Tag Archives: Rap music

The improbable rise of Run the Jewels

In the history of rap music, the success of Killer Mike (Michael Render), a Black man from Atlanta, Georgia, and El-P (Jaime Meline), a white man from Brooklyn, New York, seems implausible. Yet, they’ve defied all odds, turning what should have been the twilight of their careers into the peak of their success. As the powerhouse duo Run the Jewels, El-P and Killer Mike have headlined global festivals, become action figures and Marvel comic characters, led a worldwide countercultural movement, and played significant roles in the last two U.S. presidential elections.

Their journey evokes a modern-day buddy movie. Filled with twists and triumphs, it mirrors the massive shifts in the music industry over the last 25 years–from the peak of the CD era to its decline and the rise of streaming platforms–and reflects the evolution of pop culture and its sociopolitical climate. From the surge of Afrofuturism and the fall of the Twin Towers to the emergence of the Black Lives Matter movement and Colin Kaepernick’s protest, these pivotal moments shaped how their growing friendship turned Killer Mike and El-P from underground solo acts into globally recognized icons.

Killer Mike (left) and El-P perform on NPR’s Tiny Desk.

RTJ album cover artwork.

Listen to the 10th anniversary edition of Run the Jewels’ first album here.

Killer Mike, the 39-year-old rapper and entrepreneur, commands attention with his powerful presence, blending raw talent with a unique perspective that sets him apart. His verses seamlessly navigate detailed street narratives, intense battle raps, sharp punchlines, and passionate political commentary. Killer Mike first gained widespread recognition as a protégé of Outkast, the iconic Atlanta rap duo that paved the way for Southern hip hop to earn international respect. As a member of the Dungeon Family, he got his big break with a standout feature on Snappin’ and trappin’, a track from OutKast’s 2000 album Stankonia. After a series of solo releases and mixtapes, he expanded his creative reach, contributing music and voicing a character on Frisky dingo, an animated series that marked the beginning of his collaboration with Cartoon Network’s Adult Swim. In 2012, Killer Mike dropped R.A.P. music, a fiery album that brought together his commanding presence with the menacing beats of El-P, a seasoned veteran of New York City’s independent hip hop scene.

El-P (left) and Killer Mike (right) perform during the 2019 All Points East Festival at Victoria Park in London. Photo by Robin Little.

El-P first made his mark as part of Company Flow, a group of sharp-tongued, anti-establishment lyricists who approached their tracks with the same rebellious energy as graffiti artists tagging subway cars. As the flagship act of Rawkus Records, a powerhouse of independent hip hop in the mid-1990s, Company Flow’s 1996 album Funcrusher plus became a cornerstone of underground hip hop. By the end of the decade, El-P, alongside his manager Amaechi Uzoigwe, launched the Definitive Jux label, with the intent to release Company Flow’s second album. However, before the project could come to fruition, the group split up. Despite this, the unfinished material was eventually reworked and became the foundation for El-P’s solo breakout, marking the start of his career as a solo artist and producer.

Official RTJ action figures.

The unexpected collaboration between underground hip hop giants El-P and Killer Mike turned out to be a perfect fit. In 2013, the duo reunited to launch Run the Jewels, revamping the gritty, hard-hitting style of late-1980s and early-1990s hip hop legends like Ice Cube and EPMD. Through their groundbreaking releases, Killer Mike and El-P firmly established themselves as dominant forces in modern music, becoming influential voices in the soundscape of contemporary rap.

This according to Kill your masters: Run the Jewels and the world that made them by Jaap Van der Doelen (Athens: University of Georgia Press, 2024; RILM Abstracts of Music Literature 2024-15629).

Watch Run the Jewels perform on NPR’s Tiny Desk concerts here.

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Hip hop at 50: Part II–Indigenous hip hop as decolonial art

Indigenous hip hop in recent years has created a space for unpacking ideas of authenticity, contemporary Indigenous identity, links between indigeneity and U.S. Blackness, and urban Indigenous experiences. But what is Indigenous hip hop and what does it represent? Indigenous Hip Hop is a culture first adopted and then produced by Native people to challenge settler colonialism, white supremacy, and heteropatriarchy, among other issues. One of the primary objectives of Indigenous hip hop has been to assert the sovereign rights of Indigenous people and to assert their humanity as modern subjects. Indigenous hip hop takes on many flavors throughout the Indigenous world. Some artists may sound like what listeners hear on commercial radio, while other may include elements of Native sounds including powwow music. Indigenous hip hop provides an anthem, a voice, a literary and decolonial movement—it is not merely Native people mimicking hip hop culture. For some Indigenous hip hop musicians in Detroit, Michigan, the connections between settler colonial logics in Detroit and Palestine allow for hip hop in these spaces to serve as a decolonial art form.

Contemporary Detroit, nicknamed the “Motor City”, has gone through many changes since the 20th century. In the 1950s, its streets were lined with vehicles produced by nearby Chrysler, Ford, and General Motors factories and driven by nearly 2 million people who called the city home. After the 1967 Detroit riots, parts of the city resembled ghost towns and the city’s population dwindled to around 670,000 as many residents fled to surrounding suburbs. Detroit has experienced a rebirth over the past two decades drawing local investment and new residents to the downtown area. What remains remarkably consistent, however, is the invisibility of the Motor City’s Indigenous population. Indigenous erasure, in this context, combined with rhetoric and policies that continue to marginalize African Americans in Detroit, create a place rooted in multiple colonialisms.

Detroit rapper Sacramento Knoxx

In 2014, an Anishinaabeg (Walpole Island) and Chicanx rapper from Detroit named Sacramento Knoxx collaborated with Palestinian rapper Sharif Zakot on a music video entitled From stolen land to stolen land. Sharif is a youth organizer and coordinator in the San Francisco Bay Area’s Arab Youth Organizing (AYO!) program. Similar to Indigenous youth, many Palestinian youth also have turned to hip hop culture to express their anguish and marginalization. The images in Sacramento Knoxx and Sharif’s video travel from New York City to Detroit to Palestine. Sharif scribbles “Free Palestine” with a black marker on a metal object while the video cuts to a scene of Knoxx standing on the Brooklyn Bridge and to the words “Free Rasmea Odeh”, a long-time Palestinian activist who was arrested and indicted on federal charges in October 2013. As the words appear on the screen, a blurred view of the Statue of Liberty appears in the background, a symbol of a loss of freedom for many of North America’s Indigenous people. The song’s lyrics connect white supremacy with the occupation and displacement of Indigenous land while the two rappers lyrically interweave the ongoing processes of settler colonialism in both settings. Although they acknowledge that the colonization of the Americas and Palestine happened at different times and in different contexts, the similarities of occupation join the two disparate lands.

Celebrate Indigenous Peoples’ Day by reading Kyle T. Mays’ article “Decolonial hip hop: Indigenous hip hop and the disruption of settler colonialism” in Cultural studies (33.3, 2019).

Below is the video for Sacramento Knoxx and Sharif Zakot’s From stolen land to stolen land. Check out more from Sacramento Knoxx at https://sknoxx.bandcamp.com/music

Related Bibliolore articles:

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Tanzanian rap and neosocialist moralities

 

Rap songs from Tanzania’s urban youth are especially popular due to two factors: (1) unlike the majority of countries in Africa, Tanzania has a well-established national language, Swahili, which is spoken from one end of the country to the other, and has enabled the emergence of a well-subscribed sentiment of national belonging; and (2) as of 2013, 64% of Tanzania’s population was 25 years old or younger.

Like much youth music, a constant theme for Tanzanian rap is romance and relationships, but social and political critique has also proven emblematic of the genre. With penetrating lyrics, Swahili rappers target those who engage in predatory capitalism and political corruption—elites who hoard resources to accrue ever more wealth, spending it in an ever more conspicuous style, while the majority find their lives made ever more difficult.

This according to “Neosocialist moralities versus neoliberal religiousities: Constructing musical publics in 21st century Tanzania” by Kelly M. Askew, an essay included in Mambo moto moto: Music in Tanzania today (Berlin: VWB: Verlag für Wissenschaft und Bildung, 2016, pp. 61–74).

Above and below, Soggy Doggy’s Nyerere uses clips of Tanzania’s first president, Julius Nyerere, who believed that socialism was the antidote to colonial-era capitalism.

More posts about Tanzania are here.

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Pranksta rap

 

Humor provides a means of navigating the race and gender politics of hip hop culture in several ways.

The Beastie Boys, a trio of white Jewish rappers, relied heavily on humor to mark their outsider status while mitigating claims of racial inauthenticity.

The triumphant career of Missy “Misdemeanor” Elliott shows how her humor—especially when aimed at the rapper herself—has functioned as an artistic expression of old-school legitimacy and as a means of empowerment for a businesswoman in the male-dominated music industry.

While the proliferation of hip hop parody relies on racial and gender stereotypes for much of its humor, it also offers outsiders the possibility to negotiate otherwise prohibitive social differences from within hip hop culture.

This according to “Pranksta rap: Humor as difference in hip hop” by Charles Hiroshi Garrett, an essay included in Rethinking difference in music scholarship (New York: Cambridge University Press, 2014, pp. 315–337).

Below, Missy Elliott performs Work it, her classic send-up of sexual stereotypes.

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