While I'm loathe to give bad music any more press than it already gets, I've nonetheless been thinking about Ross' recent post on Drake and his Jewish identity.
The jury is still out as to whether Drake’s embrace of his Judaism is “the best marketing move by any Jewish artist in the past 20 years,” as Ross suggests in his post. For all we know he could be enjoying his current success in spite of his open Jewishness, not because of it. Would he be moving even more units were he never to have mentioned his bar mitzvah (and potentially scared off a few thousand rap fans)? Who knows. It’s hard to control for these variables when analyzing something as nebulous as “popularity.”
Still, the idea that his embrace of his Judaism goes toward his “keeping it real” (please excuse the hackneyed phrase) – and that this translates to an uptick in respect within the hip-hop community-- is an interesting one. Does the very embrace of his ethnic identity (Jewish as it may be) signal to urban music fans a “realness” that has inherent value? Perhaps.
But only to a point. In my experience the premium placed on authenticity in hip-hop, and the importance of representing one’s true identity rather than a manufactured studio-only persona, is ultimately outweighed by the importance of the identity itself. In other words, you can embrace your ethnic identity all you want (and maybe score authenticity points in the process), but if said ethnic identity is that of a nerdy white guy, you've still got a ways to go in securing the urban music demographic. Embracing your identity may score you points on the margins, but it only goes so far. The underlying identity that you are embracing is what ultimately counts. And I have to assume that it's largely Drake’s Black half that is getting him in the studio with Lil Wayne and Kanye–- and (outside of a handful of Jewish and Judeophile rap fans) selling his records.
Second point: Discussion of Drake’s alleged “honesty” has been a leitmotif of the press coverage of his rise. Many have heralded his music as somehow uniquely heartfelt, and have applauded his apparent willingness to discuss his feelings, background, and current circumstances in a frank way. Jon Caramanica's fawning profile of Drake in The NY Times is a notable-- and lamentable-- example. The gist is that Drake represents a brave new form of emotive mainstream rap music, gut-wrenchingly honest music with a street/club appeal. Drake is not afraid to wear his emotions on his sleeve, come what may -- or so the narrative goes. (Says Caramanica: “...emotions are what fuel Drake…who has an almost pathological gift for connection…[Drake’s album] has its share of bluster, but is more notable for its regret, its ache.”)
However, increasing number of music critics have pointed out just how backwards this all is. Far from a genuine article, Drake (complete with music industry parent, child actor upbringing, and a marketing campaign that seems to have started before his music-making ever did) is the quintessential product. (Andrew Noz over at NPR has written what I consider to be the best piece on this phenomenon: “He may well be the first fully industry-manufactured rap star.”)
Here’s a guy with Lil Wayne, Jay-Z and Kanye West’s management team behind him. His album release coincided with an hour-long MTV special. He was recently the subject of a multi-page profile in The New York Times. Clearly an artist who’s brand has been so carefully cultivated by veteran music industry managers does not do anything by accident – least of all discuss his Judaism on prime time TV or wear a chai on the covers of influential music magazines. (So how did Drake’s Judaism factor into the marketing strategy? I’d love to have been a fly on the boardroom wall when Drake asked Lil Wayne and Birdman whether he should discuss his bar mitzvah on Jimmy Kimmel.)
Anyway it’s safe to assume Drake’s embrace of his Jewish side is not some spontaneous, heartfelt expression of his ethnic identity. It’s all part of the plan.
