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The High Society or, On Music and Race

 
  

Page: 1234(5)6

 
 
stabbystabby
08:31 / 13.07.06
ooh! cake? i'm there!
 
 
Regrettable Juvenilia
08:39 / 13.07.06
When I say "cake", sadly, I mean:

 
 
stabbystabby
09:02 / 13.07.06
[threadrot] ok, not as tasty, but still. [/threadrot]
 
 
Jackie Susann
09:43 / 13.07.06
I suspect it has had a greater impact than, say, the Geto Boys, not a single note of whom I think I could recall.

You = missing out!
 
 
Regrettable Juvenilia
09:47 / 13.07.06
How would represent the melody from 'My Mind's Playing Tricks On Me' in text form? "plink-plinky-plink, plink plink plink pluuunk"?
 
 
Kiltartan Cross
12:36 / 14.07.06
Right - sorry about the delay, Illmatic and Alas.

(Illmatic)
More succinctly: what relevance has a 40 year old rock record got to a thread about Hip Hop? It adds to the perception that you don't ever listen to the music that you're complaining about.
Agreed; sorry. The relevance was meant to be in the identity of the artists; the MC5 were strong sympathisers with the Black Panther movement. I wasn't intending any particularly deep meaning. The other lyric was from a song about racist perceptions by a multiracial band; I wasn't trying to illustrate my musical knowledge so much as to demonstrate I was reasonably aware of those issues.

Okay, Kay I’ll bite:

1) Sony were obviously, blatantly wrong.
2) It's a drop in the ocean compared to the corpus of music and imagery which portrays black* people in a negative light.
3) Much of this music is, ironically enough, produced by black artists.

Okay, Kay - what I find discomforting about your statements here is:

a) that your willing to jump analogies so quickly – to move between two completely different sorts of media. Even if your points about hip hop were completely correct that still struck me as a very odd thing to do, and this links to
b) Your willingness to transfer the blame for racism back to black artists. I say this is part of the reason for a).. If every time, racism is mentioned you say “but really, it’s their fault”* – which is what you’re saying, that in itself is a racist act. See Id’s posts above on awareness of our complicity in racism etc.


I intended absolutely no transfer of blame back to black artists, but to black artists. I wasn't even particularly attempting to attribute blame; I'm guilty of both listening to and singing songs which promote and/or feature nastiness.
(I'm not sure if there has been any discussion on B. of the parallels / identity between hip-hop and folk; I'm tempted to start one if there hasn't.)
All in all, my belief was that the negative message which I believe a considerable amount of gangsta rap conveys - and I must refute the suggestion several people have made that only the state of rap now (which is hardly ideal; 50 cent, f'r'instance) matters; people do not listen to only the newest music! - does nobody any favours.

c) I think a lot of the argument you’ve employed is a lot more about defending yourself than impartially describing. For instance you didn’t include 2) above in your original statement, you pretty much went straight into blaming black artists.

Again, my intention was never to imply blame in that fashion. I realise and regret that my wording was ill-suited to my audience, and that I assumed that I would be taken as a matter of course not to be making racist comment. It was an error on my part to assume so - I'm not trying to be weaselly here, I mean, I should not have made that assumption.

I don’t know where this argument is going but I think people would simply like you to acknowledge that your original post and some parts of the argument were/are unwisely employed and a bit fucked up.

I agree that they were unwisely employed, but I am unhappy that they have been read as racist, as, flippant as I was, I believed I had been quite careful not to imply any kind of causal link whatsoever between race and the unpleasantness I believe exists in a lot of hip-hop - which is what I was attempting to clear up with the thread. I felt I was being read as saying "those naughty black people bring it on themselves", and wanted to try to clear that up.

BTW having just read Lurid’s post – I don’t think simply citing some "negative" Hip Hop lyrics would make all the points about your argument hunky dory. You could find plenty of examples of violence and sexism within Hip Hop in 5 minutes on Google. However, focusing on these misses the point that:

a) they are a product of the wider culture, and if you really want to critique these things you’ve got to get to the root of them. TBH, I’d love to hear less critique of Hip Hop and violence and more about economic inequality and wealth divisions along racial lines but these take us into areas where it’s a lot less easy to “shoot the messenger”.

b) It would take the focus away from the way in which you’ve employed your arguments here.


I'm not sure I understand quite what you mean, but in general terms, yes, it would, I agree.

(Alas)
I'm also interested in this bit, Kay, which I'd really like to see you address:

Race, sex, and sexuality carry very little weight with me. I had assumed that this was recognised as a sine qua non here.

Maybe we can find some common ground. Is it fair to say that you, and I, both believe that one's perceived or claimed race, gender, mode of self-presentation, etc., should carry no weight in terms of whether one is recognized as a complex, potentially vulnerable, human being who deserves to be treated with dignity?

Yes, I believe so. I would like to treat everyone purely on the basis of their actions, which I'm afraid leads me to believe that the right of religious expression should not be a universal one - but that's another story, and my failings - or otherwise - there need not concern us here, I hope.


But, I sense, where we differ, is that, while many intelligent people, including, it seems, you (?), seem to want to drive us away from categories as inherently limiting to people, I am not sure this is the answer. I think I get this desire to avoid giving social categories any "weight"; I think it is understandable--race categories in particular have a very ugly history. I don't think any of us want to mindlessly replicate that history.

But there is another way of seeing this issue, which I think Judith Halberstam begins to explain pretty well (in this interview about her book Female Masculinities), although she's primarily thinking in relation to human sexuality (and I try to be fairly careful about not conflating these differing aspects of personal/social identity too much):

For me, the term female masculinity also records what can only be called a "taxonomical impulse." My book argues for greater taxonomical complexity in our queer histories. Unlike a theorist like Butler who sees categories as perpetually suspect, I embrace categorization as a way of creating places for acts, identities and modes of being which otherwise remain unnamable. I also think that the proliferation of categories offers an alternative to the
mundane humanist claim that categories inhibit the unique self and creates boxes for an otherwise indomitable spirit. People who don't think they inhabit categories usually benefit from not naming their location.

As I see it, we're all in a position where, culturally, we haven't decided what to do with all this messy history of oppression and cruelty and denial of subjectivity based on class, race, gender, and etc. We are in a state of confusion.

Striving for "color blindness," as a response, doesn't seem to work, because it often just translates, first, into an ability not to see the on-going oppression and problems, and, second, for me, to allowing me to believe I'm perfectly race neutral in my approach to others and not to ask any hard questions of myself when I'm reacting negatively, for instance, to one of my black students. It lets me off the hook pretty easily, and, being human, I'm prone to wanting to let myself off the hook.

And, third, it typically leads to an unexamined expectation that there is some kind of "race neutral" behavior--which is usually, in fact, a behavior pattern that is more typical of the dominant so-called "white" culture--to which we can all simply be expected to conform or "cover" non-conforming behavior. ("Covering" is Kenji Yoshino's term for hiding stigmatized behavior--e.g., avoiding wearing ethnic clothing to work, or behaving in ways that are marked as "gay").

There are differences in British vs. American cultures here, and I realize I may be misinterpreting your claim, so I'd like to hear more from you.


I certainly believe that aspects of this are at the heart of many problems: that we both want (and/or need) and reject group identity; that we can both define ourselves as part of a group - on grounds subjective or objective or both - and yet refuse to have generalisations made of us as a group. In essence, that we are happy to embrace a group identity when it is painted in 'good' terms / on our own terms, but resist any group identification in 'bad' terms / on someone else's terms. I'm not sure how I feel about this, and I'm sorry I can't give you a better response.

I feel that being able to describe groups in terms of broad properties is an essential tool, an essential part of both science and culture; the trouble, I believe, lies when that description is interpreted as an implied correlation between the property and the thing described. I'd like to try to talk about this in more depth, if you would; particularly to try to understand how we can try to use group terms without risking stereotype. I'll post more when I've thought through it better!
 
 
ONLY NICE THINGS
13:06 / 14.07.06
All in all, my belief was that the negative message which I believe a considerable amount of gangsta rap conveys - and I must refute the suggestion several people have made that only the state of rap now (which is hardly ideal; 50 cent, f'r'instance) matters; people do not listen to only the newest music! - does nobody any favours.

Hmmm. Except that we have already established that you don't listen to rap, much less gangsta rap, whatever we're defining that as, let alone a considerable amount of it. Which perhaps is where race becomes an issue again - would you be so confident in making general statements about a primarily white musical form? I don't know - given your current form, I'd imagine probably so, but this inscription of meaning onto a form you have already stated you do not listen to seems in this context perhaps unwise. Might it be wise to consider why, say, people are not making these sort of statements about the apalling messages folk music is spreading about how prone to murdering their wives white people are?
 
 
Regrettable Juvenilia
13:11 / 14.07.06
Kay: I'm glad you're now trying to address some of the points that have been made in this thread. I'm perfectly willing to accept that you don't view mine or Haus' posts as worthy of consideration, and so I wonder if I could ask you if you wanted to comment on or respond to any of the following things said by other members of the board:

Elijah: I wonder if it a genre-ist (genrephobic?) idea that is applied to rap specifically, but not, as you said, to the work of Nick Cave.

MattShepherd: The deplorable qualities of rap -- mysoginy and materialism -- are shared by a bunch of other types of music. '80s "hair metal" springs to mind. And yet I don't see anyone trotting out Poison or Slik Toxik whenever they need to say that white men with longish hair are doing a fine job of putting themselves down, culturally speaking.

Falconer: No-one ever bangs on about Slayer or Cannibal Corpse poorly representing white people, either.

id entity: If, in fact, some Black people do take on racist stereotypes... that's for Black people to discuss and respond to. I can only be responsible for my own racism... Racism will only be ended when white people stand up, act like grown adults, and take responsibility for fucking ending it, instead of whining about the big bad scary people of color and their big bad scary rap music... Point: Kay, your assertions are part of a larger social pattern of white people desperately wanting to deny any responsibility for racial injustice.

Lurid Archive: I'd like to hear you justify the claims that "some black artists produce music which portrays black people in a negative light", most particularly paying attention to your point that other (sony's) racism is a "drop in the ocean" in comparison.

I certainly recognise the stereotype, Kay, but I am sadly ignorant of hip hop, say. So I need more from you, since I'm not happy with appeals to the *obvious* correctness of your points.

Some specific artists and songs illustrating your point, with an explanation by you would do well here...

Illmatic is right, of course; quoting some dodgy lyrics isn't going to be enough. Giving a sense that there is a wide movement out there which can be criticised in the way you are doing - perpetuating negative stereotypes in a way that is much more harmful than racism - would be useful. However, starting with some lyrics, some artists and some commentary of these and how they exemplify what you are talking about would be a start.


ibis: If you're going to start a thread about "some black artists produce music which portrays black people in a negative light," maybe you want to give an indication of why you are pointing that out, what larger issues it relates to either in music, black culture, American culture, or something.

Phex: There could also be another implicit assumption at play here, that black hip-hop artists are incapable of grasping concepts like narrative and irony and generally lack the imagination to create stories or present their lyrics 'in character'

stabbystabby: [T]here's a huge difference between a massive, mostly non-black corporation using extremely racist imagery to sell their products, and a black artist talking about hir experience of black life.

Most of the music about black people at all is produced by black people. Of course the majority of the music about the negative aspects of black life is produced by black people.

Interestingly, we don't say that the majority of the negative imagery of white people is produced by white people. (i'd argue it is, even taking into account militant music produced by non-white artists) I would posit that this is because white experience is viewed as the default - that the music produced by white people is never viewed as being only about white (middle class) people. This ties into that idea that Eminem is so threatening because he shows that what is viewed as a black experience is also tied to a class experience.

If you intend only to describe, why don't you note that white musicians produce music that portrays white people in a negative light?
 
 
Kiltartan Cross
14:01 / 14.07.06
Except that we have already established that you don't listen to rap, much less gangsta rap, whatever we're defining that as, let alone a considerable amount of it.

No, Haus, you've assumed that, and you're wrong. I'm not a particular fan of rap, and I don't own many albums by rap artists. Neither am I a particular fan of most music in the charts at the minute; but honey, I listen to it. I listen to music a lot. You've made an assumption, and a wrong one. Will you accept that you may have made more? Will you, as you said you would over on the "criticism" thread when you were wrong, please apologise?
 
 
Kiltartan Cross
14:11 / 14.07.06
If you intend only to describe, why don't you note that white musicians produce music that portrays white people in a negative light?

Oddly enough, because the original thread wasn't about the portrayal of white people in a negative light, but about the portrayal of black people in a negative light. And all I did was point out that the unpleasant elements of gangsta rap did that more effectively than Sony's marketing. At which point you, Haus, and others assumed that I was implying that "black people bring it on themselves" - a viewpoint you are no doubt expecting to encounter - and proceeded as you liked.
 
 
ONLY NICE THINGS
14:18 / 14.07.06
Neither am I a particular fan of most music in the charts at the minute; but honey, I listen to it.

Yes, but we're talking about rap. So, having established that you do not own many rap albums and that you do not like rap, are you saying that you are some form of musical masochist, grimly listening to songs that you dislike, running along the radio dial seeking a new and deeper thrill of revulsion? Or can we assume that you listen to rap in the sense that sometimes a rap soong is on the radio when you are in the room. Could you, for example, name a dozen songs which you feel illustrate the points about rap music that you hold to be so obvious in your earlier statements that not to accept your authority deserves a cry of come on, and cite the particular lyrics that you feel are pertinent?
 
 
Kiltartan Cross
14:48 / 14.07.06
So, having established that you do not own many rap albums and that you do not like rap, are you saying that you are some form of musical masochist, grimly listening to songs that you dislike, running along the radio dial seeking a new and deeper thrill of revulsion?

I'm intrigued that you managed to get from "I'm not a particular fan of rap" to "I do not like rap". I do get the strong impression that you believe that I'm attacking the idea of (all) rap music; this is not the case.
 
 
ONLY NICE THINGS
14:55 / 14.07.06
No, no - I think you're antithesing good rap and bad rap - there is a whole thread about this in Music & Radio, which this thread would logically be a part of.

So, forgive me. I stand corrected. You are not a particular fan of rap, but you wouldn't say you didn't like it. So, could you, for example, name a dozen songs which you feel illustrate the points about rap music that you hold to be so obvious in your earlier statements that not to accept your authority deserves a cry of come on, and cite the particular lyrics that you feel are pertinent?
 
 
Thorn Davis
15:13 / 14.07.06
"could you, for example, name a dozen songs which you feel illustrate the points about rap music that you hold to be so obvious in your earlier statements that not to accept your authority deserves a cry of come on, and cite the particular lyrics that you feel are pertinent?"

What's this challenge supposed to demonstrate? Are you suggesting that there isn't a deluge of 'violent misogyny' in rap records? I mean 12 songs by - say - Bizarre alone would illustrate the point wouldn't it? ("I'll take your drawers down and rape you, while doctor Dre videotapes you"/ "For my little sister's birthday I had ten of my niggers take her virginity") Or Ice Cube proclaiming that "Life Ain't nuttin but bitches and money", or Ol Dirty Bastard saying "What's the matter bitch? you've just been shitted on" and on and on and on. That's just literally off the top of my head in five minutes, but what does it prove?
 
 
ONLY NICE THINGS
15:14 / 14.07.06
That you actually listen to rap. Next question?
 
 
Kiltartan Cross
15:30 / 14.07.06
That you actually listen to rap. Next question?

"Haus, could you please state whether you believe the violent and misogynistic elements present in some gangsta rap and/or expressed by some rap artists can lead to a negative perception of black Americans at all, whether by white Americans, black Americans, or the world at large, and if so why, and if not, why not?"
 
 
ONLY NICE THINGS
15:39 / 14.07.06
Well, Kay, that's a very interesting question. I don't really listen to rap, so I'd like to hear the opinions of people who do. There's a thread in music and radio about this, conveniently, which I've found very interesting.

Certainly, I've seen white people selectively quoting from the corpus of rap music to support a belief that it and its practitioners are violent, misogynistic, immoral etc., in a way I have not seen black people impute the same qualities to goths, for example. Since not all rap artists are black Americans, I don't know if that supports your thesis. If you mean have I seen it used to argue for the nature of black Americans at large rather than at all - well, that's an interesting question. Not capably, I think would be my response.
 
 
MattShepherd: I WEDDED KALI!
16:02 / 14.07.06
Is "gangsta" rap a self-applied or an external enforced label?

I've been thinking of it as a kind of self-applied term used by a group of similarly themed musicians, but I can't actually recall any "gangsta" rappers ever saying "I'm a gangsta rapper," so now I'm wondering if I've been framing this whole freakin' thing in my head using a term that mass media invented to pigeonhole a select subset of records and musicans they find objectionable.

Jazz musicians can and will say "I play a lot of bebop" and rock musicians can say "I'm into classic rock" or psychadelic rock, etc., but do rappers themselves view "gangsta" as a real subset of rap? Or is "gangsta" like calling Pink Floyd "hippie freak-out music" in 1968?
 
 
MattShepherd: I WEDDED KALI!
17:10 / 14.07.06
Ah, memory just kicked in... all that "O.G." stuff. Much reassured now. So, er, ignore all that. Thanks!
 
 
ONLY NICE THINGS
17:19 / 14.07.06
True - but whether the rappers being identified as "gangsta rap" here would necessarily identify as gangsta rappers is another matter. Fiddy and Lloyd Banks are a long way from Ice-T and NWA.
 
 
MattShepherd: I WEDDED KALI!
17:22 / 14.07.06
True too. Anybody have any references as to whether the "current generation" have self-adopted, grudgingly accepted or openly resented the label?
 
 
grant
17:29 / 14.07.06
Well, I *do* see a lot of posters for Scarface and The Godfather for sale at the flea market near my house. Somebody has to be buying them (although "who" is an open question).
 
 
ONLY NICE THINGS
17:38 / 14.07.06
That's mafiosi rap, Grant - an East Coast mutation that deals in fantastic depictions of the Goodfellas lifestyle.
 
 
Char Aina
19:37 / 14.07.06
the classic of the OF(original 'fella) genre was of course, "Get the fuck outta here, Tommy!" by the now defunct 'jimmy's boyz';



anthony. he's a big guy, he knows what he said.
he's gonna repeat, less he wants dead
what did you say, punk? Funny how?
what the fuck you say to me just now?

it's...
what?
it's...
what?
it's...
what?
it's...
what?

just... ya know, you're, you're funny.

what do ya mean, funny?
let me understand this cause...
i don't know maybe it's me,
i'm a little fucked up maybe,
but i'm funny how?
i mean,
funny like i'm a clown, i amuse you?
i make you laugh...
i'm here to fuckin' amuse you?
what do you mean funny, funny how?
funny, funny, funny?
How th fuck am i funny? how?

no, no, 'i don't know'...?
you said it. How do i know?
you said i'm funny.
how the fuck am i funny,
what the fuck is so funny about me?
tell me, tell me what's funny!

ya motherfucker, i almost had him!
i almost had him!
a stutterin' prick ya!
frankie, was he shakin'?
ya motherfucker, i almost had him!
i almost had him!



that bit in the break where they do the beats with shotgun blasts and breaking glass is genius, and the trunk-slam bassline is indescribably hardcore.

if only they were still together.
 
 
Jackie Susann
01:11 / 15.07.06
Can we just lock this thread and be done with it?

Anyway, here is bonafide "good", lefty, Political rapper Boots Riley from the Coup, from a recent interview:

In the stuff that's called gangsta rap people are talking about the trials and tribulations that they had to go through just to survive in the system. And there are many times where the analysis in there is a lot more pointedly anti-authority than some songs that are considered conscious. There are many songs that are considered conscious that are basically just telling people that are listening that they don't have their head right. What's crazy is that throughout the time that we [The Coup] been around I get all kind of rappers that come up to me that would be wrongly put into the gansgta category, but they're all saying "Yeah we talk about the same shit, we breaking that science down so they know what's goin on." What in their hearts, what they're doing is saying "This is how the world works, I am going to tell you something that makes it easier to survive." What that's coming from is a general love for the people.
 
 
ONLY NICE THINGS
14:24 / 17.07.06
I think we have to ask ourselves whether that's left-wing science that they're putting down...
 
 
Regrettable Juvenilia
15:04 / 17.07.06
Breaking down. In other words, rendering understandable. Putting down science is one thing, and will get you much goatee-stroking critical acclaim, but you might need to break that science down into a more accessible everyday idiom in order to really communicate with a wider audience. And in the process, you may alienate the goatees.

"Haus, could you please state whether you believe the violent and misogynistic elements present in some gangsta rap and/or expressed by some rap artists can lead to a negative perception of black Americans at all, whether by white Americans, black Americans, or the world at large, and if so why, and if not, why not?"

Kay, the violent and misogynistic elements present in some gangsta rap and/or expressed by some rap artists can appear to lead to a negative perception of black Americans on the part of white people and to a degree the world at large, but only because of the filters through which (or expectations/preconceptions with which) many of those people experience art or entertainment. These filters are the reason* why so many people seem to believe that music made by black artists ought to be "positive", and that if it is not "positive" then it is "negative", without this dichotomous burden of responsibility being placed on music made by white artists also; the idea that black artists are incapable of writing in character or telling non-autobiographical stories; the idea that violence presented in music made by black artists is usually presented without moral condemnation; the idea that the audience for music made by black artists is incapable of experiencing art with violent, misogynistic elements in as sophisticated a way as audiences for, say, Shakespeare might... And yes, these filters are the result of an ingrained racism in Western society that none of us can escape simply by saying "oh, I see no colour!".

Which brings us to when stabbystabby said:

If you intend only to describe, why don't you note that white musicians produce music that portrays white people in a negative light?

To which you, Kay, replied:

Oddly enough, because the original thread wasn't about the portrayal of white people in a negative light, but about the portrayal of black people in a negative light.

This is, to use an accessible everyday idiom, bullshit. I'm sorry Kay, but you cannot separate the two subjects like this. The fact that music produced by white artists is "read" differently from the way in which music produced by black artists is "read" is profoundly relevant to the discussion. Refuse to acknowledge that, or even engage with or dispute it, and there's no point in even trying to have this discussion.

*There are complicating factors, for sure - the fact that in hip hop culture itself there is the idea of "realness" having value (with some confusion as to whether this means it's good for music to have that emotional ring of truth, or something more literal), or the way in which rap lyrics tend to make what in other forms of popular culture might be subtext into text (this is what "explicit lyrics" ought to be taken to mean). I'd be happy to discuss any aspect of this further in the Music forum.
 
 
ONLY NICE THINGS
15:37 / 17.07.06
Ah - so, science is stuff that rhymes "Boyle's law operating at constant gravity" with "Undermining Milton Friedman's virulent depravity", sort of thing? And breaking that down is making it make sense to the common reader, so to speak? That makes a lot more sense of that comment.

Righty - would it make sense to lock this thread and start a new thread in Music? Especially now that Bruno has apparently left the board, and so we might get through it without a detour into t3h Marx1st science. I'm tempted to keep this thread going as an example of the dangers of the sandpit thread, but perhaps the discussion should move to Music and Radio.
 
 
ONLY NICE THINGS
16:02 / 30.08.06
I'm bumping this thread because something has been said elsewhere by Kay that I think sheds light on how this discussion has developed. Resummarising his position as:

Music by influential black artists is taken as being representative of black people in general. This can lead to a negative perception.

He then says, specifically to me:

Now, I appreciate you're used to people making this sort of statement with the unseen rider: "and I agree with them that it should be taken as representative! they are teh bad!" That, however, should not lead you to assume that that is always the case, which, I fear, is what you did.

Now, I think that this is actually potentially quite useful in providing an insight into the discussion we've just been having.

So, I'd like to ask: did anyone who has contributed to this thread in any way do so in the belief that Kay believed that the image of black people portrayed in "gangsta rap" (that is, the set of rap that consists of upbeat, cheerful depictions of black Americans. Shooting each other and fucking their "ho"s, that is) is an accurate and representative picture of black people in general, and that he has throughout this conversation been working on the assumption that all black people are as he believes them to be described by gangsta rap? If so, did you believe this going into the thread, or come to believe it in the course of the thread?
 
 
Regrettable Juvenilia
13:06 / 05.07.07
This is a response to posts by power vacuums & pure moments (hereafter pvpm) in the thread about Trim, which I’m posting here to avoid rotting that one any further.

Another reason to bump this thread is that it demonstrates that the issue of misogynistic lyrical content is one that has been much discussed on Barbelith – this was true even when this thread began. In fact it often seems hard to have a discussion about a hip hop (or grime) artist without the issue being raised in one way or another.

And yet that doesn't stop people who want to make generalisations about misogyny in these genres from painting themselves as lone voices crying in the wilderness.

Personally, I don’t think there’s anything “funny” about the board containing a lot of people who identify as feminists, and also some people who listen to grime and other kinds of rap, and for there to be some overlap between the two groups. All I can conclude is that what you, pvpm, want is for there to be no discussion of grime in the Music forum at all (in which case it would be pretty much dead at the moment), or for every single thread or post about it to carry some kind of disclaimer, just like every single fucking postitive Guardian review of a hip hop album contains (and sometimes just consists of) some kind of disclaimer about how it’s not like all that other nasty hip hop, and every negative one says that it is. That’s not a Barbelith I want to see.

Another problem with your boast that ”I have a lot of problems with the things some mc's are saying and not suffering from any white guilt i feel free to discuss them”, is that before you continue patting yourself on the back for having the courage and insight to face the issues the rest of us can’t cope with, let’s note that you haven’t actually done this. Instead your trolling has steered the thread away from a discussion of an artist due to your initial baffling remark which reminded people of your history of borderline incoherent generalisations. You've now clarified a little that you actually think 'Air on the Roads' is classic and great, just not "mature", but I still don't really get the relevance of quoting Lethal B - I'd love to think you were repping Fire Camp and Lethal cuz you're down with them and have no love for Roll Deep, but I don't think it's quite that either, is it?

By the way, metonymy is a figure of speech consisting of the use of the name of one thing for that of another of which it is an attribute or with which it is associated. Logically, therefore, use of a word for female genitals to mean "unpleasant person" suggests an assumption that female genitals are somehow associated with unpleasantness. You are right to say that the context of the word dictates if it is offensive or not, although I prefer to talk about whether something is misogynistic or not rather than whether it is offensive (insert link here to post I can't find). However, do you mean that the word can be okay when used to mean actual ladyparts, that it can be okay to mean unpleasant people when used by a lesbian such as yourself, or that it can just be used by anyone? (I assume you are now claiming to be a lesbian, unless I’m misreading "Just some dyke wastegash gettin vexed tho innit?")
 
 
ONLY NICE THINGS
05:30 / 06.07.07
Gosh. Rereading this thread is a remarkable experience. I had actually forgotten how awful Kay and DM's behaviour was.
 
 
illmatic
09:05 / 06.07.07
My response to pvpm, hsi comments C & Ped from the Trim thread:

Roy - Why do you assume i dont like grime?* I do like it. I like in the same way i like US gangsta rap, its fucking cool till i bother to think about whats being said.

Well, I find this in itself a bit weird – a big part of the appeal of Hip Hip and grime is precisely the lyricism. That’s a major reason for listening to it in the first place. To say that the lyrics slips past you most of the time when you are enjoying it, and that when you do listen to lyrics, they actually destroy your enjoyment, doesn’t show you as a very attentive listener. Are you saying that grime is okay but we really we should only listen to instrumentals?

You say music mirrors social conditions. I agree, but i think the way some grime artists present themselves glamourises certain responses to those conditions and influencing kids, cements that response as part of the culture.

I assume here by “response to the conditions” you mean misogyny and the expression of violent sentiments, glamourising of crime and so on? Well firstly, I don’t accept that grime as a genre is misogynistic. Certainly not more so than a lot of other genres, say, 80s hair metal – it’s very male, sure, very adolescent at times, true – but misogynist? I ain’t really hearing it. I can hear very little like that on the Trim tape, and not much else much springs to mind. I hear the bragging of young men, not active women-hating. I could point to a lot more examples of misogyny in Hip Hop than grime actually but this doesn’t make me damn the genre as a whole.

I have a bigger problem with what you saying about violence, crime etc. Flyboy has made the point above that this kind of thinking implies a contempt for the audience and musicians involved – they’re not bright enough to realise what they’re saying, and it’s impact and they don’t have any critical distance between themselves and the music – and the roots of this in the way the music of different races is read differently, but there’s a couple of other points I’d like to draw out.

Firstly, – when I think of all the possible impacts on macho, violent and/or criminal behaviour from testosterone upwards – the music that people eventually chose to listen to comes very low down on the list. I feel that your response if more rooted in distaste for what you’re heard – and hey, sometimes it is distasteful, I don’t stick on Rinse FM if I’ve had a hard day at work and fancy a romantic night in with my partner - and the fact that it makes an easy target, in much the same way it’s easier for governments to bang on about video nasties than actually propose realistic solutions to youth crime. I think there’s a lot to critique about urban living and social conditions, but any answers to these problems are serious and difficult, and are going to occur at a level beyond most of us on a message board. Criticising and scapegoating the creativity of people who are already bottom of the heap doesn’t seem to me to be the way forward.

Furthermore, as I said in the other thread, I think your comments show a misunderstanding of the music itself. Hip Hop, Grime and to a lesser degree, dancehall reggae are rooted in competition, and this can manifest as what sounds like threats – but are the gun references in something like NASTY Crew’s “Cock Back” referring to rhetorical violence of an MC clash? Real violence on the streets? Or is it adolescent bravado from people who’ve never held a gun? Or is it some weird combination of all three? As I said, I think your response is more about distaste than anything else.

Im not saying that describing the experience of living a violent lifestyle cant be an artform. I just dont agree that the grime scene is yet mature, as you said earlier.

What I meant was – lyrically, Trim’s stuff sounds like a progression to me. It sounds a lot more lyrically sophisticated than grime, I’d previously heard, but as I indicated in my post, this may be a product of my own ignorance. I actually regard “mature” as something of an insult in musical terms – what does that mean? Mojo and Paul Weller?
 
 
illmatic
10:01 / 06.07.07
And as an aside this frankly fucking excellent thread on Dissensus torpedos a lot of pvpm's assumptions.
 
 
illmatic
10:29 / 06.07.07
To quote: if music this good can be made by people that began with nothing you can take all the everyday bullshit that is so blindingly and depressingly obvious and turn that knowledge, apathy and hatred into a weapon. And if you have it in you that weapon can be used to help others

I woundn't normally quote from another board but it sums up and develop some of the points I was trying to make about grime, perfectly.
 
 
ONLY NICE THINGS
19:09 / 06.07.07
Well, I find this in itself a bit weird – a big part of the appeal of Hip Hip and grime is precisely the lyricism. That’s a major reason for listening to it in the first place. To say that the lyrics slips past you most of the time when you are enjoying it, and that when you do listen to lyrics, they actually destroy your enjoyment, doesn’t show you as a very attentive listener. Are you saying that grime is okay but we really we should only listen to instrumentals?


Actually, that bit sort of made sense to me, at least in a way, because I often find myself listening to hip-hop or indeed grime without a sense of understanding the fine detail of it. If somebody hadn't told me that "Wamp Wamp" was about crack, it would probably have taken me a fair time to have noticed, because I wasn't sitting down and concentrating on the lyrics. Likewise, there are some things about Trim's song that I just don't understand. I don't know if puddleduck is as I understand it, or a reference to some form of slang not known to me.

So, there's that. And, as such, it's quite possible that I have listened to and enjoyed the flow and the individual or cumulative rhymes of a song the messages of which I wouldn't necessarily get behind uncritically - for example, Talib Kweli's Brown Skin Woman. So. I am not immersed in this music, nor do I consume huge amounts of it - I think we can probably tell that our interlocutor here is not immersed in grime from the way hir references so far have been old and tangential. The difference here is that I probably wouldn't want to make too many assumptions about what all this music - all hip-hop, say - actually is saying, because I think that that is a very difficult thing to know, and that not being very well-versed in the form is not an advantage in being able to do so.

However, there is precedent for having done so.
 
  

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