Kanye West produced this Nina Simone-sampling, head spinning hit for the Brooklyn native. Everything came together perfectly for this one as Kweli perfectly discusses life in the ghetto and all the things people do to get by and eventually overcome their situations.

When people think of intelligence in hip-hop, Talib Kweli ranks amongst the top of the list. Born to two intellectuals and the brother of an ivy league law professor, Kweli’s credentials run deep. After teaming up with another one of rap’s conscientious heroes, Yasiin Bey for the 1998’s Mos Def and Talib Kweli are Black Star, Kweli cemented his place as a hip-hop heavy hitter. His debut solo album brought him from the underground to the forefront. “Get By” and a guest spot on The Chappelle’s Show didn’t hurt.

The Beat

When setting out to write a hit song, a K-West beat sampling the piano riff from Simone’s rendition of “Sinnerman” is almost always the perfect combination. Combine that with drums from Love’s “Doggone” spliced with pieces of “Imagine” here and there and it’s hard to miss.

Simone herself lived a very conflicted life filled with alcohol, domestic violence and undiagnosed bipolar disorder. Among her issues, she also harbored a beautiful talent. She played the piano magnificently, became an extraordinary singer, civil rights icon and so much more. In many ways, she formed a living representation of the conflicts Kweli rapped about.

“Saturday sinners, Sunday morning at the feet of the father / They need somethin’ to rely on. We get high on / All the types of drugs, when all you really need is love.”

Simone struggled in her life with her demons juxtaposed with religiosity and created something beautiful from it. This doesn’t just relate to Simone’s life or Kweli’s song but to the black experience in the US as a whole.

The part of “Sinnerman” which West sampled for the intro to “Get By” comes near the end of the ten-minute song when she breaks down and begins praising the Lord after acknowledging her sins. She surrenders and asks for help. No better motif to communicate Kweli’s message could exist.

The Subject Matter

“We sell crack to our own out the back of our homes” — Kweli did not mess around when starting out this song. That affirmation recognized a problem the drug epidemic and dwindling opportunities has caused for the black community. When opportunities for legitimate work dry up, many turn to crime which can include selling drugs to our own loved ones.

Shout outs to CORE, the Congress Of Racial Equality remind how the civil rights movement has helped the advancement of black folks over time.

“Even when the condition is critical, when the livin’ is miserable / You’re position is pivotal, I ain’t bullshittin’ you,” Kweli smoothly incorporates internal rhyme over internal rhyme for this technical and powerful lyric.

He uses his lines to encourage young people of color caught in an oppressive system that they still have power to escape. It makes sense that someone surrounded by education would encourage others to recognize how powerful it can be and their ability to enact change.

Overall, the song expresses a reason to move on from a tough situation. Whether it’s getting high, lying, stealing, hurting one’s own, it’s time to recognize how important one really is and their true potential. Society might not always recognize the true potential and the need to encourage young people of color to succeed but Kweli is there to offer that missing encouragement.

The Reception

The song helped lift 2002’s Quality to it’s peak position of 21 on the Billboard 200. Far from a number one album for a mainstream artist but when taken into account Kweli was, and in many ways still is, an underground rapper, charts don’t accurately measure the effort’s success.

A much more organic way of measuring it, simply is just by how hard it bangs. And it bangs hard. Just ask Dave Chappelle.

Relatable? Check. Head bobbing? Check. Meaningful? Check. Technically sound? Check. Brooklyn went hard on this one.