AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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HIP-HOP, GENDER, AND LANGUAGE WITH UNDERGROUND RAPPERS BL SHIRELLE AND BATES

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L to R: Bates, Lissa Skitolsky, and BL Shirelle

This is Part I of a two-part series. Part II is a roundtable discussion of the below interviews, featuring scholars working on these issues.

I. What Is There To Discuss?

A Prompt for Discussion by Bill Adler

Bill Adler is a music journalist, hip-hop archivist, and legendary Def Jam publicist.

As wonderful as it is, as impactful as it is, hip-hop music has never exactly embodied a model of civil discourse. On the contrary, it has often been—and remains—rough, rude, and heedless. Indeed, those very qualities are at least part of what makes the culture so appealing to so many folks.

Happily, hip-hop has also generated a body of exemplary critical commentary from the very beginning. For over thirty years now, critics and journalists who came of age as hip-hoppers have wrestled with the music’s sexism, homophobia, anti-Semitism, and materialism… and have done so with love, from inside the culture.

Naturally, the music’s sexism has been particularly vexing to women, and doubly vexing to women of color. In a review for the Village Voice in 1990 of Amerikka’s Most Wanted, the first solo album by Ice Cube, the critic Joan Morgan quotes a girlfriend of hers as follows: “Joan, you know this motherfucka must be bad if he can scream ‘bitch’ at me ninety-nine times and make me want to sing it.”

To Chuck D, though, it wasn’t a problem—at least not then. Women had R&B, he argued. White men had rock. Rap was by and for Black men. End of discussion.

Let’s discuss.

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WAPO POP MUSIC CRITIC RESPONDS TO PHILOSOPHERS

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Last year, we did a series of five Artworld Roundtables in collaboration with Chris Richards, the pop music critic for the Washington Post. Richards posed the “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” In response, we rounded up several thinkers working in these areas to see what they had to say about each question. Richards provided us with key examples to draw out the problems and complexities of each debate. The results are here: cultural appropriation, how to respect the wishes of dead artists, whether selling out is still possible, how to engage with objectionable lyrics, and separating the art from the artist who created it. And now Richards is back. Read on to see what he took away from it all.

What follows is a guest post by Chris Richards. You can find him at the Washington Post here and on Twitter as @Chris__Richards. Continue reading


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ARTIST INTERVIEW: MICHAEL THOMAS CONNOLLY

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Musician, recording engineer, and producer Michael Thomas Connolly interviewed by Alex King for AFB

Originally from Memphis, Tennessee, Michael Thomas Connolly is a musician, recording engineer and producer in Seattle, WA. Obsessed with learning new skills, Michael is avid multi-instrumentalist and performs professionally on fiddle, mandolin, upright bass, accordion, piano, Hammond organ, guitar, dobro, bagpipes, flute and pennywhistle. He runs the venue and recording studio, Empty Sea Studios, and has engineered approximately 100 full-length records in approximately 20 years of multitrack recording. He has performed and toured with Coyote Grace, and has appeared on ABC’s The Gong Show. He is a ham radio enthusiast, computer geek, motorcycle rider, and cat lover, and has recently switched to decaf. Continue reading