hiphop discourse

[lorentzen-nicklaus]

flaherty schrieb:
>
>
> lorentzen-nicklaus wrote:
> > 
> >                     "if you ain't real about it: don't talk!" (guru, 2000)
> > 
> > 
>
>
> So why you open your mouth. 
>
> shut the fuck up!


 did i push hustler-lyrics in the first person singular? the fuck i did (some  
 people might also remember my position on us-weapon-laws). the quoted line is 
 from "hustlin' daze", a track ending with the words "... my name on a folder/in 
 jail for life/my hustling days are over ..." in my contribution to the public 
 enemy debate i quoted a part from tricia rose's reading of "night of the living 
 baseheads", a work definitely not into the romantization of crime or something 
 (& in case you didn't realize it: with the castells-mail about cocaine trade  
 from the weekend i amplified further information on the issue). like many 
 times before you try to kill a developing hiphop debate on this list with 
 mixing things up in your sick manipulative ways, aiming to delegitimate any  
 serious discussion by the implicit imputation of social romanticism or worse. 
 yes, of course, "gangsta glamour" is often part of hiphop's aesthetic  
 fascination. the question is how to deal with this. i'm quite aware that things 
 like crack-addiction or gang-shootings are really happening and bring suffering 
 to individuals, families and communities. yet in contrary to the intellectual  
 mainstream i do not consider hiphop to be a symptom of social anomy that has,  
 perhaps, some "folkloristic" meaning. according to my opinion hiphop is an  
 exciting new art-form, in fact the paradigmatic art-form of our present days:  
 "hiphop replaces rock'n'roll as the metropolitan music of global exchange. but 
 hiphop ain't no idealistic music, which still dreams and then fails because of 
 the wrong circumstances. these were, in hiphop, always already wrong and at  
 best one sometimes could observe someone loosening his shackles a little. hope 
 in hiphop means in most cases the fact that it hardly can come worse" (diedrich 
 diederichsen: freiheit macht arm. köln 1993: kiwi, pp. 53f., own 
 idiot-translation). & when we talk about things like "gangsta rap", we, like in 
 the case of novels, have to differentiate between the narrative "i" or "we" on 
 the one and the empirical persons on the other side. in case of hiphop, which  
 focusses on local identities, this is sometimes harder than with other  
 art-forms. it's nevertheless possible. take, for example, "devil's night" the  
 recently published work of eminem's detroit based crew d12 (läuft gerade  
 während ich noch einen drehe). from many details it's obvious that these  
 lyrics, though they certainly express personal experiences, cannot be  
 understood in terms of the social realism you find in court records or  
 something. this is about mc-ing, beats & rhymes! & to make myself completely  
 ridiculous in the eyes of all you old-school high-brows out there, i declare  
 with pleasure that i consider people like chuck d., dr. dre, moses pelham or  
 the wu-tang clan to be greater artists than, say, folks like günther grass or 
 don delillo. & now back to us, jane, darling ... let the real people do their  
 thing and make another walk to the park! stay there with your stinking poets   
 ... deine styles sind scheiße, keiner kann sie mehr hören ... & damit du dir  
 das auch schön merkst, kommt's hier noch mal zum mitschreiben: du nix machen  
 sollen denki-denki, du das nämlich nicht können ... 
                                                          go to hell! 
              
    

  mc säure //:: ps: those interested in new german hiphop may check out         
                                          "www.azad.de".