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Dilated Peoples
Deconstructing the False Good Rapper/ Bad Rapper DichotomyNegritude 2.0Dilated PeoplesThe Release Party [DVD](Decon) US release date: 31 July 2007 [29 October 2007] by Mark ReynoldsIn this corner: Common, in that: 50 Cent. In this corner: Dr. Martin Luther King, in that: Malcolm X. In this corner: W.E.B. DuBois, in that: Booker T. Washington. Standing outside of the ring: Dilated Peoples.
Bravo, sir. Comment by Alex from Seattle — October 30, 2007 @ 2:23 pm Negritude 2.0
Retelling the History of Black Music: Everything You Know about the Blues Is WrongMark Reynolds03.Jul.08 For the most part, blacks were not involved in the heroic work of rescuing the black acoustic blues legacy from the passage of time.
Retelling the History of Black Music: Adventures in Retro-ismMark Reynolds07.Mar.08 Rightly or wrongly, black audiences have always tended to chase musical innovation, not musical reverence.
Ask an AfricanMark Reynolds11.Jan.08 Africa will play an increasingly pivotal role in world affairs this year, and not just because a guy whose dad was Kenyan is running for President of the United States.
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THANK YOU! I find this article quite enlightening. I think my favorite point was about Universal Music Group--I had realized that 50 Cent and Kanye West are distributed by the same corporation, but hadn’t really thought of its implications (beyond 50 Cent’s idiocy when declaring Kanye’s record company had doctored his sales figures). I also was interested in how the word “nigger” could replace “rapper” in how many whites describe and construct “good” and “bad” rappers.
The dichotomy of which you speak in hip hop seems to be present in many forms--not just in the “good vs. bad” debate but also in similar positions as “authentic/real vs. artificial/fake” and so forth. Moreover, I think that often the “good vs. bad” debate is reflected in the discourse on much popular music of a musical paradigm involving race: the artists constructed as “good” are the ones viewed as possessing positive qualities constructed as white. Think, for instance, how much of the popular political rock artists of the 1960s and ‘70s were white, and how Marvin Gaye is viewed as “exceptional” among black artists of the time (at least on Motown) BECAUSE “What’s Going On” incorporated political themes. (The truth, however, is that black music had incorporated politics long before Gaye OR Bob Dylan.) By the same token, think of many canonized white artists being described differently. I was able to think of a few dichotomies in how music by black and white artists are constructed in the dominant (white) discourse on popular music:
white music=polished, trained, rational/purposeful, melodic, high-brow/sophisticated
black music = raw, untrained, “soulful"/intuitive/emotional/improvised, rhythmic, vernacular
Perhaps it’ll take a long time to sort out these dichotomies, along with many others. But this article does a great job analyzing the construction of “good vs. bad"--the characterizations of artists and the flaws in such characterizations.
Comment by Josh from IN — October 29, 2007 @ 7:41 am