Chapter 23: A New Direction (N&D)

In Chapter 23, Ross discusses the truce between Nas and Jay-Z in East Rutherford, NJ on October 2005. Some criticized the event as a money-making scheme, but when MTV correspondent Sway askes the two artists the reason for the reconciliation, Jay-Z answered, "'It's bigger than both of us...it's more about the culutre and about showing people another way...'". Nas responded, "At this point...this was inevitable" (Ross 335).

Ross argues that the truce was significant largely because it wasn't manipulated by outside forces; the two artists united on their own. Ross states that "this is critical not only because it closed the loop left undone by BIG and Tupac, but it uncovered a level of historical insight and self-reflection too often denied the Hip-Hip generation" (Ross 336). Ross believes that the peace made between Nas and Jay-Z should not be limited to just a "great rap moment," but rather must be "understood within the wider context of the dilemma that has defined black American history" (Ross 336).

Ross refers to the "'either/or' dialectic" that has haunted the black community and continually causes division within it. He calls on DuBois' idea of double-consciousness--"an American, a Negro; two souls, two thoughts, two unreconciled strivings"--and discusses how this idea has manifested itself repeatedly in the black community through "the personages of two rivaling figures" (Ross 337). Ross argues that instead of fanning the flames of division, which has been the case in the past, the black community must strive for, in the words of DuBois, neither assimilation or separation but "'proud, enduring hyphenation'" (Ross 337). Ross believes that this hyphenation could have been achieved has Malcolm and Martin survived after their union, but unfortunately the black community did not get to see the fruits of their truce. Ross refers to a 2007 Pew Research Center study which revealed that "nearly four out of ten blacks feel the race can no longer be thought of as a single black community," and "less than 25% of blacks think middle-class and poor blacks share 'a lot' in common" (Ross 338); as a result, a new way to categorize or define what it means to be black in America may be necessary, argues Ross.

Ross continues to say that the feuds between BIG and Tupac, as well as Nas and Jay-Z, reflect the double-consciousness of black Americans. The fact that this "either/or" dynamic is prevalent in hip-hop thus shows that the problems which originally caused this double-consciousness (racism, economic exploitation, opportunity, and hope) still exist. Ross discusses the issue of white Americans perception of black progress, which is not an accurate reflection of actual issues faced by black Americans in today's society; he argues that the media's portrayal of the black community is largely to blame for white America's false perceptions. Ross argues that this perception gap is a significant factor in the creation of double-consciousness, because while America is a place of idealism where "dreams are realized...cultural plurality is celebrated...[and] dreams are cherished," it is also the case that not all those who hope to achieve this ideals and goals have equal footing or equal opportunity (Ross 338-39). Ross states that "this is the contradiction of America itself--what has drawn us to love and loathe the nation (and consequently ourselves), driven us to seek refuge either inside (assimilation) or outside (separation) and led us to embrace the Dream (MLK's, BIG's and Jay-Z's) or dwell on the Nightmare (Malcolm's, Tupac's, and Nas's)" (Ross 339).

Ross believes that this double-consciousness or "'second sight'" provides a powerful contribution to American society, but "unless we understand the history of the primordial conflict, we cannot transcend it...". Relating this idea back to Nas and Jay-Z, Ross states that "The challenge is to see that they are the first two symbols of the archetypal dilemma--the Nightmare and the Dream--to transcend their differences in their lifetimes" (Ross 339). While some disagree that Nas and Jay-Z should or could be compared to Malcolm and Martin, Ross argues that there is value in studying and understanding the truce between the two artists because if they are capable of uniting for something bigger than themselves, then perhaps our society can also break away from its prejudice, categorizing, and stereotyping of the black community.

-Lauren Robertson and Alana Dakin