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Forged from the broken fragments of post-World War I Europe, the Dada movement sought to destroy and reshape art. Similar war-like conditions govern the poverty-stricken housing projects of Chicago, out of which the controversial “drill music” subgenre of hip-hop has risen. The similarities between the two movements are vast, ranging from the aesthetical content to the historical and socioeconomic impetuses for their formation; these facets all converge under the philosophical label of nihilism. This essay attempts to rationalize the content of both movements. It does so by first providing a definition of nihilism – nihilism in art, in writing, and in music. From here, two formative figures each from Dada and drill, Hugo Ball and Tristan Tzara, and Chief Keef (born Keith Cozart) and Lil Durk (born Durk Banks), respectively, will be examined biographically, thus highlighting the socioeconomic similarities. Applying nihilism to the written word, art, and music created by both movements will finally link the two movements further together. Once fully evaluated, the often-dismissed content of Dada and drill will be legitimized as intentional, and important, nihilistic statements.