Last week, after we premiered the first episode from Chiraq, our INTENSE eight-part series about the Chicago music scene, we came across the following tweet:
So we got in touch with Jeremy and found out what Young Chop was like at homework.Noisey: Who did you teach in Chicago? Was Chief Keef one of your students?
Jeremy: I didn't teach Keef. He didn't attend Robeson, or really any CPS high school for very long from what I've heard. I think I taught Tyree or "Young Chop" briefly a long time ago and I'm glad to hear of his success. Joseph, or Jo Jo, dropped out of Robeson in his freshman year before I ever had him in a class. But I taught all of his friends and extended family. He was quickly elevated to a saint like status by kids with nothing, looking for something to cling to. I taught Izerick or "Smyleez". He was always super smart and creative. I taught Antwon or "Lil Mister", twice. He finally dropped out cause he was too blunted to leave the studio for my 8am class. I can't say I blamed him. Our schools are completely out of touch, both with the kids and the economy. But that's a whole different conversation.What were they like?
They were all good kids with essentially no parents, left to raise themselves surrounded by criminal role models and mentors that were the old remnants of the now defunct BD/GD cartels. With no jobs, a shitty education, and no clear pathway to the traditional American Dream, they simply made their own way with the help of social media. They are true upstarts.Right, and how'd you feel about the influence that they now have?
I'm happy for anyone that makes it out of such tough circumstances. But I was, and still am, frustrated by the destructive influence that the culture of violence and misogyny, as it is embodied in "drill" music, represents, and the powerful influence it has on the most vulnerable kids. But it's not my culture, or my experience, so it wouldn't be fair of me to judge.What did you think of the first episode of the Chiraq series?
I thought the Documentary did a great job of shedding light on the leading personalities in the "drill" music scene. My favorite line from part one was Keef's Manager's (Peeda Pan) talking about this sound being the voice of "someone trying to break out of a cage," which is the most productive way to describe this phenomenon, but actually gives the music more credit than I think it deserves. While I believe that any art form has value as a form of human expression, this music is extremely simple, graphic, and socially destructive. It reflects depravity that we created through generations of segregation, economic isolation and political corruption.And through the schooling system?
Yeah, the condition of our public schools are at the center of this socio-economic confluence here in Chicago. When these conditions were exacerbated by the mid-century collapse of our manufacturing base, schools were increasingly overwhelmed and defunded through a combination of corrupt property tax schemes (TIF's), private no-bid patronage contracts, and institutional racism. Today our school system is unable to meet the needs of tens of thousands of students of colour. But instead of building a sustainable progressive and holistic system of education that develops critical thought through the arts, technology, etc. we are opting for a low-balled, test-prep factory model that only turns kids away from the traditional pathway to the "American Dream" and towards alternative "fast money" models represented by this "drill" music scene. It's like pouring gas on a fire. And can you blame these young entrepreneurs for doing it themselves? They are the quintessential American boot-strappers, true rugged individuals.True.
But when I watch this series I'm always struck by how insecure and awkward these young men are on camera. They hide behind blunts, tats and sunglasses, while trying to figure out how to be men in a hard, hard world. They've taken on gangster facades that are protective, yet highly profitable at the same time. I hope the rest of the public can see the vulnerability instead of writing them off as the "scary monsters" like Smyleez wants us to believe. But then, that won't sell records.Follow Ryan on Twitter: @RyanBassil
Jeremy: I didn't teach Keef. He didn't attend Robeson, or really any CPS high school for very long from what I've heard. I think I taught Tyree or "Young Chop" briefly a long time ago and I'm glad to hear of his success. Joseph, or Jo Jo, dropped out of Robeson in his freshman year before I ever had him in a class. But I taught all of his friends and extended family. He was quickly elevated to a saint like status by kids with nothing, looking for something to cling to. I taught Izerick or "Smyleez". He was always super smart and creative. I taught Antwon or "Lil Mister", twice. He finally dropped out cause he was too blunted to leave the studio for my 8am class. I can't say I blamed him. Our schools are completely out of touch, both with the kids and the economy. But that's a whole different conversation.
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They were all good kids with essentially no parents, left to raise themselves surrounded by criminal role models and mentors that were the old remnants of the now defunct BD/GD cartels. With no jobs, a shitty education, and no clear pathway to the traditional American Dream, they simply made their own way with the help of social media. They are true upstarts.Right, and how'd you feel about the influence that they now have?
I'm happy for anyone that makes it out of such tough circumstances. But I was, and still am, frustrated by the destructive influence that the culture of violence and misogyny, as it is embodied in "drill" music, represents, and the powerful influence it has on the most vulnerable kids. But it's not my culture, or my experience, so it wouldn't be fair of me to judge.What did you think of the first episode of the Chiraq series?
I thought the Documentary did a great job of shedding light on the leading personalities in the "drill" music scene. My favorite line from part one was Keef's Manager's (Peeda Pan) talking about this sound being the voice of "someone trying to break out of a cage," which is the most productive way to describe this phenomenon, but actually gives the music more credit than I think it deserves. While I believe that any art form has value as a form of human expression, this music is extremely simple, graphic, and socially destructive. It reflects depravity that we created through generations of segregation, economic isolation and political corruption.And through the schooling system?
Yeah, the condition of our public schools are at the center of this socio-economic confluence here in Chicago. When these conditions were exacerbated by the mid-century collapse of our manufacturing base, schools were increasingly overwhelmed and defunded through a combination of corrupt property tax schemes (TIF's), private no-bid patronage contracts, and institutional racism. Today our school system is unable to meet the needs of tens of thousands of students of colour. But instead of building a sustainable progressive and holistic system of education that develops critical thought through the arts, technology, etc. we are opting for a low-balled, test-prep factory model that only turns kids away from the traditional pathway to the "American Dream" and towards alternative "fast money" models represented by this "drill" music scene. It's like pouring gas on a fire. And can you blame these young entrepreneurs for doing it themselves? They are the quintessential American boot-strappers, true rugged individuals.True.
But when I watch this series I'm always struck by how insecure and awkward these young men are on camera. They hide behind blunts, tats and sunglasses, while trying to figure out how to be men in a hard, hard world. They've taken on gangster facades that are protective, yet highly profitable at the same time. I hope the rest of the public can see the vulnerability instead of writing them off as the "scary monsters" like Smyleez wants us to believe. But then, that won't sell records.Follow Ryan on Twitter: @RyanBassil