By Guest Contributor Andreana Clay; originally published at Queer Black Feminist I’ve watched the video…
Tag: Janelle Monae
This week, we step outside of genre boundaries to have some fun with something that, personally, has helped revitalize my music fandom: mashups.
For a lot of folks, the term might be synonymous with Girl Talk. But actually, there’s a phalanx of DJs and producers specializing in the art of the mash – and rest asssured, it’s as much an art as it is a matter of lining up beats. After all, one wouldn’t think that hearing Bob Marley’s vocals for “Is This Love?” would mesh with Daft Punk’s “Digital Love,” but MadMixMustang, to borrow a phrase from the fashion industry, made it work.
Read the Post The Friday MiniTape – 3.30.12 Edition
By Fashion Correspondent Joseph Lamour Thanks to the Obamas are in order, fellow African Americans!…
Excerpted by Latoya Peterson “My mother was a janitor, my father drove a trash truck…
By Arturo R. García
The reactions to Esperanza Spalding’s win for Best New Artist seemed to range from the one above to, “Well, at least it wasn’t The Bieb.” But the win was as weird as it was surprising, as the 26-year-old isn’t a rookie.
Spalding was nominated following her third album, Chamber Music Society, which was released in July 2010, and was eligible because, in the eyes of the powers that be, Chamber was the first recording “which establishes the public identity of that artist.” Besides her own work, Spalding is the bassist in the US5 Quintet, led by jazz stalwart Joe Lovano, a Grammy-winner in his own right.
Read the Post ‘Who The **** Is Esperanza Spalding?’ (A.K.A. The Grammys Thread)
by Guest Contributor Kelvin
Last Monday, I was in the middle of my daily ritual of checking on my favorite online newspapers and blogs, when I happened upon a blog post on Slate.com written by Jody Rosen. The title of the post is “The DORF Matrix: Towards a Theory of NPR’s Taste in Black Music”. The author attempts to provide either a social commentary or critique on the selections in NPR’s All Songs Considered “Best Music of 2009 (So far)”.
Rosen argues that music of black origin usually selected by NPR: (1) tend to be either from obscure or dead artistes black people don’t listen to (2) are restricted based on genre, and (3) heavily influenced by the majority white and male (with beards and guitars) NPR audience.
In the weeks since the publication of the All Songs Considered list, I have been puzzling over NPR’s musical coverage—in particular, its approach to black music. I wondered: Could NPR’s musical taste be as lily-white as the “The Best Music of 2009 (So Far)” list? After scouring NPR’s Web site and studying its broadcasts—All Things Considered profiles, Fresh Air interviews, even the music interludes played between segments on NPR’s marquee programs—I can report that the answer is no. It’s not that NPR doesn’t like black music. It merely maintains a strict preference for black music that few actual living African-Americans listen to.
Now, I don’t have any particular issues with the writers description of the “Best Music of 2009 (So far)”, which is voted on by NPR listeners. If you look at the list itself, it’s pretty lily white and tends to hipster indie tastes. But that’s a topic for another day. My problem with the article is based on a framework defined by Rosen in his article called the DORF Matrix. Rosen describes DORF as “an acronym for Dead Old Retro Foreign”.
Dead: artists who have shuffled off this mortal coil. There was a significant spike in this category this summer with the passing of Michael Jackson. In general, though, NPR prefers its dead black musicians decades dead. Bonus points are awarded to performers present at the 1963 March on Washington, and to Bobby Short.
Retro: musicians, young or old, performing in styles two or more decades out of fashion. Sixties soul revivalists; old school rappers who “[stick] with the puns, jokes and silly one-upsmanship that once defined hip-hop …Thank goodness“; Lenny Kravitz.