"My Role Is to Convey the History of the Community" — An Interview with Jeff Chang
Featured on "ele-king presents HIP HOP 2024-2025"
Interview, Questions, and Introduction: Nobu Futatsugi
Interpreter: SRCFLP (Source Flip)
Text Composition: Daiki Takaku
[click here for Japanese/日本語]
I felt an undeniable urge to speak with Jeff Chang—someone truly deserving of the titles journalist and author representing the "Hip-Hop Generation."
Born in Honolulu, Jeff’s life took a drastic turn at the age of 12 when he first heard Sugarhill Gang’s Rapper’s Delight (1979). Later, when he moved to Oakland, California, for college, he became captivated by the Bay Area’s hip-hop scene. It was there that he had a fateful encounter with DJ Shadow at the university radio station.
In 1991, he helped establish the indie label Solesides, which released early works from DJ Shadow and Blackalicious. At the same time, he was deeply involved in anti-racist activism and labor movements. His experiences in both hip-hop and activism—combined with his deep insight rooted in his Chinese and Native Hawaiian heritage—culminated in his 2005 book Can't Stop Won't Stop: A History of the Hip-Hop Generation.
In this interview, Jeff passionately discusses the musicality of Doechii, EarthGang, and Tyler, The Creator, while wholeheartedly praising Killer Mike’s dedication to his community. “Hip-hop is a movement of hope,” he says, radiating the pride characteristic of those who lived through its "golden age." No matter how difficult the circumstances, they refuse to lose hope, constantly discussing it with their peers and striving to manifest it. This, he believes, is the essence of what hip-hop instilled in his generation.
Standing before communities on the brink of destruction, Jeff asserts that the mission of his generation is to continue passing down their history. He was also the one who, in 2007, interviewed then-presidential candidate Barack Obama for VIBE magazine—a moment that saw hip-hop and politics directly intersect.
Jeff Chang’s Thoughts on the Current Political Climate
—To start, can you share how you’re feeling about Donald Trump’s recent re-election in the U.S. presidential election?
J: I feel incredibly heavy. I expected this outcome, but now that it’s reality, I fear it will negatively impact those close to me. Immigrant families and friends could face deportation. Women’s rights over their own bodies could be stripped away. Public health issues, like access to vaccines, could become critical, and if another pandemic were to occur, small business employees would suffer. It feels like watching the Nazis march.
—Many well-known rappers, like Snoop Dogg, publicly supported or praised Trump.
J: Let me think about how to phrase this concisely... Of course, Snoop Dogg and Kanye West (Ye) supported him, but so did DaBaby, Lil Wayne, and Sexyy Red (who ultimately shifted to supporting Kamala Harris). These rappers hold significant influence over their communities and fanbases. However, we shouldn’t forget that there were also artists who backed Kamala Harris, and that polls indicate 80% of Black women and many other communities of color, as well as young voters, supported her.
More precise data will come out in time, but compared to when Barack Obama ran, the overall political climate has shifted rightward. One major factor behind this shift is that the Democratic Party stopped listening to the voices of its core supporters.
As for why Trump gained the support of some rappers—take Kodak Black, for example. Trump pardoned his crimes, leading many artists to believe that supporting him could lead to similar favors. It’s also said that DaBaby backed Trump in hopes of securing a pardon for an imprisoned family member. Many rappers have loved ones in the prison system, and Trump exploited their hopes.
Beyond those who voted for Trump, there were also many who didn’t vote at all. Understanding why Democratic supporters disengaged is key.
—I see.
J: In past elections, we had moments like when Young Jeezy (now Jeezy) proudly declared, "My president is Black, he's representing us" (My President, released in November 2008 featuring Nas, after Obama’s victory). Back then, there was a tangible sense that we had someone representing us. Now, people don’t feel that connection with any party or politician.
Adding to this, the Democratic Party has disappointed and ignored its original base—particularly young, poor individuals.
—You interviewed Barack Obama in 2007 for VIBE before he became president. What was that experience like?
J: Before that, no presidential candidate had ever given an interview to a hip-hop magazine. It was unprecedented. It felt fresh, historic.
When I asked him about the music he listened to, he mentioned jazz legends like Miles Davis, John Coltrane, and Thelonious Monk. But then he also said he listened to artists like Common and Lauryn Hill. It felt like talking to my older brother—he wasn’t exactly from the hip-hop generation, but he understood enough to share the dance floor with us.
That hip-hop sensibility—his ability to acknowledge and listen to that music—was one reason he gained so much support from the left. Even if we didn’t agree with all of his policies, what mattered most was that he treated marginalized communities like real people.
—That’s a powerful statement. "He treated people like real people."
J: Exactly. He took a progressive stance on issues like same-sex marriage. He also addressed legal concerns deeply relevant to the hip-hop community—who gets penalized for what crimes, what’s considered a felony, and who gets disproportionately targeted.
He tackled housing and access issues—topics critical to local communities. He even incorporated a Dirt off Your Shoulder gesture from Jay-Z into his speeches and frequently referenced hip-hop. He invited Beyoncé as a special guest, showing real, organic connections.
Through these actions, he gave long-ignored communities hope that their voices might finally be heard.
Hip-Hop’s Role in Carrying the Torch
—You’ve worked with DJ Shadow, Lyrics Born, and Blackalicious—artists known as the “conscience of hip-hop” or “the underground’s moral compass.” Do you see any current artists carrying on that spirit?
J: I’m from an older generation now. I don’t engage with the underground scene like I used to, but I experience new music through my kids. They listen to Doechii, EarthGang, and Tyler, The Creator.
I wouldn’t say they approach hip-hop the same way we did, but they have their own methods. Doechii, for example, is an incredible storyteller—on Slick Rick’s level. EarthGang, though often focused on love, captures street life in a unique way. Tyler is a master at capturing shifting emotions.
I listen to their music the way I listen to my kids—paying attention to what they have to say.
—Killer Mike is an important figure. In 2016, he even interviewed Bernie Sanders at a barbershop in Atlanta.
J: Killer Mike is a perfect example. He’s almost 50 now, so to the younger generation, people like him—and even me—are the OGs.
Our role isn’t just about hip-hop; it’s about preserving and passing down our communities’ histories. The new generation should take pride in their voices and use them boldly, and we must support them in doing so.
Mike is deeply respected in his community. He’s a spokesperson, a leader. Yes, he’s still a recording artist, but he’s also laying the foundation for something bigger—not just building structures, but strengthening the social fabric.
(Interview by Nobu Futatsugi)
I felt an undeniable urge to speak with Jeff Chang—someone truly deserving of the titles journalist and author representing the "Hip-Hop Generation."
Born in Honolulu, Jeff’s life took a drastic turn at the age of 12 when he first heard Sugarhill Gang’s Rapper’s Delight (1979). Later, when he moved to Oakland, California, for college, he became captivated by the Bay Area’s hip-hop scene. It was there that he had a fateful encounter with DJ Shadow at the university radio station.
In 1991, he helped establish the indie label Solesides, which released early works from DJ Shadow and Blackalicious. At the same time, he was deeply involved in anti-racist activism and labor movements. His experiences in both hip-hop and activism—combined with his deep insight rooted in his Chinese and Native Hawaiian heritage—culminated in his 2005 book Can't Stop Won't Stop: A History of the Hip-Hop Generation.
In this interview, Jeff passionately discusses the musicality of Doechii, EarthGang, and Tyler, The Creator, while wholeheartedly praising Killer Mike’s dedication to his community. “Hip-hop is a movement of hope,” he says, radiating the pride characteristic of those who lived through its "golden age." No matter how difficult the circumstances, they refuse to lose hope, constantly discussing it with their peers and striving to manifest it. This, he believes, is the essence of what hip-hop instilled in his generation.
Standing before communities on the brink of destruction, Jeff asserts that the mission of his generation is to continue passing down their history. He was also the one who, in 2007, interviewed then-presidential candidate Barack Obama for VIBE magazine—a moment that saw hip-hop and politics directly intersect.
Jeff Chang’s Thoughts on the Current Political Climate
—To start, can you share how you’re feeling about Donald Trump’s recent re-election in the U.S. presidential election?
J: I feel incredibly heavy. I expected this outcome, but now that it’s reality, I fear it will negatively impact those close to me. Immigrant families and friends could face deportation. Women’s rights over their own bodies could be stripped away. Public health issues, like access to vaccines, could become critical, and if another pandemic were to occur, small business employees would suffer. It feels like watching the Nazis march.
—Many well-known rappers, like Snoop Dogg, publicly supported or praised Trump.
J: Let me think about how to phrase this concisely... Of course, Snoop Dogg and Kanye West (Ye) supported him, but so did DaBaby, Lil Wayne, and Sexyy Red (who ultimately shifted to supporting Kamala Harris). These rappers hold significant influence over their communities and fanbases. However, we shouldn’t forget that there were also artists who backed Kamala Harris, and that polls indicate 80% of Black women and many other communities of color, as well as young voters, supported her.
More precise data will come out in time, but compared to when Barack Obama ran, the overall political climate has shifted rightward. One major factor behind this shift is that the Democratic Party stopped listening to the voices of its core supporters.
As for why Trump gained the support of some rappers—take Kodak Black, for example. Trump pardoned his crimes, leading many artists to believe that supporting him could lead to similar favors. It’s also said that DaBaby backed Trump in hopes of securing a pardon for an imprisoned family member. Many rappers have loved ones in the prison system, and Trump exploited their hopes.
Beyond those who voted for Trump, there were also many who didn’t vote at all. Understanding why Democratic supporters disengaged is key.
—I see.
J: In past elections, we had moments like when Young Jeezy (now Jeezy) proudly declared, "My president is Black, he's representing us" (My President, released in November 2008 featuring Nas, after Obama’s victory). Back then, there was a tangible sense that we had someone representing us. Now, people don’t feel that connection with any party or politician.
Adding to this, the Democratic Party has disappointed and ignored its original base—particularly young, poor individuals.
—You interviewed Barack Obama in 2007 for VIBE before he became president. What was that experience like?
J: Before that, no presidential candidate had ever given an interview to a hip-hop magazine. It was unprecedented. It felt fresh, historic.
When I asked him about the music he listened to, he mentioned jazz legends like Miles Davis, John Coltrane, and Thelonious Monk. But then he also said he listened to artists like Common and Lauryn Hill. It felt like talking to my older brother—he wasn’t exactly from the hip-hop generation, but he understood enough to share the dance floor with us.
That hip-hop sensibility—his ability to acknowledge and listen to that music—was one reason he gained so much support from the left. Even if we didn’t agree with all of his policies, what mattered most was that he treated marginalized communities like real people.
—That’s a powerful statement. "He treated people like real people."
J: Exactly. He took a progressive stance on issues like same-sex marriage. He also addressed legal concerns deeply relevant to the hip-hop community—who gets penalized for what crimes, what’s considered a felony, and who gets disproportionately targeted.
He tackled housing and access issues—topics critical to local communities. He even incorporated a Dirt off Your Shoulder gesture from Jay-Z into his speeches and frequently referenced hip-hop. He invited Beyoncé as a special guest, showing real, organic connections.
Through these actions, he gave long-ignored communities hope that their voices might finally be heard.
Hip-Hop’s Role in Carrying the Torch
—You’ve worked with DJ Shadow, Lyrics Born, and Blackalicious—artists known as the “conscience of hip-hop” or “the underground’s moral compass.” Do you see any current artists carrying on that spirit?
J: I’m from an older generation now. I don’t engage with the underground scene like I used to, but I experience new music through my kids. They listen to Doechii, EarthGang, and Tyler, The Creator.
I wouldn’t say they approach hip-hop the same way we did, but they have their own methods. Doechii, for example, is an incredible storyteller—on Slick Rick’s level. EarthGang, though often focused on love, captures street life in a unique way. Tyler is a master at capturing shifting emotions.
I listen to their music the way I listen to my kids—paying attention to what they have to say.
—Killer Mike is an important figure. In 2016, he even interviewed Bernie Sanders at a barbershop in Atlanta.
J: Killer Mike is a perfect example. He’s almost 50 now, so to the younger generation, people like him—and even me—are the OGs.
Our role isn’t just about hip-hop; it’s about preserving and passing down our communities’ histories. The new generation should take pride in their voices and use them boldly, and we must support them in doing so.
Mike is deeply respected in his community. He’s a spokesperson, a leader. Yes, he’s still a recording artist, but he’s also laying the foundation for something bigger—not just building structures, but strengthening the social fabric.
(Interview by Nobu Futatsugi)
[Editor & Supervisor]
Nobu Futatsugi
Born in 1981. Writer. Co-author of Shirōto no Ran (with Hazumu Matsumoto). Author of Shikujiru na yo, Rudie. Planned and structured Hip-Hop Dream by Kan a.k.a. GAMI. Contributed to the editing of ele-king vol.27: Special Report on the Current State of Japanese Rap and Bungei Bessatsu: Kendrick Lamar, among others.
Nobu Futatsugi
Born in 1981. Writer. Co-author of Shirōto no Ran (with Hazumu Matsumoto). Author of Shikujiru na yo, Rudie. Planned and structured Hip-Hop Dream by Kan a.k.a. GAMI. Contributed to the editing of ele-king vol.27: Special Report on the Current State of Japanese Rap and Bungei Bessatsu: Kendrick Lamar, among others.
