John Jo Sidwell looks at another radical hip-hop outfit, The Coup, and their struggle for radical politics in the face of adversity

Over the backdrop of laid-back, funk-driven West Coast hip-hop, Boots Riley, The Coup’s front man, delivers a biting and polemical attack on the American establishment and the capitalist system it enforces. Boots is joined by DJ Pam the Funkstress, and previously the duo were joined by a second emcee, E-Roc, who left the group amicably in 1998. Despite a barrage of critical acclaim, including having their 1998 release Steal this album voted number one hip-hop album of the 90s by online magazine Dusted, The Coup have failed to ever receive any real level of popular success.ⁱ

The Coup are arguably the most consistently Marxist group within hip-hop’s revolutionary, political wing. The opening line of the 1993 debut album Kill my landlord is “Presto, read the Communist manifesto …”ⁱⁱ Boots has been a communist since the age of 14 and is the son of a Black Panther. He cites his main aim as using his music to contribute to revolution, eventually bringing about “a system where there is no ruling class” and the “people control the means of production”. He also stresses the need to focus on fighting for material change.ⁱⁱⁱ Once an organiser within his community, Boots was involved in the formation of the Mau Mau Rhythm Collective, a group that attempted to promote progressive social change through music. He is also involved with the Axis of Justice, a political lobbying group established by fellow musicians Rage Against the Machine’s Tom Morello, and System of a Down’s Serj Tankien.^iv

Several explanations have been put forward to explain The Coup’s failure to achieve more. Specifically, Boots targets the banning of Coup videos by major public broadcasters, fearing that the lyrics could cause unrest. He highlights the difficulty he faces in making revolutionary music within the confines of a system that will not allow his music to be heard to the degree that it deserves.^v It is also true that The Coup appeared on the hip-hop scene at a time when politics was heavily overshadowed by gangsta rap. Had they emerged a few years prior in the heyday of hip-hop activism, their levels of success may have been considerably higher.

Despite failing to make any impact on the charts, The Coup have been surrounded by a considerable amount of controversy. Conservative columnist Michelle Malkin described their music as “a stomach-turning example of anti-Americanism disguised as highbrow intellectual expression”, with particular reference to one track – ‘Five million ways to kill a CEO’, taken from the 2001 release Party music.^vi Greater controversy surfaced over Party music. Its stated release date was September 11 2001, and the cover art consisted of a flaming twin towers with Boots Riley’s finger on the detonator. It was claimed this had been designed months prior to the event (according to Boots. the artwork was a symbolic depiction of music bringing about the downfall of capitalism), but nevertheless The Coup were bombarded by scathing attacks.^vii

Condemned simultaneously for both mindless gangsta rap imagery and dangerous political propaganda, The Coup were even claimed by some on the right to be linked to a communist-orchestrated campaign of violence. Distributing label Warner Bros forced the album to be pulled and the cover art changed, a decision Boots originally disputed, wishing to use the controversy of the cover to provide a platform for him to present his alternative political perspective. Boots insisted that the 9/11 attacks must be condemned, stating that the revolutionary change he rapped about would be brought about through a mass popular movement, not random bombing attacks. He also compared the events of 9/11 to other atrocities often instigated or supported by the US government, and spoke of his anger at what he perceived as the higher valuation of American lives over the citizens of other countries. He also warned of the dangerous implications the attacks could have for increased police presence and the intensifying of oppression.^viii

Boots’ perspective on the much maligned sub-genre of gangsta rap is also of interest. He criticises the attacks of many so-called ‘conscious’ rappers, saying that gangsta rappers are simply expressing their view on how best to alleviate their own poverty. Whilst he does not endorse such an approach, he respects them as a product of the urban squalor many gangsta rappers have had to endure in their youth. He is also wary of remaining on independent labels for the sake of credibility, suggesting the need to get the message to a wider audience as of higher significance.^ix

The Coup continue to struggle on against the flow in hip-hop, although their Pick a bigger weapon was well received critically, appearing in Hip-Hop Connection‘s ‘Top 20 albums of 2006′.^x Whilst the system may continue to do what it can to keep Boot’s message quiet, there can be no doubt he will continue to shout it, and in some circles he’s most certainly being heard – readers not yet acquainted with his work should definitely get hold of his stuff.

Notes

i. S Hunt, ‘Steal this double album review': www.dustedmagazine.com/reviews/328.

ii. The Coup, ‘Dig it’ Kill my landlord Wild Pitch 1993.

iii. The Coup, ‘Interview with Boots’ The best coup DVD ever 2006.

iv. Axis of Justice: www.axisofjustice.org/mission.htm.

v. The Coup, ‘Interview with Boots’ The best coup DVD ever 2006.

vi. M Malkin, ‘Stop giving America a bad rap’ Jewish World Review 2001.

vii. D Davey, ‘Boots speaks out about 9/11′, 2002: www.daveyd.com/bootsonthewarpolitics.html.

viii. Ibid.

ix. The Coup, ‘Interview with Boots’ The best coup DVD ever 2006.

x. A Emery, ‘Top 20 albums of 2006′ Hip Hop Connection, No208, 2007.