It could’ve been a fiery exhibition of artists exploring radical concepts that inspired listeners to read more about. He laments, “Black bodies laid inside a grave without a chance to fight/Won’t ever change long as police is still militarized.” White Dave is similarly passionate on the Hit-Boy produced “Appraise,” where he ponders, “How can you appraise man,” while acknowledging, “Being black is the crime,” and decrying police brutality. Aspiration isn’t always possible when America seeks to knock us off our feet everyday. Armstrong & Angela Hunte observe, “You can be a saint or a sinner or a billionaire/Or just stand on your feet.” In this country, where you can “get murdered on these streets” for no reason, perseverance alone is a virtue-regardless of what grind culture says. On “Welcome To America,” Black Thought raps about his descendants’ experience in the struggle for racial equality, before affirming, “Blackness is my religion to that I’m dedicated,” and portraying the struggle of an incarcerated person by poignantly rhyming, “They told me that time is master, well I’m serving it now.” A cursory listen to the hook could make one feel like it’s a commercial for “the land of opportunity,” but singers C. The rap songs that work best are staunch indictments of racism that identify the manifestations of systemic oppression, delivered with the urgency that channels Black and Brown people’s collective fury at racial injustice. They both show how much the city needs movements like the Panthers. And unfortunately, G-Herbo and Lil Durk, sons of Chicago like Hampton, delved into self-medicating and menacing threats on their solo tracks (though Herbo shined on “Revolutionary” with Bump J). ASAP Rocky’s 2017-recorded “Rich Nigga Problems” felt out of place on the project. Jay-Z and Nas’ appearances were marked by braggadocio and material excess that would have likely disgusted Hampton, who famously proclaimed, “We’re not going to fight capitalism with Black capitalism.” Nardo Wick’s “I Declare War” aspires to be a call to arms, but doesn’t delve past surface-level lyrics to explore what war actually means to him and why it’s necessary. That dynamic is exhibited throughout the soundtrack.
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That circumstance has resulted in a compilation full of artists and lyrics at odds with Hampton’s message. And the more that rap has become a tool of corporate America, the less we’ve seen genuinely militant music released. But radical movements are no longer as prevalent in Black communities. Rakim was wearing luxury fashion and Benz chains, but his music was infused with pro-Black Five Percenter messaging.
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Too Short was rapping about “The Ghetto” in between his pimp tales. Political education was once a bedrock of rap. The project’s lows show what happens when radical movements are extinguished, and capitalistic ethos reign.
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Little of his messaging is reflected in too-often vapid lyrics. But too much of the project demonstrates Hampton’s absence more than his presence. The soundtrack does its best to parallel the retelling of Hampton’s final years, and there are rousing moments that display elements of his militance and anti-carceral ethos, specifically the tracks from Black Thought, Rakim, Polo G, and White Dave. The Shaka King-directed film follows his efforts to unite Chicago-but also FBI asset William O’Neal’s infiltration of the Panthers, which led to Hampton’s murder at the hands of Chicago Police.
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The Six Course Music Group/RCA Records-released compilation is attached to a movie about Chairman Fred Hampton, a Black Panther who was assassinated in 1970. The 22-track project, full of songs being billed as inspired by the film, has its moments, but it doesn’t properly champion Fred Hampton’s legacy as a fiery orator, staunch critic of American imperialism, and revolutionary socialist. In January, Madlib told The Guardian, “Rap right now should be like Public Enemy-but it’s just not there.” The recently released Judas and the Black Messiah soundtrack would have been a perfect chance for him to be proved wrong, but it affirmed his sentiment.