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Hill’s background (and perhaps her most developed skill set) lay in hip-hop, and Miseducation had the effect of putting the entire genre on blast. After having written for Whitney Houston, having traveled to Detroit to sit with Aretha, it makes sense that Lauryn Hill returned to look upon the Fugees and their hard, brick-city, midnight-winter rap with a newfound skepticism. The lo-fi production and warm, thickly muzzled bass tones purposefully recalled vintage vinyl on a rainy Sunday afternoon. Doo-wop harmonies and the flushed distortion of voices singing their pain were cast over taut snares and hard boom-baps. (She conceived of the album at 22 years old, single and pregnant with her firstborn.) Musically it arrived as the conceptual confluence of three of the most powerful musical ideas in all of blackness: hip hop, Motown-era soul and reggae. It is an album of junctures: Between adolescence and adulthood, between Lauryn as ⅓ of the Fugees and Lauryn as a woman on her own, between being a child and being a parent. And it is a love letter to the liberated self, the maternal self and to God. It is a break-up letter to the bullshit routine of dealing with men who can’t stop hurting the women who love them.
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The Miseducation of Lauryn Hill is a declaration of independence.