Derrick Thompson chronicles 30 years of hip-hop; exploring his 30 year relationship with hip-hop music and hip-hop culture. He candidly writes of the elements and trends that have contributed to his love and disdain of hip-hop. The Influenza of Hip-Hop identifies the good, the bad, and the ugly with hip-hop. It also recognizes that for 20 years the true vitality of hip-hop music and culture has been affected and infected by virulent forces, and must avert before succumbing to its scourge.
As a cultural critic, Derrick raises questions tantamount to the severity of problems that exist with hip-hop music and culture. And like a hip-hop shaman, Derrick proffers comprehensive remedies to reverse the curse and course of hip-hop for the next three decades.
As a concerned citizen (ACC), Derrick makes an earnest plea to all hip-hop artists, to the record companies and radio stations, and to the hip-hop nation, to re-examine our love and or displeasure with hip-hop, so that collectively, we can breathe new life back into hip-hop music and culture; serving as the homogenous and cooperative cure to redeem hip-hop to a new elevated consciousness in America and the world.
As a new and emerging genre, I believe storytelling rap was perceived by emerging emcees to be the safest and cleanest style, in terms of introducing rap music to the world. My contention, unequivocally, is that this style of rap music was enjoyable, amusing, and pleasing to a pluralistic society.
Therefore, the heart and soul of the first generation, in which rap and hip-hop began, is intrinsic on what was the intent of the original artists’ who gave birth to hip-hop, and how it was fashioned with tales, primarily, to make it marketable to and for a demographic beyond the purview of the New York boroughs.
To elaborate more on this idea of storytelling, emcees were transfixed on postulating themselves to be more powerful or great than how they believed they actually were. Thus, some thought it more appropriate to juxtapose themselves to revered storybook figures or legends like Superman, Superfly, Spacemen, Casanova, and even, Count Dracula; or by crowning their monikers prefixed with titles like Duke, King, Prince, Master, and Grandmaster.
The song and video called “Self-Destruction” hit the streets in 1989. Featured artists were Chuck D and Flava Flav of Public Enemy, MC Lyte, Kool Moe Dee, Heavy D, Doug E. Fresh, Just-Ice, Daddy O, Delite, Frukwan and Wise DJ of the group Stetsasonic, and the producers of the prophetic track: KRS One, D-Nice, and Miss Melodie of the group Boogie Down Productions.
“Self-Destruction” would not only serve to be a timely record for inner city violence and death, but it also appears to directly speak to future rap artists on how influential their music and message will affect/infect the rising tide of hip-hop, which on the surface gives the impression that it imitates or mirrors life. However, this great track was a sign that something was burning in hip-hop. It was a concern whether or not the fire could be contained and put out, or would the (Westerly winds) produce a back draft, causing an uncontrollable wildfire.
“Self-Destruction” was also an indication that a morbid disease had been detected, and if let alone, might transition from a state of bad to worse, effectuating an epidemic.
So when rappers defend their use of calling women hos and b***hes, and referring to one another with the “N”- word; as they don’t or shouldn’t have more influence on what youth listen to, since this should be the responsibility of parents, simply proves how irresponsible, dysfunctional, and disillusioned many of these rap artists are. They recognize it as a supply and demand issue, or supplying the product of diseased rap to an already diseased market.
Another defense I hear from rap artists is that they are victims of circumstance living in America that dates back to black people being brought over to these shores as slaves. They are the walking wounded, living a disparate reality from the American dream, which by default is an American nightmare. This nightmare has produced an awakening epitomized in a form of music expressing their pain, poverty, suffering, and angst. According to Russell Simmons, rappers are the voice for the voiceless.
Moreover, they contend, rappers are acting out as rebels or gangsters, in opposition to greater problems in society that have not been resolved. They believe America’s systemic problems preceded the problematic material in rap music, which in turn is why they believe they are reactionary rappers of American culture that they are born and raised in. Therefore, rappers are holding up a mirror so that America can see what she not only looks like, but also for her to see and hear from a group of children that she has produced.
A six-year-old child can determine whether a rap song is propagating life or death. Rap songs in the Golden Age of hip-hop were full of life and vitality. Children of all ages could rap to the lyrics of most songs and not have thoughts and visions of being involved in a shooting, a robbery, a murder, drinking alcohol, smoking reefer, selling or consuming drugs, pimpin’ and exploiting women, and being gangsters, thugs or glorified buffoons. All of which glorify a death style, not a lifestyle.
As a concerned citizen, I can assess what changes will occur in rap music by simply listening to the lyrics of the rap artists. Are they creating positive and healthy artful expressions in their language, or are they still mired in negative and unhealthy material?
Make no mistake about it. If any rap artist, rap group, record executive, record label, et al, are really serious about steering rap music on an improved and viably healthier course then, they can be adjudged by us all, by listening to or reading the rap lyrics. It’s that simple.
About Derrick L. Thompson ACC
Derrick L. Thompson ACC is a student of the human condition, wielding the written craft to enrapture the mind much like an artist wields a brush. The pages are a blank canvas on which to draw from a talent heralded by many and matched only by an unrelenting spirit that rises to the task. The Influenza of Hip-Hop is the first book of its kind to realistically address and assess the positive and negative dynamics of hip-hop music and culture. Derrick L. Thompson ACC is A Concerned Citizen whose love of hip-hop has compelled him to write and share his 30-year relationship with hip-hop,, and what he believes has plagued hip-hop music and culture for two decades now. Once a child of hip-hop, Derrick has grown up in 30 years with hip-hop becoming a father of hip-hop; and a father to his two teenage sons who have been affected/infected by the Dark Age of hip-hop. Derrick's goal is to identify, treat, and remedy the ills in hip-hop music and culture before this morbidity kills hip-hop music and culture; engendering the hip-hop nation to heal itself.
Derrick Thompson chronicles 30 years of hip-hop; exploring his 30 year relationship with hip-hop music and hip-hop culture. He candidly writes of the elements and trends that have contributed to his love and disdain of hip-hop. The Influenza of Hip-Hop identifies the good, the bad, and the ugly with hip-hop. It also recognizes that for 20 years the true vitality of hip-hop music and culture has been affected and infected by virulent forces, and must avert before succumbing to its scourge. 
Derrick L. Thompson ACC is a student of the human condition, wielding the written craft to enrapture the mind much like an artist wields a brush. The pages are a blank canvas on which to draw from a talent heralded by many and matched only by an unrelenting spirit that rises to the task. The Influenza of Hip-Hop is the first book of its kind to realistically address and assess the positive and negative dynamics of hip-hop music and culture. Derrick L. Thompson ACC is A Concerned Citizen whose love of hip-hop has compelled him to write and share his 30-year relationship with hip-hop,, and what he believes has plagued hip-hop music and culture for two decades now. Once a child of hip-hop, Derrick has grown up in 30 years with hip-hop becoming a father of hip-hop; and a father to his two teenage sons who have been affected/infected by the Dark Age of hip-hop. Derrick's goal is to identify, treat, and remedy the ills in hip-hop music and culture before this morbidity kills hip-hop music and culture; engendering the hip-hop nation to heal itself.