Soon after Lil Nas X’s “Old Town Road” debuted in December 2018, it quickly rose to the top of Billboard’s Hot Country Songs. But in March of 2019, Billboard removed the song from the country chart, claiming that it had been wrongly classified as country. The track went on to top the Billboard Hot 100 Chart, staying there for a record 19 weeks. But a debate remained about whether Billboard’s claim was right. Is “Old Town Road” a country song or not? Continue reading
In January, we hosted an interview and preliminary discussion of some pressing issues in rap and hip-hop. We wanted to investigate the fact that, in Bill Adler’s words, hip-hop has never been “a model of civil discourse”. We did that by talking to two queer Black women rappers, BL Shirelle and Bates, to get their takes on the matter. Now we follow that up with a roundtable of scholars, each reflecting in their own way on what BL Shirelle and Bates had to say.
[Warning: This discussion contains explicit language, including a variation of the n-word.]
Our contributors are:
- Bria Gambrell, MPP and MA candidate in Gender and Cultural Studies at Simmons University
- T.M.G., PhD student in Philosophy at Dalhousie University [website]
- Charlotte Henay, lecturer in Women’s and Gender Studies at Brock University
- Olúfẹ́mi O. Táíwò, assistant professor in Philosophy at Georgetown University [website]
- Michael Thomas, assistant professor in Philosophy and coordinator in Africana Studies at Susquehanna University [website]
This edition of Artworld Roundtable appears in collaboration with Chris Richards, the pop music critic for the Washington Post. Over the next several weeks, we’ll present a series of roundtable discussions based on Richards’ “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” AFB has rounded up several thinkers working in these areas to see what they have to say about each question. Richards has provided AFB with key examples to draw out the problems and complexities of each debate. First was cultural appropriation. Second was how to respect the wishes of dead artists. Today we ask whether it’s still possible for musicians to sell out.
What does it mean to sell out? In today’s commercialized, social media, sponsorship-driven world, can musicians still sell out in any meaningful way? Or, in an era where people are unwilling to pay for music, is selling out just getting paid?
Whether today’s artists can still sell out is the third of “the five hardest questions in pop music”, as described recently in the Washington Post by pop music critic Chris Richards. Below is the guiding question accompanied by a few examples that Richards finds particularly salient, followed by our contributors’ responses. Continue reading
I met a critic, I made her shit her drawers
She said she thought hip-hop was only guns and alcohol
I said “Oh hell naw!” But yet it’s that too
You can’t discrimi-hate cause you done read a book or two
What if I looked at you in a microscope, saw all the dirty organisms
Living in your closet would I stop and would I pause it?
…Speeches only reaches those who already know about it
This is how we go about it
– André 3000, “Humble Mumble”
What follows is a guest post by Olúfẹ́mi O. Táíwò (Georgetown University).
This blog recently hosted a post on country music which defended country music partly because of its interaction with the class dynamics between the working class people who listen to the style and the broader culture in which they do so. The author of this piece comes close to a trope I’ve noticed in many online discussions of art, which feature people “critiquing” the performative politics of the authors but not the aesthetics.
It seems to me like some people these days think their political judgments should lead their aesthetic judgments. In the last few years I’ve been in more conversations than I care to remember about why this or that music is good or bad based on the politics or political symbolism of the artist or their work – why we should like this music because it’s made by representatives of this or that identity group, or we should hate that music because it’s “cultural appropriation”. And, worse, I’ve gotten through many of these discussions without drums or melody or harmony so much as being mentioned, much less being the focus. Sometimes, I was myself guilty! Third and perhaps worst of all is something I think of as a predictable result of the social environment helped along by the first two things: A lot of people in various artistic mediums seem very interested in discussing and preening the social significance of their work but uninterested in developing the fundamental skills of their craft. So, in the spirit of self-criticism: I want to try to do all of these things less because I think these tendencies are bad for art. By the end of this piece I want to have explained why I think that. Continue reading