The Absence of Rap in the Billboard Hot 100: A Reflection on Hip-Hop’s Evolution
For the first time in 35 years, Billboard’s Hot 100 chart has seen a striking absence of rap songs among its top 40 hit records. This unprecedented shift has sparked conversations across the music industry and among fans, with many attributing the change to a variety of factors. Critics argue that the beats have become monotonous, that many artists are merely industry plants, and that the lyrics often lack clarity. However, for hip-hop pioneer Abiodun Oyewole, the issue is more profound, encapsulated in a simple phrase: “We embraced ‘party and bullshit’, my brother.”
The Last Poets: A Historical Context
Fifty-seven years ago, on what would have been Malcolm X’s 43rd birthday, Oyewole joined forces with two young poets at a writers’ workshop in East Harlem, forming the Last Poets. This collective of revolutionary bards donned African prints and performed over the beats of congo drums, advocating for populism through their verses. The group has seen many configurations over the years, but Oyewole, Jalal Mansur Nuriddin, and Umar Bin Hassan remain the standout members. Their self-titled debut album, released in 1970, peaked at No. 29 on the Billboard 200, while their follow-up, This Is Madness, made them targets of J. Edgar Hoover’s Cointelpro campaign against figures deemed politically subversive.
Oyewole’s own journey took a tumultuous turn when he was incarcerated for attempting to raise bail for activists arrested during a confrontation with the Ku Klux Klan. This experience shaped his perspective and fueled his artistic expression.
The Legacy of the Last Poets
Dubbed “jazz poetry” at the time, the Last Poets’ work laid the groundwork for hip-hop, influencing artists from Melle Mel to KRS-One. Oyewole’s line about “party and bullshit” from the song When the Revolution Comes would later inspire the title and hook of Notorious B.I.G.’s debut single. The Last Poets’ impact extends beyond music; their spoken word style has been echoed in the performances of countless Black comedians.
In late 2022, the Last Poets released their 11th studio album, Africanism, which features some of their most resonant poems set to the Afrobeat rhythms of the late Tony Allen. Oyewole reflects on the relevance of their messages today, noting the persistence of societal issues that continue to resonate.
Current Perspectives on Hip-Hop
At 77, Oyewole remains deeply engaged with contemporary issues. During an interview, he expressed his views on various topics, including the recent election of Zohran Mamdani, a former aspiring emcee turned Democratic socialist. “This is all in divine order,” he remarked, highlighting the interconnectedness of political movements and artistic expression.
Oyewole also addressed the escalating political violence in Nigeria, emphasizing the need for unity between Africa and its diaspora. His insights reflect a broader understanding of global issues that transcend borders.
Reflections on Contemporary Artists
The conversation turned to Kanye West, whom Oyewole described as having succumbed to the pitfalls of fame and substance abuse. He expressed concern over West’s trajectory, suggesting that the artist has lost his way amid the chaos of celebrity culture.
Oyewole’s reflections on the past are tinged with bitterness, particularly when discussing the legacy of figures like Martin Luther King Jr. After King’s assassination in 1968, Oyewole admitted to grappling with feelings of rage and despair. He criticized the right-wing narrative surrounding figures like Charlie Kirk, expressing embarrassment over the glorification of individuals who have historically undermined Black excellence.
The Evolution of Language in Hip-Hop
The Last Poets’ grounding in Black pride and political purpose has been a cornerstone of hip-hop culture. Oyewole notes that while the genre has historically served as a platform for social commentary, the current landscape often lacks the urgency and awareness that characterized earlier works. He laments the shift in language within hip-hop, pointing out how terms that once conveyed camaraderie have been diluted.
Oyewole argues that the commercialization of hip-hop has contributed to a broader cultural shift, making it easier for figures like Donald Trump to dismiss Black excellence. He remains hopeful, however, that the Last Poets’ mission of empowering the people will ultimately prevail.
The Future of Hip-Hop and Activism
Despite the challenges facing hip-hop today, Oyewole sees opportunities for growth and change. He believes that in times of chaos, there lies the potential for transformation. His optimism is rooted in the belief that efforts to suppress Black voices will ultimately backfire, promoting a resurgence of the very ideals that the Last Poets championed.
“In times of great chaos, there’s opportunity,” he asserts, suggesting that the current political climate may inadvertently serve to elevate the voices of those fighting for justice and equality. Oyewole’s insights remind us that the struggle for empowerment and recognition is ongoing, and that the legacy of the Last Poets continues to inspire new generations of artists and activists.