hier mal n mumia-artikel, der euch vielleicht auch vom thema her interessiert. sagt mal was dazu...
mehr infos: http://www.mumia.de http://www.freemumia.de oder english http://www.mumia.org !free all political prisoners!
------------------
ON RAPPING RAP
By Mumia Abu-Jamal, M.A.
Column Written 6/19/01
All Rights Reserved
"Let me write the songs of a nation, and I care not who makes it's
laws."
-- Daniel O'Connell, Irish Nationalist (1775-1847)
The recent Rap Summit in New York, organized by hip-hop entrepreneur
Russell Simmons, and supported by leading industry, political,
academic, and cultural figures speaks volumes, not so much of the
music, as of the people who make the music, and what role they play in
American (and increasing, global) society.
One does not have to look long nor hard to perceive the criticism
launched at the rap music genre. It is, in part, this very criticism,
coupled with political threats, that made such a Summit necessary.
It's helpful for us sometimes to look at history to see more clearly
where we are today, and why. You don't have to crack a history book to
find the first example. (Talk to your mom, pop, or grandmom,
grandpop.)
In the 1970s and 1960s when rock music and rhythm and blues were
emerging, it was heavily criticized by adults, who called it "noise."
Southern racists and segregationists called it "##### music," or
"jungle music," and organized events to burn such records, or even
bulldoze piles of such materials.
What was happening then was an historical echo of what was happening
before, in an earlier era.
When both jazz and the blues emerged from black culture, these artists
were severely criticized for making music that was seen as "immoral."
The late, great jazz trumpeter, Miles Davis, bore the hatred of
small-minded cops in Philadelphia and Manhattan, and could easily
predict harassment, a jail cell, or a beating when he performed in
either venue.
Black feminist scholar, Angela Davis, notes that both whites and
bourgeios blacks regarded the blues as "lowly," "vulgar," or "bizarre"
musical forms. (See her *Blues Legacies and Black Feminism*, , p.
123).
Today, the same artists who were criticized and demeaned as "low,"
"vulgar," or even drug addicts, are remembered as musical geniuses,
and icons, whose work is revered for their scope, depth, power and
brilliance. Imagine how dry American music would be without John
Coltrane, Miles, Bessie Smith, Billie Holiday. Or Bob Marley, Peter
Tosh, Chuck Berry, etc....
What is happening with rap?
Every generation of Black America creates its own music form, to speak
to their place in national life. Rag-time and blues were the first
musical forms made outside of the church, and as a secular form, was
condemned by African-American religious and community leaders. It
caught on with working class and poor blacks though, because it spoke
to their lives in a false, hypocritical "freedom," which was really
blue.
Similarly, rap has been criticized for its violent misogynistic (means
the hatred of women) character. That violence, misogyny, and
materialism arises from a national characteristic that is profoundly
American.
America is easily one of the most violent nations on earth, and has a
barely suppressed hatred of women.
Materialism is almost a pre-eminent American trait.
Much of the criticism leveled at rap was at one time directed to other
Black art forms, and usually had more to do with the policing of Black
sexuality than anything else.
Nothing so disturbs the twisted labyrinths of white supremacy than
Black creativity, artistry and productivity.
Think of it this way: what other music form draws the scrutiny of the
corporate press like rap?
I have heard heavy metal that was so steeped in violent imagery, of
death, torture, and dismemberment, that it made my nose bleed. It was
so misogynistic that it gave me a headache. But these were white
artists, who are presumed to be free.
Rappers are allegedly 'free' to say what they wish, but they are
profiled by the state, in the same way Miles was 40 years ago. The
cops didn't think he should be driving an imported car, so they busted
him on Broad Street in Philly.
How little things have changed. (c)MAJ 2001
******************************
This column may be reprinted and/or distributed by
electronic means, but only for non-commercial use, and
only with the inclusion of the following copyright
information:
Text (c) copyright 2001 by Mumia Abu-Jamal. All rights
reserved. Reprinted by permission of the author.
Get Mumia's columns by email: http://www.MumiaBook.com
******************************
mehr infos: http://www.mumia.de http://www.freemumia.de oder english http://www.mumia.org !free all political prisoners!
------------------
ON RAPPING RAP
By Mumia Abu-Jamal, M.A.
Column Written 6/19/01
All Rights Reserved
"Let me write the songs of a nation, and I care not who makes it's
laws."
-- Daniel O'Connell, Irish Nationalist (1775-1847)
The recent Rap Summit in New York, organized by hip-hop entrepreneur
Russell Simmons, and supported by leading industry, political,
academic, and cultural figures speaks volumes, not so much of the
music, as of the people who make the music, and what role they play in
American (and increasing, global) society.
One does not have to look long nor hard to perceive the criticism
launched at the rap music genre. It is, in part, this very criticism,
coupled with political threats, that made such a Summit necessary.
It's helpful for us sometimes to look at history to see more clearly
where we are today, and why. You don't have to crack a history book to
find the first example. (Talk to your mom, pop, or grandmom,
grandpop.)
In the 1970s and 1960s when rock music and rhythm and blues were
emerging, it was heavily criticized by adults, who called it "noise."
Southern racists and segregationists called it "##### music," or
"jungle music," and organized events to burn such records, or even
bulldoze piles of such materials.
What was happening then was an historical echo of what was happening
before, in an earlier era.
When both jazz and the blues emerged from black culture, these artists
were severely criticized for making music that was seen as "immoral."
The late, great jazz trumpeter, Miles Davis, bore the hatred of
small-minded cops in Philadelphia and Manhattan, and could easily
predict harassment, a jail cell, or a beating when he performed in
either venue.
Black feminist scholar, Angela Davis, notes that both whites and
bourgeios blacks regarded the blues as "lowly," "vulgar," or "bizarre"
musical forms. (See her *Blues Legacies and Black Feminism*, , p.
123).
Today, the same artists who were criticized and demeaned as "low,"
"vulgar," or even drug addicts, are remembered as musical geniuses,
and icons, whose work is revered for their scope, depth, power and
brilliance. Imagine how dry American music would be without John
Coltrane, Miles, Bessie Smith, Billie Holiday. Or Bob Marley, Peter
Tosh, Chuck Berry, etc....
What is happening with rap?
Every generation of Black America creates its own music form, to speak
to their place in national life. Rag-time and blues were the first
musical forms made outside of the church, and as a secular form, was
condemned by African-American religious and community leaders. It
caught on with working class and poor blacks though, because it spoke
to their lives in a false, hypocritical "freedom," which was really
blue.
Similarly, rap has been criticized for its violent misogynistic (means
the hatred of women) character. That violence, misogyny, and
materialism arises from a national characteristic that is profoundly
American.
America is easily one of the most violent nations on earth, and has a
barely suppressed hatred of women.
Materialism is almost a pre-eminent American trait.
Much of the criticism leveled at rap was at one time directed to other
Black art forms, and usually had more to do with the policing of Black
sexuality than anything else.
Nothing so disturbs the twisted labyrinths of white supremacy than
Black creativity, artistry and productivity.
Think of it this way: what other music form draws the scrutiny of the
corporate press like rap?
I have heard heavy metal that was so steeped in violent imagery, of
death, torture, and dismemberment, that it made my nose bleed. It was
so misogynistic that it gave me a headache. But these were white
artists, who are presumed to be free.
Rappers are allegedly 'free' to say what they wish, but they are
profiled by the state, in the same way Miles was 40 years ago. The
cops didn't think he should be driving an imported car, so they busted
him on Broad Street in Philly.
How little things have changed. (c)MAJ 2001
******************************
This column may be reprinted and/or distributed by
electronic means, but only for non-commercial use, and
only with the inclusion of the following copyright
information:
Text (c) copyright 2001 by Mumia Abu-Jamal. All rights
reserved. Reprinted by permission of the author.
Get Mumia's columns by email: http://www.MumiaBook.com
******************************