Mos Def -‘Black on Both Sides’
Mos Def’s debut effort is recognised as one of the albums marking the close of hip hop’s golden era, effortlessly combining genres as the rapper delivers a cutting social commentary on the oppressive treatment of racial minorities. This is a record concerned with perception, as Def refuses to allow the discriminatory way he is viewed by some to dampen the pride he derives from his heritage. However, it has taken on additional meaning over 20 years after its release, as the Black Lives Matter movement has brought to mass attention evidence of deep-rooted racism in a societal system fostering oppression. The fact that many problems discussed on the album are still prevalent today demonstrates our collective inability to solicit positive change; privilege and ignorance have led to stagnation.
The issues underpinning BLM are typified by ‘Mr Nigga’, the story of a young, successful black man, victimised purely on the basis of his race. Def exposes the contradictory narrative pushed by the establishment, as a vision of equality is contrasted with the harsh reality of his existence, when he raps, ‘Say they want you successful, but that ain’t the case / You living large, your skin is dark, they flash a light in your face.’ He illustrates the limitations placed on the black community, as no matter how you achieve prosperity, people will still find a way to scrutinise and persecute you for this.
Def expresses the effect of this injustice on ‘UMI Says’, changing his style of delivery as he sings soulfully over a free-flowing bassline. There is an undertone of vulnerability on this track– contrasting the bravado of the rapper’s lyricism over much of the album– exhibited when he reflects ‘Tomorrow may never come / For you and me, life is not promised.’ This apprehension stems from his existence in a world he sees as unjust, but his defiant streak still shines through, as he depicts what society should be capable of achieving, repeating the mantra ‘I want black people to be free.’
And it is not just black lives that are under attack, but black culture too, emphasised on album highlight ‘Rock N Roll’. This song is a condemnation of the whitewashing of musical history, bemoaning how white artists have gained iconic status by taking advantage of the foundations laid by black musicians, as Def explains ‘ You may dig on the Rolling Sones / But they ain’t the place the credit belongs.’ The audaciousness of how we choose to frame history is clear in the simple analogy ‘Guess that’s just the way shit goes / You steal my clothes and try to say they yours’, and this problem exists to this day, with people continuing to appropriate black culture. The song descends into guitar driven chaos, highlighting that this is a hip hop album in terms of sound, but in sentiment it shares the punk ethos of waging war upon the established order of things.
While the record is heavily politically charged, it should also be remembered for its musicality, with anthems (such as the Aretha Franklin sampling ‘Ms Fat Booty’) instilling Def’s reputation as a member of hip hop’s golden generation. The album’s focus on live instrumentation brings real depth and fluidity to each song, while a host of producers combine to deliver some truly iconic beats.
Overall, while ‘Black on Both Sides’ deserves to be celebrated as a closing chapter of a memorable era for rap music, of greater importance is its embodiment of the work we need to do to build a fairer and more inclusive society. In another 20 years’ time I hope that this album is a window into the past, not a reflection of the present.
