The Very Good Agency

Andrews on Whiteness and EMINEM in 8-Mile, 2008

Salutations my peoples, as some of you will already know, we are developing a fuller site with a ‘community area’ being created. This area will have a fullish set of resources from where to learn, see, play, collaborate with other appreciators and educators of music, art, and our slice of culture. One of the additions that we will be lucky enough to have is from an American man named Vernon Andrews whom I met back at Canterbury University while I was studying there in the early 2000’s. I was studying Law and Finance myself, so you can imagine my surprise when I heard that there was a new guy taking a class under the banner of ‘American Studies’ called ‘Hip Hop Culture’…

I was like “what the F**K?”

so my accounting (or maybe it was statistics) studies suffered a little because even though I wasn’t enrolled in this course, I was sure enough sitting in that class with all of the other kids, and I could tell that I wasn’t alone in this by the number of people who were chilling out in the lecture hall stairways and standing areas.

So Vernon has kindly agreed to contribute some materials for the site when it is developed which can help those who wish to trace some of the roots and deeper meanings of this culture. I’m really looking forward to this area being uploaded and people being able to check out the amazing work he has put together over some time, and I am really happy to present a first piece as an introduction to what you can expect in the future…

The following exert is: Andrews on Whiteness and EMINEM in 8-Mile, 2008

While there have been key white figures in the history of producing, managing, marketing and rapping – witness the Beastie Boys, Vanilla Ice, 3rd Base, House of Pain and other “popular acts”, in addition to the many “underground acts” – no white artist has had quite the same effect on hip-hop and popular culture as Eminem. EMINEM (in all caps here, but not to follow) has managed – and been managed – to have staying power.

Eminem has teamed with Dr. Dre, or more appropriately, Dre has “discovered” Eminem, and together they have made millions. Indeed, Eminem has gone on himself to “discover” other acts such as 50 Cent. Eminem is now a “brand” as they say these days (don’t get me started on the All Blacks) and has successfully marketed himself to a broad international audience. Anger fuels his staying power, in addition to clever rhymes, “taking the piss” out of himself, and always reflecting on his whiteness and “outsider” status as, in his own words, “trailer trash.” In addition to being white, he also dies his hair blond – just in case we might have any doubt about his Caucasianess.

Eminem also has the ability to reach – to identify with — a broad swatch of middle-class America that other rappers might be “too black” for. In this sense, Eminem has almost become like the typical rock-and-roll rebel white youth can identify with without being considered a “wanna-be” (black). He has a white mother, a white father and a white outlook on the country. This is not to take anything away from his affiliation with the poor, with his association with blackness or with his skill as a rapper. But he has the ability to relate to angry white youth in a way African Americans can not.

One problem – some might say the biggest problem – white youth have in suburbia is not only fitting-in in high school, but also family dramas. I have long held that most contemporary American films lead to one theme – Family. More to the point, the re-unification of broken families (look at any disaster film and you will get the point, “where’s little Jimmy?” “We’ve got to save little Amy!” “Honey, I am coming to get you – I love you!” are common refrains that can be seen in 99% of disaster movies, and at least 80% of all other films. Don’t get me started…). In this sense, Eminem has latched on to this subterranean angst in America (American Beauty won the academy award because it perfectly encapsulated the imperfection of families in beautiful suburbs; Desperate Housewives is running with the plot) and used it to his advantage. He sings often about little “Haley,” his break-up with his ex-girlfriend (and getting back together, and breaking up again), and his love/hate relationship with his mother. Name an African American rapper who speaks as much about family dramas?

This is not a criticism. Rather it is a reflection on the differing themes of artists that might have to do with location, race, class and social dramas. After all, it would ring hollow to many if Eminem were to wax on forever about being harassed by the cops, denied jobs, and having family members on crack. Just like the Tui ads, people would say, “Yeah, right.” He does, however, touch upon the number one suburban socially acceptable dysfunction – alcoholism (via his mom). In noting this problem he is tapping into an identifiable and easily recognizable problem for white youth to relate to. And I should say it is not only about suburban whites; Eminem relates to poor whites also. If I was a poor white guy of 17 years, I’d think Eminem was a good rebellious figure for me to attach my image to without being considered a “sell-out” or “whack.”

8-Mile

In the film “8-Mile,” Eminem is shown “pre-Dre” in his early days of trailer-park living and being bullied by black rappers who whites can easily tag as “racist” for harping on the young Marshal Mathers’ whiteness. This must present at least a little cognitive dissonance for young whites who have been raised to be opposed to racism – and now seeing their new hero attacked because of, well, his race. The film, I believe, attempts to neutralize this by presenting “good blacks” – Eminem’s friends and associates who are “down” with him. The net effect, I believe, is the feeling that the protagonist has had to overcome many hurdles to achieve in the tough world or rapping, and not the least of his hurdles is that he is bullied and beaten-up. Any young male is very familiar with this theme – suburb or not – as it is a fear all youth between 10 and 18 must negotiate in adolescence. Taking a beating and – at the same time – protecting your family from any harm (he ushers his sister into the house and away from danger) is, once again, the age-old theme coming forth.

In addition, another theme of the film is to answer the unspoken question: “Why should I care about a white rapper? Who is this guy?” In this sense, the film is a stroke of genius. We feel (before the film) that rap music is by the poor, the black, the male, and the downtrodden. That represents the “authentic.” Many of our readings this semester have reflected this theme, in addition to our discussions in class. So how does Eminem authenticate himself? How does he prove he is not just the next Vanilla Ice – posing and faking and in it for the short-term cash (nothing wrong with that, by the way). He gets a beat-down, works in a factory, picks-up the hot woman, lives poorly, hangs out with black folks (and for good measure, another white guy), gets nervous before going on-stage (and thus is human and not super-cool), broods like James Dean (1950s film star known for his quietness and staring off into space), and – here it is – becomes blacker and more authentic than the black guy he’s rapping against!

This is the focal point of the film – the final rap battle. Herein we see the plot building and coming to the fore – we know that Eminem will be dissed as a shallow white boy in the final battle – so why not go ahead, Eminem says, and diss myself – taking all of the ammunition away from my opponent? This is an old debate trick we leaned back in my undergraduate days.

If you are to debate on a key issue in competition, then figure out your weakest points – and your opposition’s weakest – and use them in your own speech! It is called “stealing thunder.” If I know your strongest weapon I will try to take that away from you. Once your enemy does this, they have won a psychological battle. Eminem thus “outs” his rival as being from the suburbs, middle-class, from a two-parent home and a private school and with a white-boy’s name and with, basically, no real authenticity. Indeed, Eminem goes on to paint himself as poor, white, trailer-trash from the bad part of town and thus, really, more authentic than many black rappers who consider themselves “down.” Genius, pure and simple. Academy award, big bank, big career. Of course, one has to have the lyrics to back up all this on-screen drama, but I think he pulls it off well.

You can check out more hip hop culture from Vern when we upload the site in early 2009

…bs

Tags: culture, hip hop, Political

Common - new album

Common, the artist formerly known as Common Sense, has released his eighth studio album ‘Universal Mind Control’ opening the album with the title track advising, “This is the new [stuff] and it don’t feel the same.” so it will be interesting to see which way he has gone with this album. Produced mostly by Neptunes super producers Pharrell Williams and Chad Hugo, it’s surprising Common has time to continue to pump albums out at the rate he does with his Hollywood career seeing him in a long line of successful and not so successful films over the last few years.

Common - Universal Mind Control on the Jimmy Kimmel show

Electro beats appear to be the thing this year with Common and some of his friends like Kanye West adding a robotic sound and breakbeat edge to their beats, something that may not go down so well with old school aficionados, but at the same time could open up their appeal to a whole new market of dance music fans. Another massive change in his lyrics stand out too going from an advocate of equality and respect for women to a kind of horny school boy (again much like Kanye). After enjoying Common’s music for so long, usually with a down to earth twist on hip hop rapping about the realities, struggles, and beauty faced by everyday people, it’s hard to adjust to a more glamorous, party boy theme that he seems to have going lately, kinda begging the question also if his transition is for musical exploration or mass appeal.

An artist like Common, who has given so much to the art and culture of hip hop deserves the chance to branch out, and i’m going to listen to ‘Universal Mind Control’ a few times before passing final judgement on it, but there is one thing that he and I can agree on for sure…

“This is the new [stuff] and it don’t feel the same.”

Common feat. Lauryn Hill - Retrospect for Life

You can check out more of Common at:

www.common-music.com

www.myspace.com/common

…bs

Tags: Collaborations, hip hop

Q-Tip - The Renaissance

Can he kick it again?

Yes he can… after 9 long years, Q-Tip a.k.a. the brother Abstract, has hit back with another solo album entitled ‘The Renaissance’. Q-Tip continues to reinvent himself as well as the benchmark for lyricists throughout the world and has taken his place on the world stage as one of the fathers of modern Hip Hop. Giving so much to the Hip Hop scene through various solo projects, groups including A Tribe Called Quest and more recently The Standard with friend and collaborator Common, & a string of hit features from the late eighties, the mere mention of Q-Tip’s name is enough to interest this fan in this new release, but if that’s not enough, he’s brought along some awesome collaborations on the album including D’Angelo, Norah Jones, & Raphael Saddiq to name a few. Speaking to www.okayplayer.com this week Q-Tip explained the 9 year pause between solo albums… “I think I can speak for myself, Lauryn Hill, Erykah Badu and D’Angelo when I say that we make music when the spirit is with us. We are a lot who are very observant as well as introspective. We paint intense, colorful pictures, so it takes time.” If it was anyone else comparing  themselves to these amazing, iconic, soulful artists I would just laugh at their arrogance, but it’s not anyone else, it’s Q-Tip, and no-one belongs on your lips in this context more then he does.

Q-Tip Gettin Up

Having re-united A Tribe Called Quest this year for the incredible ‘Rock The Bells’ tour, Q-Tip has dispelled the rumours that they are set to reform permanently on this album with his track ‘A Tribe Called Quest is no more’. Heart breaking although it may be, at least we can continue to bump fresh music as he continues to create his own style of jazz infused, introspective, old school hip hop. This pioneer has paved the way for hip hop to be enjoyed by all walks of life, meshing with so many artists of as many genres in his partnerships over the years, and ‘The Renaissance’ seems to offer the same diversity and creativity as always, opening up the doors even further for hip hop as it fast becomes a dominant force in the music industry.

Q-Tip - Let’s Ride (from his debut solo album Amplifier)

You can check out more of Q-Tip at:

www.q-tip.com

www.myspace.com/qtip

…bs

Tags: hip hop, Jazz, Old School

People Under The Stairs - FUN DMC

Who says Hip Hop needs to be political to send a message? How many Hip Hop performers can you say truly advocate the feeling of ‘fun’? I’m sure there are a dozen you can name off the top of the dome and this writer would probably agree. But no one does it for me like Double K and Thes One, aka People Under the Stairs (PUTS).

For the last 10 years, Hip hop has been truly blessed with two of the hardest working MC’s/Producers/DJ’s on the planet. Just like the first paragraph states, these guys are all about fun and that feeling will resonate while listening to any of their 6 albums, especially the latest joint, ‘FUN DMC’. PUTS have successfully illustrated a Hip Hop based memory book of the good times which we can all relate to.

This album (FUN DMC) is an album full of tributes, not only to their heroes but tributes to what makes life worth living. From BBQ’s to video games to having a baby, PUTS have laid out another classic feel good album full of smooth production laced with witty lyricism. They also keep some inside references for the seasoned hip hop veteran by putting their own spin on classic lines and samples from the likes of Busta Rhymes, Beastie boys, Dre & Snoop etc.

I think the best tribute of the album is to Australia (NZ gets a mention too) on the track “The Wiz”. My favouritism stems from my bias as a Kiwi living in Australia which I’m sure you understand. Double K summed it up with “Shout out to my Kiwis, The whole Southern Hemisphere, LAX can wait, yo mate I’ll take another beer”. Fuck yeah!

People Under The Stairs - The Wiz

Without padding this review out with superfluous quotes and track info, I’ll leave you with this. If you are looking for an album to play this summer that captures the essence of a party, makes you wanna dance and reflect on how good life is, then you’ve found a winner in ‘FUN DMC’. You can always rely on People Under The Stairs to deliver a fulfilling array of tunes, characterised by the old school hip hop aesthetic, that you’ll play again and again and again….

You can check out more from People Under The Stairs at:

www.myspace.com/peopleunderthestairs

…Will

Tags: hip hop

Kia Ora - Kora

Last Thursday night in Melbourne, we were lucky enough to finally see one of New Zealands leading bands, Kora, perform at Hi-Fi Bar. With a reputation as a must see live act spreading thoughout Australia, New Zealand, and more recently Europe, and having listened to the music they have been releasing over the last 6 years, we were intrigued as to how they would live up to the expectations we had.

It’s worth noting the callibre of artists coming out of New Zealand, especially in their live performances, when considering their reputation as one of New Zealand’s best. The bar has been set in more recent times by such a strong aray of NZ’ers such as Fat Freddy’s Drop, Katchafire, The Black Seeds, Olmecha Supreme, Che Fu, and countless other musicians. Set to this backdrop this comparison was always going to be difficult to deliver on… but deliver they did.

From the cheeky, playful performance they brought to Hi-fi Bar, it was no surprise to learn that some of Kora’s members have studied performing arts, with as little as the raise of an eyebrow causing the audience to erupt into screams all evening. These four brothers (literally) and “one token white guy”, as they described themselves, kept the mojo flowing all night, even into the second encore the audience demanded.

Kora live in Whakatane

Even in Australia’s music capital, Melbourne, it’s unusual to attract sell out shows on a Thursday night, but this prominent live venue in the heart of the city was stretched to it’s 900 capacity, including the 16th step where we were chilling out with our champagne (apologies to the guy we spilled a little bit on… twice… sorry bro).

Our group, which at the beginning of the evening was filled out with Kiwi’s, Aussie’s, Americans, Dutch, and English, among others, united at the close of the evening to sing the crowds obviously favourite track “Politician”, only re-enforcing the universal appeal which has recently seen them receive offers from Europe and further abroad.  We all left the concert with a new must see group, hoping that the recent success won’t take away our opportunities to see them locally on Thursday nights if their fan base continues to grow at the rate it has been.

Kete Aronui - an insight into Kora

They talked the talk,

They walked the walk,

and they brought us comfort…

You can check out more of Kora at:

www.kora.co.nz

www.myspace.com/koraroots

…bs & Miss Peti

Tags: Dub, Funk, New Zealand Artists, Reggae