Fear of a Black God and White Devils: Jay Z and the Five Percent Nation-Part 1

by Andre Key
R3 Contributor 

When hip hop mogul Jay Z appeared at a Brooklyn Nets game with a medallion sporting the symbol of the Five Percent Nation of Gods and Earth, the media went into a frenzy trying to interpret what it meant to the one-time minority co-owner of the team.  The New York Post controversial title, “Jay-Z bling from ‘whites are devil’ group” is certainly meant to gain readers and tarnish the image of the Brooklyn-born rapper.  Of the several reprints of the story, nearly all include words such as “controversial” or “radical” in their title or bylines to suggest that Jay Z is supporting some type of fringe hate group.  

The fact a person of Jay Z’s stature is seen representing what is considered a “radical” group by media outlets obsessed with caricatured representations of black men as “gangstas and buffoons” might shock the senses.  For historians of the hip hop genre, Jay Z’s nominal association with the Five Percent nation is neither surprising nor shocking.  As Felicia Miyakawa, professor of musicology has discussed in detail the early period of hip hop was inundated with Five Percent lingo, symbols, and icons.  Record labels were packed hip hop groups either with direct affiliation or sympathetic to Five Percent teachings in their lyrics, sported Islamic kufis and fezes, and implored listeners to gain knowledge of self, avoid vices such as alcohol, pork and drugs, and criticized the policies of the Reagan-Bush years.  But we know how that story ended: the mid-nineties witnessed the explosion of gangsta rap music in the mainstream media as “What’s up G?” went from meaning “God” to “gangsta”.  Rappers hung up their kufis and Africa medallions for Los Angeles Raiders hats and gold chronic (marijuana) charms.  Hip Hop artist who remained faithful to what would be labeled “conscious” hip hop (Common, Mos Def, Taalib Kweli) were moved to the margins as more funk-laden hardcore songs took over the airwaves and cable music video programming.

Into this musical sea change we find a young Jay-Z who like many East Coast rappers of the time reflected both the conscious Five Percent-inspired hip hop and then dominant West Coast hardcore rap scene.  Jay Z’s meteoric rise can be attributed to his mastery of certain principles for hip hop success: simplified lyrical content and catchy musical production.  However, Five Percent teachings still can be found in numerous instances beginning with his alternate moniker J-Hova (in reference to Jehovah) and his lyrics as he proclaims his divine status in numerous songs.  An example of this is seen in the Usher collaboration Hot Tottie:

For the uninitiated these lyrics might simply be construed as boastful verses of his dominance of the hip hop industry.  For a younger conspiracy minded generation of listeners without knowledge of the pivotal role of Five Percent doctrines in the genre, they are proof that Jay Z along with other successful black entertainers have pledged their allegiance to demonic forces.  In his most recent musical offering Magna Carta Holy Grail, Jay Z muses on the criticism of his faith stance with “Heaven”.  The song starts with a nod to Five Percent teachings and a swipe at conspiracy

theorists, 

So what is to be made of Jay Z’s nominal Five Percenter allegiance?  Is Jay Z secretly harboring anti-white hatred that he now feels comfortable expressing in public?

To be Continued…………

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