Customer Reviews

The New H.N.I.C. (Head Niggas in Charge): The Death of Civil Rights and the Reign of Hip Hop

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This book is great for anyone with a thin knowledge of hip-hop culture. Boyd drops a lot of names and poses hard but doesn't leave the thoughtful reader with very much by way of hard analysis. He doesn't even really explain what his thesis is beyond solipsistically refering to a generation's hunger to "get paid." The fact that NYU Press published this book and sanctioned it as "scholarly" work is a sad commentary on how deeply the ethos of entertainment and racial posturing have permeated contemporary American life. Boyd will certainly live to regret the title of this book.

unfortunately, it's a really superficial analysis of an important movement. it doesn't go into the ambiguities of hip hop (like its issue with sexism) or even why, exactly, the civil rights movement is no longer relevant. there are no stats, no citations, no nothing. it's a very long, very passionate essay written by someone who really just had enough solid research to write a 3 pager but stretched it out over a few chapters.

i was really, incredibly disappointed -- i really wanted this book to go into hip hop as a political force, to discuss the mtv rock the vote campaign, and the emergence of nh2ed, and instead it was like "thugs are cool! mlk is lame! wheeeeeeeeeee!"

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.

The thesis is provocative, but that's it. The work is--with regards to scholarship--deeply impoverished. Venerable writings on Hip Hop remain few--consult Robin Kelly's or Tricia Rose's forays on the subject for more engaged, scholarly readings.

Dr. Boyd's book is not really like his other publications, "Am I Black Enough For You" is a scholarly investigation, "Young Black Rich and Famous" more of a standard non-fiction subject history approach. The New HNIC however is a manifesto. You won't find Boyd's words appended with footnotes and references. You won't find him carefully elaborating a declaration or assumption. He delineates his arena--drawing the line in the sand, putting the chip on the shoulder--in the entertaining introduction and that sets up how he'll play this game. This is one long rap. It's not a tome of scholarly resonance, it's Boyd telling things the way he sees it. It is his worldview, his opinions he doesn't back them up or justify them with the onerous works of other scholars that have approved tired old opinions. This feels fresh and vibrant. I disagree with some or a lot of what Boyd has to say, but his flow is so good that he makes you think and engage his words, ideas, rap. I'm not bound down trying to understand him having to sift through layers of obfuscation or completing missing a point because it's been clarified and backed up sixty times in one paragraph. No Boyd flows from one idea to the next, his flow is smooth and his position elegant enough to make it compelling, even to someone like me who would have disagreed with almost all of his positions before reading the book, but I can at least now understand them better having taken in this manifesto.

In the end I was left thinking this: When I dismiss hip-hop for cultural reasons--because I'm uncomfortable with the drugs, crime, language, bashing, sexism etc--when I hold these things in contempt and refuse to understand them I am committing the same cultural crime of the 'great' white settlers and crusaders of old whose creed was intolerance and dominance. If I look on what was done to Native Americans and other indigenous people treated as 'savages' with revulsion, wondering how man could do such a thing I need to examine myself and understand the potential within myself for that to carry on. I have come away with a better understanding and appreciation of what hip-hop is and its importance as a culture to be valued. Hip-hop should not feared because it is different--the other--because it refuses to assimilate to our expected cultural standards. Hip-hop should be embraced as an expression of diversity of American culture.

Obviously Mr. Boyd is looking to fashion himself for the media. And make big bucks in the process. His book is full of factual errors (for example, he IGNORES the role of the black church in providing strength and inspiration and power to Black Americans during the Civil Rights Movement, especially) ANd he makes a fatal error of mistaking current pop fashion with political goals. The goals and aspirations articulated by the civil rights movement are surely not "dead" as Boyd contends (based on WHAT evidence? -- the stardom and appeal of some hip-hop artists?)but alive and well in the hearts and minds of many Americans. I've worked and lived (by choice) in ghetto neighborhoods for years and the aspirations, hopes and dreams expressed by people who live there -- including those young people who love hip hop, who identify with hip hop artists and who dress the part, actually have very traditional -- one might say, mainstream -- hopes for themselves AND their communities. The absence of social responsibility -- which Boyd seems to view as an excellent development -- is probably not even true (he offers no evidence for it at all) To the extent that it is true -- it's probably an outgrowth of years of discrimination, disenfranchisement and, too, social and racial and economic isolation. Thus, an indictment of capitalism, it seems to me. If you listen to many hip hop artists (I'm not sure Boyd has done this) you hear in their words a sort of original allegiance for civil rights aspirations. Who on earth gave this man a PhD and tenure???? It will seem politically incorrect to criticize this work -- but it is a superficial, lightweight treatment that actually ends up disrespecting its weighty, important subject. -- Disgusted in NYC.

I liked this book and learned a lot from it. Todd Boyd takes on some sacred cows and takes no prisoners. He convincingly argues that the civil rights movement has outlived its usefulness and relevance for black America and the rest of society. In pointing out the failures of Jesse Jackson and his crowd, I believe Boyd says what lots of people are thinking, but are afraid to say, and his words pack a punch. Using anecdotes, biographies and lyrics from rap music to support his theory, he shows why hip hop is a better tool now for analyzing and understanding current cultural trends and attitudes. And the fact that you can't open a newspaper or turn on the TV these days without hearing some hip hop lingo spoken or seeing Eminem, Snoop Dogg or some other hip hop figure just proves his point. Boyd also does a great job of explaining the messages behind the music that has become an ideology for so many. The most enlightening aspect of the book are the numerous instances Boyd points to of the huge impact of hip hop on mainstream tastes, politics and culture. In connection with that, his discussions--from a hip hop perspective--of Chris Rock, Jennifer Lopez, Bill Clinton and Eminem, among others, are daring, amusing and insightful. He doesn't let hip hop off the hook, either. Boyd worries about where the hip hop movement is headed. It's an entertaining and easy read. But while Boyd makes you laugh and groove to this new cultural beat, he also makes you think.

Todd Boyd is the stuff. His book Am I Black Enough For You was all that but he has out done himself with this new release. I couldn't put it down. It rings with truth, honesty and clarity. If one is interested in a fresh balanced view of rap and hip hop then you have found a great starting place. This is a must read for anyone who is serious about hip hop. I am teaching a class on hip hop this summer and this will be the first book my students read. Thanks Todd you done done it again!...

In this well-written and highly entertaining tomb, Boyd provides commentary that is both insightful and thought-provoking on a subject whose popularity continues to baffle mainstream America. While there are many who wish hip hop would simply vanish the way of disco and the dinosaur, the art form once dubbed "the voice of the street" has instead become more popular than ever with no sign of slowing. Like it or hate it, hip hop is here to stay and the implications deserves closer inspection. Boyd does so here with gusto, delving into issues of class and race that desperately need to be delved into, especially as we move into an era where racial issues are still as omnipresent as ever, but have become increasingly more complex. All in all a great read.