Michael Eric Dyson Strikes Again

"Know What I Mean?" Offers Scholar's Thoughts on Hip Hop

Mar 3, 2009 Michael Irvin Arrington

Michael Eric Dyson, the "hip hop intellectual," lives up to that moniker in "Know What I Mean?" Along the way, he makes some important observations about race and gender.

Michael Eric Dyson is many things, including (but not limited to) a minister, a scholar, and a rare voice with the willingness and ability to translate his ideas seamlessly from the ivory tower to the pulpit and to the streets. Dyson's 2007 book, Know What I mean? Reflections on Hip Hop, illustrates some of the Renaissance man's clearest thinking on the relationship between the hip hop genre and contemporary popular culture.

Jay-Z and Nas?

However, hip hop fans might be shocked more by two of the book's secondary contributors more than by anything Dyson writes. Rappers Jay-Z and Nas, who formerly engaged in one of the more famous lyrical feuds in hip hop history, have penned the book's foreword and epilogue (or "intro" and "outro," as they are described in the book), respectively.

The two wordsmiths speak eloquently about the importance of Dyson's work. Although some readers familiar with the two contributors might not resist the temptation to compare the two sections of the book -- Jay-Z appears to be the more polished writer of the two -- the greater impression should be that many hip hop artists are mindful of the broad impact of their work

In recognition of Dyson's body of work, Jay-Z asks, "How many folk out there can talk about pimping in terms laid out by Hegel? Or use Kant to explain the way that prison fashion moved from the cellblock to the city block?" (p. xi). Jay-Z also applauds Dyson's efforts to reveal the importance of hip hop to people in the world of academe. "He tore down the last 'whites only' sign in the university and let all of us rush in to hear what the ancient teachers and scientists had to say" (p. xi).

Dyson Versus the Academy

One theme that runs throughout Dyson's book is his frustration with hip hop detractors in high political and/or academic places -- not because they do not see eye to eye, but because many of them have chosen not to see much at all, choosing instead to rely on straw arguments based on minimal knowledge of hip hop. "It would be outlandish for critics to comment on, say, metaphysical poetry without interacting critically with the most inspired poets. At least read Donne" (p. xvi).

Problems in Hip Hop

That is not to say, however, that Dyson is a blind apologist for the genre. Know What I Mean? does not flinch from the problematics of hip hop -- e.g., materialism, misogyny, homophobia, patriarchy, offensive language, and the hedonistic glorification of drugs, sex, and violence and empty sex.

The author's discussions of the aforementioned topics go far beyond the superficial conversations that have passed for dialogue in other discussions. Most notably, his chapter on the Don Imus/Rutgers women's basketball controversy represents some of the most enlightened thoughts on the matter to enter our public discourse.

Professor Arrington's Grade

Know What I Mean? is Dyson at his best, combining cogent thinking on the complicated intersections of race, class, gender, and popular culture. At times, the author seems impressed with himself and pulls no punches in sharing that with the reader, but his accomplishments and depth of thought likely warrant more acclaim that he receives from his peers. Most readers will agree. For this addition to the scholarly and streetwise conversation on hip hop, Dyson earns an A-.

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Michael Eric Dyson, the hip hop intellectual