' or 'I just Wanna Do My Thing' by Edwin Starr you would be disappointed because by the time such joints became popular, Bam was pushing the limit and on to the next beat...
Over the years Bam has explicitly noted that Hip Hop includes the so called gangsta rap from the west coast as well as the music coming from the South. He's never excluded them. He's said what's needed is balance in terms of what we present, but everyone has a seat at the table. Hip Hop music at its best reflects who you are, where you're from and what your about at given points in time. That includes one being deep and profound one one end of the spectrum or being materialistic and shallow on the other end. At various points in our lives we all can be accused of falling to either extreme and somewhere in between.
Taking this a step further, how many artists who we see as iconic today bother to seek out and involve some of those pioneering artists from our past in their new projects? I'm asking this question from the standpoint of understanding that many of us are aware that we live in a society where people in power go out of their way to exclude and dismiss those of us from our past?
The usual excuse given for not reaching out and being
more inclusive is that they have budget constraints or they couldn't locate them. Yet isn't it ironic that today's Hip Hop heads will spend hours
seeking out a hard to find break beat to sample, spend top dollar for sub par studio sessions or quickly out dated recording equipment? Many will spend
enormous sums on lackluster promotional material or they'll go to all sorts of lengths to kiss ass and buy off an insidious concert promoter but these same
folks don't wanna show respect by seeking out and paying to get a Grandmaster Caz, Whipper Whip or a Kool More
Dee to spit 16 bars. Yet they wanna raise up and smash on Lupe?
Many of these seem to downplay the fact that doors were opened because many of these unsung forgotten pioneers who paved the way by unknowingly making crucial mistakes or getting their heads knocked in because at 18-19 years old they had no clue about the shadiness of the music industry. Hence many got ripped off by unscrupulous operators in the music industry who interestingly enough still run the industry the today. The mistakes of these pioneers became the lesson plans for future generations. So how have we paid the ones who opened doors for us back? It's not enough to say you read a couple of books or you spit a nice rhyme like Jay-Z when he penned the song 'Izzo' and rapped about how he was over charging the industry for ripping off Cold Crush.
It's nice line that reflects an important sentiment but as Grandmaster Caz pointed out during a panel discussions a couple of years back, Jay-Z never picked up a phone and offered to sign him to Roc-A-Fella Records. He certainly hasn't done that as president of the Def Jam. Hell, if Jigga was going around over-charging folks, shouldn't he ideally be kicking back money to the guy who penned many of the memorable lines in the landmark record 'Rapper's Delight' where he never got paid or public acknowledgment?
And since Jay-Z didn't fill the void, because as many Hip Hop purists like to point out, he's not really Hip Hop and hence would not do the right thing... then the question needs to be raised to the true Hip Hop head, how has Caz been included in your Hip Hop offerings? Did any of you offer him a recording contract or an opportunity to record? Did you book him or the Cold Crush for a show? Is respecting the architects of this culture simply having a ceremony and showering one with praise or seriously putting your money where your mouth is?
As far as I'm concerned, the ones who are quick to lambast Lupe Fiasco for not knowing Tribe Called Quest can be lambasted themselves for not respecting the architects of this culture beyond words but with deeds. Can we have more people like Guru who took time out to do the Jazzmatazz series where he brought to the fore front all the jazz legends that influenced him. We need more acts like Tribe who many are so vigoriously defending, to follow their footsteps and be an active part of Hip Hop's oldest organization-the Universal Zulu Nation?
If Lupe Fiasco in 2007 is being seen as disrespecful to his Hip Hop elders, perhaps he's the off spring of seeds that were planted years ago. A telling incident that will always stand out in mind took place in the late 80s at the now defunct New Music Seminar. I believe it was in '88 or 89 when contentious panel discussion was underway with the topic being 'What is the true meaning of Hip Hop'? There were all sorts of folks jam packed into this little room ranging from record executive Dante Ross to now famed producer Kutmasta Kurt to Media Assassin Harry Allen of Public Enemy.
A lot of heads were in the place earnestly
debating what was Hip Hop and who was Hip Hop. In the middle of that discussion Kool Herc walked into the room and stood in the back. The
moderator nodded his head and kept right on talking, without stopping to let everyone know the Father of Hip Hop had graced the place. In fact homeboy
didn't even bother to invite him to come sit at the table or weigh in on the discussion. The lack of acknowledgment caught me so off guard that I had to
look twice to make sure it was Herc.
I think it was Harry Allen who wasn't on the panel who finally alerted everyone that Kool Herc was in the building, but even then he wasn't invited to sit and offer his take on things. The rest of the panel kept right on debating like it was no big deal. Even more ironic was the panel was all white kids, many who were just starting to establish themselves within the burgeoning infrastructure of Hip Hop's business side.
As the discussion continued, Harry Allen who was sitting near me grabbed me and as he went up to Herc and asked if he would mind us interviewing him. Herc was more than happy to oblige. That day we really got the true meaning of Hip Hop straight from the source who sadly was unrecognizable to the Hip Hop elites sitting on the panel that day.
Chuck D of Public Enemy recalls that particular New Music Seminar convention quite well, because that was the year he sat on panel with Spike Lee, James Mtume, Sista Souljah and Spike Lee and gave this incredible speech outlining six key points of what needs to be done to bring Hip Hop into the folds of the music industry. Chuck recalled a lot of heads sat up in that room and took notes and later went on to use those suggestions to position themselves in the industry. They became future editors, journalists music directors and music industry gate keepers who soaked up a lot of game from the streets and bowels of this culture, but never really gave back or really showed respect to the pioneers who came before them. If anything many more doors then they opened.
This is a point author/professor Adam
Mansbach (Angry Black White Boy) frequently builds upon. Like Chuck D, in a recent interview he referenced the years
1989-1993, as a time when Hip Hop was experiencing a lot of growth. He too acknowledged that much of that growth came in the form of young white college kids
who started coming into the industry and through privilege started positioning themselves within media enclaves where they later took on the role as Hip Hop
gatekeepers. Mansbach calls them the 'Takeover Generation'. He went on to note that many of these new comers then turned around and
using their position and access to the masses and started redefining Hip Hop even if it was in sharp contrast to the definitions and practices of pioneers
before them.
Mansbach added that a lot of this re-defining was oftentimes exclusive as opposed to inclusive and was ultimately designed to somehow validate the existence of a lot of these kids who he described as coming to the party late and managed to 'leap-frog' to the front of the line. Many weren't too interested in respecting the culture unless it fit their own needs.
In this recent scenario involving Lupe Fiasco and Tribe Called Quest right beneath the surface is this struggle about who gets to define culture. Because Lupe says he likes 8 Ball and MJG and Spice 1 suddenly he is no longer worthy of respect by the Hip Hop elite? Mansbach asked under who's authority? Does an 10 or 11 year kid growing up Chicago's west side as was the case with Lupe be allowed the luxury to have different take and upbringin on Hip Hop music and culture?
Is there some Hip Hop Cannon everyone agreed to follow? Who crafted it and how often if any is it revised? How do we all get to weigh in?
A lot of the venom being spit at Lupe would not be there if it was some other icon who's lines he flubbed. He pointed out that if Lupe had messed up Kool G Rap's lines or Ice T's the outcry wouldn't be the same, but with Tribe Called Quest, they happen to be one of those groups that quickly got adapted by the Takeover Generation and to a large degree what Hip Hop is and isn't got defined around way people felt about that group. In short ATCQ became and is a favorite of the Hip Hop elite and Lupe had stepped on toes.
Mansback noted some of this debate centers around generations-i.e. young vs. old. Some of it is regional-East coast flave vs. west coast flava vs. down south and midwest flava. But a lot of it is rooted in in race and class struggles which sooner or later need to be addressed head on if Hip Hop is really going to move forward.
During our discussion, Mansbach went into further detail explaining who, what, where, how and why, but we're simply gonna have to just do a full interview with him so we can really dwell deeper and do some real justice to the important points he raised.
Lupe's points although somewhat misplaced are valid on many levels. He's right when he says the average cat on the streets of Harlem isn't rushing to hear Tribe Called Quest, Poor Righteous Teachers, X-Clan, Public Enemy or many of the groups I came to admire during Hip Hop's Golden era. If we really stop to think about it, had there been no Vh1 Honors show many wouldn't know anything about these icons which is sad testament to all of us, because why is it in 2007, that our history and culture has to be fed through a corporation like Viacom? Where's our own Hip Hop honors? Where's our own Hip Hop Hall of fame? They do exist, but do we support them when they are on a grassroots level?
So what does all this mean? Well a few months ago I did a workshop at UC Berkeley and I asked a bunch of high school students mostly Black and Brown from East Oakland to raise their hands if they liked Hip Hop. The whole class raised their hands and made noise. Hip Hop was their life in their lifetime Hip Hop had always been here.
I then asked if anyone knew who Elvis Presley was.
Everyone raised their hands. I asked if anyone knew where he was from several people raised their hands with one kid saying Memphis, Tennessee. I next asked if
anyone in the room had heard of the Beatles. Everyone once again raised their hands. I posed the question if anyone knew where they were from. Several people
called out they were from England. I then asked if anyone knew who Afrika Bambaataa was and two people, one of them being the teacher raised their hand. I
asked the one kid if he knew who Bambaataa was where he was from and he said he was from South Africa and worked had something to do with Nelson
Mandela. I then asked the class if they knew who Kool Herc was and no one raised their hand. Remember these are students from the hood who ranged in
age 15-17.
I pointed out the irony of how it was that folks from the hood who never ever listen to Elvis Presley or the Beatles knew all about him but had no idea about the Father and Godfather of Hip Hop. I went on to speak in great detail about how history especially as it relates to many of us as Black folks is often discouraged and discounted. What concerned me most was the fact that many in that room not only did not know about the founding fathers of Hip Hop, they didn't care. As we continued on it was soon apparent that history of in general was of no concern. So not only did they not know about the founding fathers of Hip Hop, many also didn't know too much about the Black Panthers and the freedom struggles which were birthed in Oakland.
To them they had come up in generation where they hear from literally every angle that history is old and boring. It's all about the here and now. The reason why they knew about Elvis and the Beatles is because to this day they are revered and celebrated in ways that were never afforded our own icons. I encouraged those kids to really take hold and fully embrace their heroes and sheroes and find out as much about them.
For those kids in the room that day their icon would be the late Mac Dre. It was interesting to note that our West Coast Hip Hop Godfather Too Short wasn't even on the map with these kids. I told them it was important to know about the people who came before them so they can build off of past accomplishments.
Hopefully those kids came away with a deeper
appreciation for all of their history and not be selective. Can you imagine 20 years from now hearing some in that room becoming highly upset that some upstart
rapper appearing on an awards show would admit to never hearing a classic album like Mac Dre's 'Ronald Dregan: Dreganomic' which
has the hit song 'Feeling Myself'?
So is Lupe wrong for not listening to Tribe Called Quest. I would say so only for the fact that he was on national television honoring the cats. Fan or not, he had a responsibility to be professional. Part of that professionalism means familiarizing yourself with their material. Because Lupe is a conscious, educated cat, then he more than most knows the importance of embracing history and culture and having a keen understanding of it. He knew that like it or not by taking on that gig he would be an ambassador of sorts-charged with passing down the history. We touched upon this topic when we did our interview last year.
But is Lupe out of pocket for not being a fan or someone who sought out Tribe's material? Absolutely not and this is coming from a Tribe fan and friend of some of the members. Lupe is right about people being on their high horses. It's time for many to get off and take a long hard look in the mirror and ask ourselves how is that a bunch of kids from the hood know more about the Beatles and Elvis then they do about the founding fathers of Hip Hop? This has happened on our watch. If we feel like Lupe Fiasco wasn't respecting history, maybe its because we ourselves don't respect history and it was something that rubbed off on those coming up behind us..
Written by Davey D
