The Philosophy of "Reasonable Doubt": The Foundation of Hood Ethics

From corner boy to CEO, cocaine to cassettes, Marcy Projects to music mogul, Shawn Carter also known as Jay-Z has created history with his addition to the blueprint of entrepreneurship in hip hop. With his diverse stock portfolio, extensive list of assets, and more than enough companies under his belt, Jay-Z has become hip-hop’s first billionaire rapper. But it was not always this way. In 1996, there were no stock portfolios or abundance of assets. There were no gold and platinum plaques or dozens of grammys. Nor was there a global fan base that continues to support Jay-Z throughout his endeavours. There was just a group of friends doing everything that they could to ensure success on their friend’s musical ventures.

Released June 25, 1996, “Reasonable Doubt” made its debut to the world. A lyrical diary for dope boys all over to listen and relate to. As a project that was supposed to be Jay-Z’s only project, the album created the foundation to Jay’s career as a businessman and as an artist. Giving those who are exposed to the lifestyle that was once his reality, Jay-Z spoon fed fans into wanting more, leading to 12 more solo projects. With songs ranging from the glitz and glamour of the drug dealer lifestyle to the danger and grief that comes along with it, it comes as no surprise that this album has been RIAA certified platinum. Although it is not Jay’s most successful album, “Reasonable Doubt” is the inaugural album that put Roc-A-Fella on the map as a legitimate label. But the awards and the sales mean nothing if what you’re selling means nothing.

If the music does not resonate with your listeners, then what is the reason? Ethically and morally, forms of psychological egoism, ethical relativism in a cultural or society form, and contractarianism pour out of the lyrics and onto the soulful melodies that you hear as you consume it. Lifting the weight off of the shoulders of not only Jay-Z, but of his listeners as well, “Reasonable Doubt” continues to age like fine wine, growing in its relatability with time.

When discussing contractarianism, we have to look at this from the point of view of a 26 year old drug dealer. His entire life is filled with decisions that deal with life or death situations. In “Politics as Usual”, Jay-Z discusses with the listener that his life is “based on sacrifices, jewels like ices and fools that think i slip, you fuck around and get your guys hit”. This line represents the true meaning of contractarianism as it relates to the environment that he comes from. Everyday, you make the ultimate sacrifice, your life, in order to reach financial goals that you’ve been manifesting and working so hard to obtain.

Even in the eighth track, “Can I Live”, Jay-Z begins the song by inviting the listeners to Roc-A-Fella and states that its “Where we hustle out of a sense of hopelessness… but we feel like we have nothing to lose. So we offer you... our lives.” Jay-Z enthusiast, author, and professor, Michael Eric Dyson wrote in his biography of Jay Z, “Jay-Z: Made In America”, Dyson discusses the sacrifices of the “hustle” that African American youth are exposed to. Dyson states that “black youth get involved in the hustle out of necessity. They hustle to stay alive, and the hustlers around them are both reviled and revered,” [Dyson 22]. This particular quote sheds light onto the environmental background that bred the man we know today as Jay-Z.

With the sixth track on the album, “D’Evils”, it states, “For the love of money, son, I’m giving lead showers.” This verse showed that he would sacrifice his freedom and be labeled as a criminal in order to reach these same financial goals. These effects that are a reality for so many black youth was a key to unlock the ears of so many listeners who could relate to his words due to such similar environments and such similar sacrifices.

In addition to the contractarianism ethical value that Jay-Z brought to this album, he also managed to explore the realms of ethical relativism as it pertains to society and cultural standards. Growing up in the projects, a great majority of black youth are exposed to the “culture of dysfunction [that] revolves around the notion that poor urban black people have themselves created and perpetuated a ‘culture’ of violence (crime and prison culture), sexual deviance/excess, and illiteracy.” [Rose 62]. These pillars reflect poorly on the youth who try to make a way out of none and go by the book and the law in order to obtain the American dream. This is why in environments like these, youth tend to make their own moral and ethical laws.

When you hear certain sayings such as “never get high on your own supply” or “snitches get stitches”, it is a form of ethical relativism that has become a norm for neighborhoods and societies like the very ones that Jay-Z. This is exemplified in songs like “Regrets”, “Feelin It”, and also “Can I Live II”. These tracks play a major role in showcasing for those who want to get into the illegal lifestyles that are normalized for our black youth, the actual cons that come along with riches.

In the fourteenth track, “Regrets”, Jay-Z remarks “This is the number one rule for your set. In order to survive, gotta learn to live with regrets. On the rise to the top, many drop, don’t forget [that] in order to survive, gotta learn to live with regrets.”. To many listeners, this is just another chorus on another track for simply another album. On the contrary, for those whose lives revolve around those three major pillars of violence (crime and prison culture), sexual deviance/excess, and illiteracy, it is more of a guide. A how-to for hood ethics. It showcases that in order to make it out of those treacherous environments, there are going to be things that you will have to get through and do that wont be preferred, but these things are only the sacrifices that you have to make to live the life you want.

In the closing of the first verse on “Feelin It”, rules of social normalities like “if every nigga in your clique is rugged, nobody will fall cause everyone would be each others crutches. I hope you fools choose to listen. I drop jewels bust it. These are the rules I follow in my life, you gotta love it.”. Coming from territories where it’s about survival of the fittest, there have to be rules that you live by, and this is one of them.

Even in the final track of the album, “Can I Live II” featuring Memphis Bleek, Jay-Z states that he has “the feds sending [him] letters ‘cause [he’s] schooling the youth. But they cant lock [him] down ‘cause [his] tool is the truth.” Lines like this showcase the prison culture that affects so many African American families across the nation. Living a lifestyle that comes with such negative energy, attention, and connotations, you have to find the silver lining in every obstacle that you encounter. But there is still more to this album.

Co-founder of Roc-A-Fella Records, producer, and director, Kareem “Biggs” Burke discusses this in the “Reasonable Doubt” documentary that was created for the album’s 20th anniversary. This documentary was streamed on TIDAL, a company owned by Jay-Z. There are mini interviews conducted with some of the 46 people responsible for the production of this album. Burke states that “ even though [Jay-Z] glorifies things, in the end, he shows what the repercussions are.” this is pertinent when deciding in life or death matters and not allowing the love of money to turn into greed.

Celebrating the small wins were important according to the man behind the name “Roc-A-Fella”, Tone Hooker. Enjoying the riches you work so hard for, buying the fancy materialistic things that you’ve dreamed of as a child, these are things that lead to the pinnacle of the album and its ethical and moral values.

Psychological egoism oozes out of each track as Jay-Z brags about owning flashy cars, expensive jewels, and dabbling in an abundance of exotic women. These are just a few of the many things celebrated in this album. The success of finally living the American dream that Jay-Z created for himself. In the original single for the album that they sampled around different neighborhoods on cassette tapes, “Dead Presidents II” showcases the riches of hip hop. Jay-Z states in the second verse that he “gross the most at the end of the fiscal year than these niggaz can wish to.” This line alone is still prevalent and true today, as he is the first rap billionaire, certified by Forbes. Further along in the song is discusses the glitz and glamour of wining and dining women. In the final verse, he refers to himself in the third person, stating “Jay-Z the Icon, baby you like Dom? Maybe this Cristal’s to change your life huh? Roll with the winners.” Talking about these expensive champagnes that had price tags of at least four hundred dollars a bottle, he is flaunting the amount of money that is at his disposal.

He continues to do the exact same thing in the twelfth track, “Cashmere Thoughts”. In the opening verse alone, Jay exposes listeners to the likes of jewels, diamonds, caviar, silk, persian rugs, cashmere, Dom Perignon, eighteen carat gold pens, and more. These fancy things are seen as casual items to have for him but to those still stuck in these financially struggle filled neighborhoods, these are stamps of approval. These are seen as trophies and as awards to the brutal lifestyle they are exposed to. In addition to this, Jay proclaims himself as a player, stating that he is “just dealing with hoe money. You know hoe money is slow money but it’s ‘sho money,'' inferring that even though money that comes from pimping out and sexually exploiting women comes in at a slow pace, it is consistent. This feeds into the “the street economy icons- the gangsta, pimp, and ho- [who] are celebrated and exaggerated in mass media...” [Rose 73]. The exposure to these “icons'' assists in the sales of the album as consumers seek out these forms of expression from hip hop artists to explore and exploit its culture.

In the opening song of the album, “Can’t Knock the Hustle'' featuring Mary J. Blige, Jay-Z begins to brag about himself and his life as a cocaine dealer. With verses like “stack rocks like Colorado” and “me slick like GATO, fuckin’ Jay-Z”, he discusses himself in third person while giving himself props for coming as far as he has.

With the psychological egoism, ethical relativism, and contractarianism that is shown throughout the album, it should come as no surprise the amount of other ethical values that stood out along the lyrics. With forms of utilitarianism showcased through songs like “Dead Presidents II”, “D’Evils”, and “22 Two’s”, Jay-Z showcases the hustler mentality to make sure he does for the greater good of his friends and family by making sure they are financially stable as well. Another form of this ethical value is seen in sayings like “ if I get put on, I’ll make sure my friends get put on as well.” Roc-A-Fella Records alone was founded on the basis of utilitarianism. Even Kant’s moral theory comes into play when listening to tracks such as “D’Evils”, “Can I Live” and “Can I Live II”. However, as prevalent as these tracks are in showcasing these ethical values, the major theories of psychological egoism, ethical relativism, and contractarianism heavily apply to the greater majority of the tracklist.

Throughout “Reasonable Doubt”, the foundation of hood ethics and values are showcased for the world to see. Utilized as a diary for those going through the same trying environment and struggle, this album placed itself at the forefront of hip-hop in 1996 and has maintained its place nearing 25 years later. As Jay-Z enthusiast, CEO of the Houston Hip-Hop Museum, and Dillard University alumni, Shelby Stewart stated, “The significance of the album is that it grows as it ages. It is hard to mention some of the best hip-hop albums without mentioning this album.” With a ranking of 4 out of 5 mics by Source, features from heavy hitter artists such as The Notorious B.I.G., Mary J. Blige, Foxy Brown, Fat Joe, and many more, “Reasonable Doubt” has helped lay the foundation for Roc-A-Fella Records to become a household name in a diverse group of industries other than music such as clothing, alcoholic beverages, sports management, and more. In a time where most artists “were actually being exploited,” as enthusiast Cody Branch would say, Jay-Z made the decision to take a leap of faith into a society that didn't have as big of an income as he made being a drug dealer. But he chose to turn it into the same hustle, while ensuring that things run legally. Although it is not the best selling album for this platinum artist, “Reasonable Doubt” remains at the top of the list for many hip hop connoisseurs across the globe.

References

Dyson, Michael Eric, et al. Jay-Z: Made in America. St. Martin's Press, 2019.

Engine, Scheme, director. JAY-Z - Jaÿ-Z: RD20. Jay-Z | RD20 , TIDAL, 25 June 2016, tidal.com/browse/video/62386838.

“Jay-Z 'Reasonable Doubt'.” 1515 Productions, 4 July 2008, www.1515productions.com/jay-z-beyond-reasonable-doubt/.

Josephs, Brian. “The Hustler's Manual: Jay Z's Producers Remember Making 'Reasonable Doubt'.” Spin, 4 Dec. 2019, www.spin.com/2016/06/jay-z-reasonable-doubt-producers-interviews-ski-dj-clark-kent-dj-premier/.

Kimble, Julian. “'Reasonable Doubt': Jay Z's Quarter-Life Crisis.” Complex, Complex, 20 Apr. 2020, www.complex.com/music/2016/06/jay-z-reasonable-doubt-quarter-life-crisis-20th-anniversary.

Rapfest, The. YouTube, YouTube, 14 Dec. 2020, www.youtube.com/watch?v=xPlEbOqGIss.

Rose, Tricia. THE HIP HOP WARS: What We Talk About When We Talk About Hip Hop--and Why It Matters. Perseus Books Group, 2017.