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Today, as the United States celebrates Martin Luther King Jr., there is a global opportunity to reflect on black identity in music and BIPOC and its marginalized role in music in general. There are several readings, including the sometimes challenging relationship between hip-hop and King.
These messages are important not only for American residents. Not only is the rest of the world made up of consumers and creators of club music rooted in black popular music in America, but also the story of America and the black, indigenous and marginalized populations elsewhere in America. I hope there is a growing awareness of the connection with the groups that have been identified. Star.
Vann R. Newkirk II, Senior Editor Atlanticwhich is also the organizer of flood line Our podcast about Hurricane Katrina addresses that topic. Stories are paid, but a free trial is available and the playlist is live on Spotify.
King’s death gave birth to hip-hop: The assassination of Martin Luther King, Jr. led directly to hip-hop, an era of black American culture, politics, and art, which is often in contrast to his legacy.
Tracing the evolution of the genre of activism and poetry and pure rage not only from the 80s or 70s, when such histories typically evolve, but also in the immediate aftermath of King’s death, it’s a deep read. He also notes that much of the criticism comes not only from white conservatives, but also from within the black community (the author’s “spine-chilling” childhood with Outkast). (including first-time encounters):
But these critiques are not about what hip-hop really is and what it was meant to be. Like the rooted soul of an era, hip-hop was in some ways predetermined by the social conditions of black people. It became as much a necessary and deliberate distance from the platform and triumphant embrace that King fought on as the most pervasive part of his legacy, the brand of masculinity emphasized as his calling card, the church, and respect. What hip-hop understands most instinctively is that being like a king is not enough. King was assassinated because he was a king.
Here is the playlist that accompanies this article:
That feature hits the Last Poets trio through 2005’s Project Common –
…but the trio (Abiodun Oyewole / Oumar Bin Hassan / Baba Don Babatunde).
By the way, The Last Poets are still touring actively (most recently here in Berlin). Here is our interview with them in 2019:
And DC Block Party:
We take racism and certain connections to racism seriously. This is not just as a native of intensely racist Louisville, Kentucky (who has played a tragic role in the BLM movement many times), but also as a deeply racist former resident of Chicagoland and New York City. There is also. , that too.
We talk about connecting with clubs, but often in a convenient and somewhat superficial way of mass consumption that the club industry represents. Maybe we haven’t talked enough about poetry and the soul and message of those words.
I am especially thinking of my friend and sometimes collaborator, the late poet Tyrone Henderson. However, he is known for his scene in Harlem Beat, which is not mentioned much in the story above, but is an equally important chapter in this story. People definitely knew Tyrone and his work just by walking around Harlem. The scene was interconnected between radical New York poetry and the civil rights movement. A close ally of MLK, an activist in Harlem and a pillar of its community, he discussed it with Reverend Eugene Callendar. Dr. Callender also passed away in the last decade. Tyrone was kind enough to introduce me to him and he was a very warm person. (Tyrone, RIP – We are deeply saddened to have moved to Berlin and missed out on time with you and were unable to support our friends when you passed away.)
Tyrone actually talks about “The Original Last Poet” in this interview. Thus, we can juxtapose the times that Tyrone describes as a kind of prelude and origin of what happened before King’s death. Secondly, the 1970 sound and spoken language ‘revolution’ looks to its roots in the generation before it. Vann R. Newkirk II refers to the generational divide. Here is an innovative line that connects them.
Any excuse to mention Dweller, Blackrun’s music publication, is worth it – not only because of the need to make space for black voices, but because it’s long-form journalism in music. Because it’s a terrible rarity.
Two stories worth reading until the end ~Identity and sound design told by music producer, vocalist and sound designer LYZZA~
On the one hand, the idea of ​​being able to create entirely new environments out of silence was one of the things that first drew me to electronic music and music production. So I don’t see myself wanting to walk away from this brink. In fact, I’m very curious to know what this collapse will sound like.
Being black in this world can be incredibly crippling when it comes to finding ways to navigate it, but even through it. and when my message is already pre-designed by social ideas, it can be very difficult to properly communicate, understand, or even see.
On finding ourselves, others and each other through sound design
LYZZA is based in Amsterdam and talks about connecting stories (we have this internet stuff). Check out the album:
It often deafens me when I say that music is permeated with blackness. But the process of forgetting racism and appropriation and trying to understand how deeply our experiences are embodied in the music we love cannot be reduced to convenient Twitter hashtags and merchandise slogans. (Of course, there is nothing against selling goods for a good cause – but you get my point!)
Alternatively, read this article by Reg Zehner. Resident:
From New Jersey to São Paulo to Chicago, underground music flows from person to person. The origins of most or all genres, such as techno, footwork, jersey club, dance funk, etc., depend on their connection to or come from the black community. Favorite music Whether he finds the record in the store, or archives his Soundcloud playlists to find connected beyond. I feel like the music represents the expression of the moment, but on the other hand, it represents how the moment should feel before it happens. Underground sound production lays the groundwork for popular music while at the same time abstracting and moving outside the realm of readability.music become chorus, become own realization.
black expressionist technosonic
The point of having all articles overly focused on America is well understood. The articles have had an impact all over the world, including the baile funk and the shanty towns of Rio de Janeiro.
It also provides a structure outside of the oft-repeated Afrofuturism for understanding and listening to music from around the world.
And there are great references.
And if you’re in the NYC area, don’t forget that the Dweller has another event in late February.
Need more reading or references? Ask in the comments or get in touch. These topics are clearly not something you can squeeze into in one day. It’s not a holiday here in Germany and I don’t work for the US government, so here I am.
I believe that those of us who work in music have an obligation to continue this work. Frankly, we should be grateful for every opportunity. So I hope I can do better. Music technology, production, and writing continue to alienate so many people.
Other resources:
BLACKTRONIKA : Afro-Futurism in Electronic Music
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