019: Pusha T & "Coke Rap"...
The occasional typecasting of Pusha T's style does him a disservice
Consumers tend to oversimplify the products they purchase from vendors. For example, the thought and effort that goes into making an iPhone, from hardware to software, or supply-chain management to marketing, requires an awful lot of collective work from highly skilled people. In the end, for the most part, it serves the purpose of satisfying individuals’ needs to merely answer a call or take a selfie. All those hours spent going through the gears of engineering, design and other disciplines just for it to be lambasted for facilitating below par lighting and angles which are out of their control. The free market can be an unforgiving place sometimes.
So while the association between Pusha T and “coke rap” is usually a tongue in cheek reference amongst fans to categorise his main subject matter, at times it can go down the slippery slope of stereotyping or dumbing down his artistry. As a supporter of Pusha T and hip-hop overall, I wouldn’t want to see his (or any other MC’s) skills and the music be taken for granted as some kind of caricature. Hip-hop deserves better.
In a time where hip-hop is so accessible and firmly under the mainstream spotlight, the floor is open for more listeners to opine on artists and the genre. As a result, the foundational knowledge, understanding and context of hip-hop - which the majority of it’s passionate followers possess - can get lost on many others. The tweet post below, from Variety magazine’s review of Pusha T’s most recent album “It’s Almost Dry” (yes, you read that right) provides the best example.
I’m not trying to single this piece or writer out, because I saw many similar takes across the internet in the aftermath of King Push’s latest release. For the record, I think it’s a well written article which gives due praise to the project for the most part. I’ve also been involved in conversations with friends regarding Pusha T where this narrative has been put to me as well. But given this is coming from a high profile outlet that isn’t known for anything hip-hop specific or focused, it’s a primary example of that context being lost. I feel it can provide a good case study to the main points I’d like to raise.
N.B. I myself have no issue with the phrase “coke rap” as long as it’s not used as a blanket term in a derogatory manner that’s dismissive of the music’s substance.
Firstly, listening to artists like Pusha T, Roc Marciano or anybody else synonymous with their commentary around the drug game and the lifestyle associated with it is absolutely fine. Part of the intended allure of music is to entertain listeners and provide escapism. As with every single form of entertainment, crime sells and most certainly pays. Remain entertained and enjoy yourselves. Hip-hop is not immune to supply and demand.
Furthermore, drugs and crime being the main subject matter does not mean there is no wisdom or depth on offer, as Variety’s headline would suggest. In fact, I would argue quite the opposite. To narrate and deliver insights into a very delicate, high stakes environment where every moment is lived on the edge requires a masterful execution of one’s craft, something Pusha T has been doing for well over 20 years through his music. If you can watch The Godfather and marvel at Don Vito Corleone’s ability to remain calm, composed and never lose sight of the most important principles in life - such as family, honour and respect - in the face of all out war and uncertainty, then you can most certainly draw similar emotions and inspiration from Pusha T when he details the intricacies of how to take the lead in negotiations, weave out the fake charlatans from your life and to be assertive with your personality to get what you want. Cocaine being talked about or referenced doesn’t mean the message begins and ends there, as Pusha T himself discusses in the Youtube clip below. In his case, it’s like a metaphorical north star that allows him to emphasise his demeanour and overall philosophy towards life. It’s what makes his art so gripping; to have a subject matter so far and detached from what a lot of his listeners are used to, yet make it feel very much in reach and relatable on their shared principles and concepts. Wizardry.
The article also discusses how the absence of vulnerability in “It’s Almost Dry” is indicative of some kind of artistic ceiling. This is something I strongly reject. Displaying vulnerability and emotions should only be done if the creator themselves is in that space, otherwise it loses authenticity. But clearly, this was not befitting of this project, and that’s fine. This body of work has a clear concept: King Push is cut from a different cloth. The album title itself, alongside track names like “Diet Coke” and “Scrape It Off The Top” paints a clear message. With it’s cocaine laced symbolisms, Pusha T feels that his product is pure and he intends to keep you hooked on it, so that you never consider going back to his feeble competitors.
Using this absence of vulnerability as a measuring stick of Pusha T’s development and progression as an artist couldn’t be more wrong, considering he has displayed vulnerabilities and introspective thoughts through his “coke raps” in previous outings. “Sunshine”, “S.N.I.T.C.H.”, “Pain” and his feature on Anderson .Paak’s “Brother’s Keeper” are a few off the top of my head, and this is precisely why I wanted to write this piece to raise these points. If Pusha T wants to be vulnerable, that’s great. Contrary to popular belief, hip-hop has and continues to celebrate artist’s emotional journeys. Songs around love interests, bereavements and everyday struggles are some of the most iconic songs to grace fans’ ears. The key thing is how it’s packaged and delivered, which goes back to context. DMX (RIP) and Radiohead are two artists that address personal pain in their music frequently, but I’d imagine that said pain (or vulnerability) would largely be more associated to the legendary band more so than the legendary rapper. The same would probably go for Billie Eilish and YoungBoy NBA. This is why I think fans should be careful when they use “coke rap” as a go-to description. It can come across as a throwaway term that either doesn’t paint the full picture of an artist’s talent and effort, or leads to an agenda that suggests there’s a limit of innovation in their work. Confirmation bias at it’s worst.
As I write this piece, Young Thug is currently sat in a jail cell on RICO charges. The grounds of his arrest were that his lyrics imply he is majorly involved in high level criminal activity. It blows my mind that lyrics in a song can spark law enforcement’s curiosity into creating or pursuing a case. Whatever people’s opinions might be on this matter, I can say with certainty and confidence that somebody like Nancy Sinatra didn’t have to bat an eyelid or have a shred of concern when she sung “Bang Bang”. Perhaps as I grow older, I start to align with the “oldheads” of yesteryear more with some gatekeeping tendencies and complaints, but I can’t help but feel like little things such as the “coke rap” label can lead to problems down the line for artists. I suppose the conclusion to take from my ramblings is to always read the room. Words can be manipulated and hip-hop has always been a treasure chest that people have fought tooth and nail to get their hands on and tailor it to the needs of those who need it the least. But whether I’m on to something, or I’m just a grumpy overthinker, that’s for you to decide.
Do yourself justice, utilise your mind.
WhosAria
A Word On The Artist
Pusha is one of my favourite artists because he displays a consistency in his work that many are envious of. One of a handful of musicians who’s work I will instantly listen to when there’s new material out. I’d put my neck on the line and say that I don’t recall hearing a bad or subpar verse from him throughout my years of fandom. I respect his talents immensely. I’ve enjoyed all of his solo projects, from mixtapes to albums, and his most recent showing adds more quality to an already stacked catalogue, both as a solo artist and in a group. For me, “It’s Almost Dry” was a good listen, but personally it falls short of “Daytona” and “My Name Is My Name” in particular, which are still a level or two above it. However, this shouldn’t discredit this most recent effort, one that has a lot of highs and solid returns for a man who knows how to give his audience what they want. No bullshit, no compromise, just good and great music to enjoy, which is all that matters at the end of the day. Hail King Push.
