The new H.N.I.C. (head niggas in charge) : the death of civil rights and the reign of hip hop

Although I am not impressed w/ the "N" word, as does the author, one has to respect Todd Boyd for being one of few from the older generation for analysing the so called Hip Hop generation and contemporay Black American youth in general from a historical standpoint. No one can deny that the Civil Rights Movement became less relevant among Black Youth during the rise of the 1970 Pro Black Power Era (The Black Panthers, Nation Of Islam, 5 Percenters, Malcom X, ect.) Even Martin Luther King recognized the presence of SNCC, and even moved beyond race matters to engage in international affairs (Vietnam, Aparthied, Biafra Civil Wars). However, very little, if anything, has been mentioned about how the Pro Black Era was instrumental in influencing Hip Hop w/ the decline of the "We Shall Overcome" assimilation fantasies. Nothing cited about the popularity of featuring Black Nationalism speeches over hard core production (Ava Muhammad, Malcon X, Louis Farrakhan), the raised consciousness of Garveyism, the African Medallions or how many White journalist were caught off gaurd for attempting to challenge artist they thought were "stupid" (Chuck D., Sistah Souljah, Wise Intelligent). Not even any mention about social activism w/ P.Diddy's Daddy's House, Russell Simmons and LL Cool J's SUCCESFUL campaign for Black youth to speak out againsts outdated school books in New York, or how Jay-Z donated THOUSANDS of dollars in procedes from his concert to families of Columbine victims (of which will never reach newspapers). More also could have been addressed on Hip Hop's presence from a global prespective such as it's influence on the Black youth of South Africa-Post Aparthied or Africa in general. He does address a few points, such as the critics of Hip Hop who blame it for the ills of society while turning a blind eye on comprimising Knee-Grow "leadership" and church curruption that has done a great job (unfortunately)of turning many Black Americans into "Sheep-ple", or differences on how White Americans are offered a free pass as individuals for equal immoral acts Black Americans (who are *not* monolithic) are often made to pay as a group. This is just a good read and necessary for a good discussion on Hip Hop and the parities between the current generation and thier parents.

when Lauryn Hill Stepped Forward To Accept Her Fifth Grammy Award In 1999, She Paused As She Collected The Last Trophy, And Seeming Somewhat Startled Said, This Is Crazy, 'cause This Is Hip Hop Music.' Hill's Astonishment At Receiving Mainstream Acclaim For Music Once Deemed Insignificant Testifies To The Explosion Of This Truly Revolutionary Art Form. Hip Hop Music And The Culture That Surrounds It—film, Fashion, Sports, And A Whole Way Of Being—has Become The Defining Ethos For A Generation. Its Influence Has Spread From The State's Capital To The Nation's Capital, From The Pineapple To The Big Apple, From 'frisco To Maine, And Then On To Spain.

but Moving Far Beyond The Music, Hip Hop Has Emerged As A Social And Cultural Movement, Displacing The Ideas Of The Civil Rights Era. Todd Boyd Maintains That A New Generation, Having Grown Up In The Aftermath Of Both Civil Rights And Black Power, Rejects These Old School Models And Is Instead Asserting Its Own Values And Ideas. Hip Hop Is Distinguished In This Regard Because It Never Attempted To Go Mainstream, But Instead The Mainstream Came To Hip Hop.

the New H.n.i.c., Like Hip Hop Itself, Attempts To Keep It Real, And Challenges Conventional Wisdom On A Range Of Issues, From Debates Over Use Of The N-word, The Comedy Of Chris Rock, And The Get Money Ethos Of Hip Hop Moguls Like Sean P. Diddy Combs And Russell Simmons, To Hip Hop's Impact On A Diverse Array Of Figures From Bill Clinton And Eminem To Jennifer Lopez.

maintaining That Martin Luther King, Jr.'s I Have A Dream Speech Is Less Important Today Than Dmx's it's Dark And Hell Is Hot, Boyd Argues That Civil Rights As A Culturalforce Is Dead, Confined To A Series Of Media Images Frozen In Another Time. Hip Hop, On The Other Hand, Represents The Vanguard, And Is The Best Way To Grasp Both Our Present And Future.

spin Magazine - Alan Light

stand Back! Todd Boyd Brings The Ruckus In This Provocative Look At How Hip Hop Changed Everything From The Jailhouse To The White House—and Why It Truly Became The Voice Of A New Generation.

Frames hip-hop as the defining cultural force in the aftermath of the Civil Rights and Black Power erasWhen Lauryn Hill stepped forward to accept her fifth Grammy Award in 1999, she paused as she collected the last trophy, and seeming somewhat startled said, “This is crazy, ‘cause this is hip hop music.'“ Hill's astonishment at receiving mainstream acclaim for music once deemed insignificant testifies to the explosion of this truly revolutionary art form. Hip hop music and the culture that surrounds it—film, fashion, sports, and a whole way of being—has become the defining ethos for a generation. Its influence has spread from the state's capital to the nation's capital, from the Pineapple to the Big Apple, from ‘Frisco to Maine, and then on to Spain. But moving far beyond the music, hip hop has emerged as a social and cultural movement, displacing the ideas of the Civil Rights era. Todd Boyd maintains that a new generation, having grown up in the aftermath of both Civil Rights and Black Power, rejects these old school models and is instead asserting its own values and ideas. Hip hop is distinguished in this regard because it never attempted to go mainstream, but instead the mainstream came to hip hop.The New H.N.I.C., like hip hop itself, attempts to keep it real, and challenges conventional wisdom on a range of issues, from debates over use of the “N-word,” the comedy of Chris Rock, and the “get money” ethos of hip hop moguls like Sean “P. Diddy” Combs and Russell Simmons, to hip hop's impact on a diverse array of figures from Bill Clinton and Eminem to Jennifer Lopez.Maintaining that Martin Luther King, Jr.'s “I Have a Dream” speech is less important today than DMX's It's Dark and Hell is Hot, Boyd argues that Civil Rights as a cultural force is dead, confined to a series of media images frozen in another time. Hip hop, on the other hand, represents the vanguard, and is the best way to grasp both our present and future. When Lauryn Hill stepped forward to accept her fifth Grammy Award in 1999, she paused as she collected the last trophy, and seeming somewhat startled said, "This is crazy, 'cause this is hip hop music.'" Hill's astonishment at receiving mainstream acclaim for music once deemed insignificant testifies to the explosion of this truly revolutionary art form. Hip hop music and the culture that surrounds it--film, fashion, sports, and a whole way of being--has become the defining ethos for a generation. Its influence has spread from the state's capital to the nation's capital, from the Pineapple to the Big Apple, from 'Frisco to Maine, and then on to Spain. But moving far beyond the music, hip hop has emerged as a social and cultural movement, displacing the ideas of the Civil Rights era. Todd Boyd maintains that a new generation, having grown up in the aftermath of both Civil Rights and Black Power, rejects these old school models and is instead asserting its own values and ideas. Hip hop is distinguished in this regard because it never attempted to go mainstream, but instead the mainstream came to hip hop. The New H.N.I.C., like hip hop itself, attempts to keep it real, and challenges conventional wisdom on a range of issues, from debates over use of the "N-word," the comedy of Chris Rock, and the "get money" ethos of hip hop moguls like Sean "P. Diddy" Combs and Russell Simmons, to hip hop's impact on a diverse array of figures from Bill Clinton and Eminem to Jennifer Lopez. Maintaining that Martin Luther King, Jr.'s "I Have a Dream" speech is less important today than DMX's It's Dark and Hell is Hot, Boyd argues that Civil Rights as a cultural force is dead, confined to a series of media images frozen in another time. Hip hop, on the other hand, represents the vanguard, and is the best way to grasp both our present and future "The New H.N.I.C., like hip hop itself, attempts to keep it real, and challenges conventional wisdom on a range of issues, from debates over use of the "n world," the comedy of Chris Rock, and the "get money" ethos of hip hop moguls like Sean "P. Diddy" Combs and Russell Simmons, to hip hop's impace on a diverse array of figures from Bill Clinton and Eminem to Jennifer Lopez.". "Maintaining that Martin Luther King Jr's "I Have a Dream" speech is less important today than understanding DMX's It's Dark and Hell is Hot, Boyd argues that Civil Rights as a cultural force is dead, confined to a series of media images frozen in another time. Hip hop, on the other hand, represents the vanguard, and the best way to grasp both our present and future."--BOOK JACKET. "The New H.N.I.C., like hip hop itself, attempts to keep it real, and challenges conventional wisdom on a range of issues, from debates over use of the "n world," the comedy of Chris Rock, and the "get money" ethos of hip hop moguls like Sean "P. Diddy" Combs and Russell Simmons, to hip hop's impact on a diverse array of figures from Bill Clinton and Eminem to Jennifer Lopez." "Maintaining that Martin Luther King Jr's "I Have a Dream" speech is less important today than understanding DMX's It's Dark and Hell is Hot, Boyd argues that Civil Rights as a cultural force is dead, confined to a series of media images frozen in another time. Hip hop, on the other hand, represents the vanguard, and the best way to grasp both our present and future."--Jacket Machine generated contents note: Who We Be: Introducing the New H.N.I.C 1 1 No Time for Fake Niggas: Hip Hop, from Private to Public 24 2 Brothas Gonna Work It Out: Hip Hop's Ongoing Search for the Real 44 3 Can't Knock the Hustle: Hip Hop and the Cult of Playa Hatin' 61 4 Head Nigga in Charge: Slick Willie, Slim Shady, and the Return of the "White Negro" 102 Epilogue: Where's the Love? 139. Some may remember a popular Coke commercial from the mid 1990s that featured an interesting parallel between two distinct generations of Black people.