Hip-hop pioneers The Last Poets: 'In times of great chaos, there's opportunity'
After 35 years, the Billboard Hot 100 chart no longer includes a rap song among its top 40 hits. Many factors contribute to this, but for hip-hop pioneer Abiodun Oyewole, it's a matter of embracing 'party and bullshit'.
Fifty-seven years ago, on what would have been Malcolm X's 43rd birthday, Oyewole, along with two young poets, formed The Last Poets in East Harlem's Mount Morris Park. Their African-inspired style, congo drum beats, and populist lyrics set them apart. Despite various line-up changes, Oyewole, Jalal Mansur Nuriddin, and Umar Bin Hassan have been the group's key members.
The Last Poets' self-titled debut album, released in 1970, reached No. 29 on the Billboard 200. Their follow-up, 'This Is Madness', made them targets for J. Edgar Hoover's Cointelpro campaign. Oyewole was incarcerated for an attempted robbery of a Ku Klux Klan headquarters, serving 2.5 years of a three-year sentence.
Dubbed 'jazz poetry' at the time, The Last Poets' rhythms, message, and Black consciousness influenced hip-hop. Melle Mel, KRS One, and Common have paid homage to them. Oyewole's 'party and bullshit' line inspired the Notorious BIG's debut single.
The Last Poets' latest album, 'Africanism', released without Nuriddin (who died from cancer in 2018), features their resonant poems set to Afrobeat by Tony Allen. Oyewole reflects on the enduring relevance of their work.
Despite his age, Oyewole remains engaged with current issues. He supports Zohran Mamdani's victory in New York City's mayoral election and calls for unity between Africa and the diaspora. He also addresses political violence in Nigeria and Kanye West's struggles.
Oyewole's personal history includes a desire to become a serial killer after Martin Luther King's assassination. He criticizes the right-wing's portrayal of Charlie Kirk as a civil rights martyr. He emphasizes the importance of Black pride and political purpose in hip-hop, citing The Last Poets' influence.
However, Oyewole expresses concern about the industry's current state, feeling that hip-hop has lost its spiritual depth. He references a poem by Bin Hassan, 'Niggers Are Scared of Revolution', to illustrate this point. Oyewole argues that hip-hop's role in making Black language more palatable has empowered white supremacists like Donald Trump.
Despite these challenges, Oyewole remains hopeful. He believes that The Last Poets' mission to empower people will ultimately prevail, and he sees opportunities in times of chaos, even if they are not fully recognized by those in power.
