Or better still have those with the resources, time, and expertise to look for us.

Why not create a cannon for hip hop?

Maybe that idea sounds crazy to you.

In many circles, there still persists an antagonistic view of rap music writ large. But this only leads to a self-fulfilling vacuum that reinforces the lack of ascribed value.

I get it.

But to me, in the same way we study Walt Whitman, should we study Biggie Smalls and Nasir Jones.

In fact, institutions like Harvard and Yale have already begun breaking ground in this field — though it needs to become the norm, and be accessible to those it actually influences.

DMX

NWA, Hov, Common & DMX all speak to different time periods and locales that would lend us a texture of experiences which color our modern world.

When we better understand the plight of the disenfranchised, we begin to recognize our existence from varying vantage points; boosting our understanding and increasing our empathy.

Michael Eric Dyson, author and professor of English and Afro studies at Georgetown University, made the salient argument in his book Know What I Mean saying,

“It would be unfair for a critic to comment on the deficits of 20th century Irish literature without studying the works of W.B. Yeats.”

Personally, I more enjoyed my metaphor of The Dark Knight vs Green Lantern.

Rap has practical uses in the equalization of those from diverse socio-economic backgrounds

Last point.

I sense that rap can act as a barometer of sorts.

Measuring the potency of pain in a particular region, then translating it into a language accessible by the whole community.

A sort of beacon system, at least for those with the linguistic toolbox to understand the messages being disseminated.

One such example is Brazilian Hip Hop, which garnered and maintained the strong role of shaping political and racial consciousness within the South American landscape.

A study done for the Journal of Latin American Popular Culture found that 55% of Brazilians aged 16–25 listened to rap music, and that when compared against other age groups; those aged 16–25 also reported the highest levels of social consciousness.

This isn’t a coincidence.

“Hip Hop artists are educating Brazilians about racism and injustice. This is a qualitatively new phenomenon in Brazil, because until now, political art was the exclusive domain of elite intellectuals, who are predominantly white… Hip Hop music is changing this now… the historically excluded have found a voice and what they say is very relevant to urban black youth to the point where their lyrics have become one of the central vehicles to disseminate racial consciousness” Bernd Reiter & Gladys L. Mitchell

Another such example of a subculture gaining legitimacy through hip hop, is interestingly enough, the Christian sub culture — which in years past has been akin to a sort of underground community when it comes to rap.

Though, in recent memory it has begun to mature into a force to be reckoned with on charts as well as in hearts.

Acts such as Lecrae and Cross Movement laid much of the groundwork, enduring ridicule from an industry bent of the rejection of their message —

But now, mainstream artists like Chance the Rapper and Kanye West can speak to Christ-centric ideals without fear of reproach.

This is in addition to the coalition of artists who make up the Reach Records label lineup, like Andy Mineo and Trip Lee.

Add in independent artists like Propoganda, NF or Nobigdyl, all of whom offer something distinct to the field, and you have an ever evolving subculture of “Christian rappers” that speak truth in a time where it seems harder to find.

They can speak their minds without fear of condemnation, or need to tamper down the message at hand. They can also banter on less serious topics, such as their love for shoes or basketball.

We as a culture are getting closer to a point where it is finally considered cool to be different. No need to fit in to be accepted, just be yourself; and your supporters will find you.

Kanye West

Yes, you can always find rap music that glorifies violence, which ironically acts as both a tool for liberation and a trap for occupation.

The fact is, art is a reflection of reality — and, I can admit, commercial interests have in a way shifted that reality to fit a specific narrative. Apparently speaking on the more destructive portions of our human condition turn out to be more profitable. Who knew?

To pretend that rap is isolated in such obfuscations is disingenuous.

There is violence and misogyny is nearly all aspects of American culture; from Hollywood to highways; therefore to change the content coming out, we must begin investing in communities where it originates; and in so doing reverse the toxic elements of the culture altogether.

Only then will the music become indicative of a new reality.