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

Foreign Beggars – UK stylin

Your going to check out a gig on a Friday night yeah? so you go to a friends place for a few drinks, spin some records, chill out, and set the mood before arriving at the gig. Well last Friday night the gig was O.G. and MC Switch, TZU, and Illzilla, the freinds house was Kate (whats up Kate), and the record she was spinning  was Foreign Beggars. I’m feeling a little lazy this week after what turned out to be an awesome weekend so to quote directly from their homepage, Foreign Beggars are… “Voted ‘Best Group’ and winners of “Best single” at the Lyric Pad Hip hop awards 2005, Foreign Beggars are a 5 man crew comprising of rappers Orifice Vulgatron and Metropolis, Dj NoNames, Beat Boxer Shlomo and Producer Dag Nabbit. The crew have released a slew of 12″s and Ep’s and really made their mark after independently releasing their critically acclaimed, debut LP ‘Asylum Speakers’.  Foreign Beggars have collaborated and toured with the cream of UK’s Hip Hop movement, with Shlomo appearing on Bjork‘s album ‘Medulla’ and NoNames having done cuts for Damon Albarn’s Gorillaz project. With forthcoming projects with Dj Sparo, Dj Vadim, Dudley Perkins, WildChild (Lootpack), OHNO, Dj IQ, Dj Mentat, Scratch Perverts and Euphrates, the crew see no boundaries with diversifying their sound. Foreign Beggars are also renowned for their explosive live performances, which recently saw them tear down Glastonbury, Fabric and Hip Hop Kemp in Prague. They have supported Public Enemy, Roots Manuva, Beatnuts, Masta Ace, Grand Master Flash, Talib Kweli, Wu Tang, Asian Dub Foundation, Last Emperor, Mark Ronson, Ja Rule, Blak Twang and many more.

Foreign Beggars – Frosted Perspeks

I hadn’t heard Foreign Beggars in a long time now so bringing back their party style upbeats and tongue twisting rap style has been most welcome in my headphones and office / bedroom. With a fairly limited contribution to the Hip Hop scene in the last few years (obvious exceptions in Tricky, Roots Manuva, and Floetry), the English accent and subject matter always stays fresh and interesting for me. They manage to have their own slice of life feel about the rap that is backed up by their simple hometown video clips that add that reality based edge they continuously deliver throughout their albums. With the string of collaborations they are working on over the next year also, it’s going to be a trip to see what they come up with next.

Special thanks goes out to Kate, O.G. , MC Switch, TZU, Ilzilla, Foreign Beggars, and Whiskey for a sweet weekend.
You can check out more of Foreign Beggars at:

www.myspace.com/foreignbeggars

www.foreignbeggars.com

…bs

Tags: breakbeats, Collaborations, hip hop

Pataphysics joins Very Good

Melbourne based artist Pataphysics has recently joined The Very Good Agency. Check out the artists page for an introduction to his jazzy, hip hop, funk, reggae crossover style for those who are not already familiar. You can check back anytime to hear about Pataphysics upcoming tours, collaborations and album dropping in ’09…

cool

…bs

Tags: Australian Artists, hip hop

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

Raashan Ahmad – check this dude out

Community – The Very Good website is a place for artists and appreciators of those art forms to relax, connect, and check out what is going on in our community in Australia and New Zealand as well as the wider world, so it’s always a pleasure when we hear from artists who have seen our site and taken a moment to say what’s up. This week we heard from Oakland based emcee Raashan Ahmad, and we’re sure that there are some people out there in our community who would like to hear what he has to offer as we did.

Checking out his video for ‘Peace’ (below), one of the comments left summed it up for me… “why isn’t he better known”, well I have a feeling it’s not long until he is. First hitting the scene in 1999 in hip hop group Mission, Raashan has more recently released his debut solo album ‘Push’ showing his own style of feel good upbeats that manage to go a little deeper then your average cat, without taking himself too seriously.

Raashan Ahmad – Peace

It’s always a surprise to come across a talent like this you haven’t seen before, especially when you look a little further and learn he has been collaborating and touring with some of the other fine emcees around like Thes one (People under the stairs), Gift of Gab (Blackalicious), The Mighty Underdogs, and Giant Panda. Either way, sweet as, I have a new emcee to bump this summer and i’m sure I won’t be alone in that.

You can check out more from Raashan Ahmad at:

www.myspace.com/raashanahmad
www.crowncityrockers.com

…bs

Tags: hip hop