----- Original Message ----- From: "Philip Sherburne" <[EMAIL PROTECTED]> To: <[email protected]> Sent: Tuesday, April 03, 2001 7:06 PM Subject: [313] brinkmann opens the can of worms
> There are plenty of interesting issues going on here; the "ownership" of a > particular tradition (for instance, what constitutes "black music," and what > does the race of the producer have to do with the tradition? 2000 Black > posits their music in the black musical tradition, and yet it's a > multiracial crew involved in those recordings), the nature of appropriation > and authorship, the curious German fascination with African-American music > and culture. Atom Heart's "Geeez'n'Gosh" project works in very similar > terrain. This is an angle that interests me, and may bring the rest of these threads together into one. As Diana said, we're talking about a few different things right now, and only some of them are really topical. Laura, Otto, Johnny and Philip have persuaded me that this part of it is not only topical, but important - even if we've convered most of this ground before. Your question about Brinkmann reminds me of "The Wonderful/Horrible Life of Leni Reinestahl", which is a documentary on her life. She was the Nazi documentarian under Hitler. She made films like "Triumph of the Spirit" and "Olympia I+II", which are widely regarded as some of the most effective propoganda films ever. Very subtle, and ever-so manipulative of the German psyche at that time. You've probably seen footage from these films if you've ever seen footage of the 1936 olympics, or extensive footage of Hitler. I hope I don't have to spend my time disclaiming that I in no way endorse Nazism, but I've studied her films in film school, and I'm very interested in the phenomenon of Nazi Germany and how such an attrocious ideology could come take hold of the German psyche. At any rate, she later denounced her Nazi ties (a topic which can fill a book on its own), and in the 50's or 60's made a documentary on the Nuba (sp?), an African tribe with very little if anything documented on them to that point. The documentary on her spends a lot of time trying to reduce the effort to an extension of the Nazi "cult of the body", while it seemed to me like an open, genuine investigation of their beliefs, rituals and way of life. If I recall, she spent years with them. So my point is that I think the German fascination with African and Afro-[insert nationality] culture has been around for a while, and can be found in the most seemingly unlikely places. The movie talks about it quite a bit. For that matter, I've noticed that pretty much any nationality of white Europeans seem to be more receptive to Motown, Funk, Jazz, Reggae/Dub, House/Techno and R+B than their American counterparts. You could very easilly chalk this up to the influence of corporate radio/MTV and major labels who have managed to convince the majority of white and black American music buyers that "black music" is for black people and "white music" is for white people, with the exception of rap. It seems to me there's no racist agenda on the part of these companies, but there's a stratifying effect from their marketing engines. Most of these companies don't care what the hell happens one way or the other as long as they can make money. That seems to me why rap is marketed to everyone - because it sells. I don't think in this day and age they are intentionally "trying" to enforce a racist ideology. But as Johnny, Otto and Laura were saying, there is an undisputed effect of holding back African American artists when it comes to Detroit Techno, and some other supposedly white forms of music. I think they are *absolutely* complicit in this - but I also think it's important to understand the mechanics behind their decisions. This is an effect of stagnation in their marketing departments, and that's how it's always been. If by fluke or brilliant marketing coup, Detroit techno started really blowing up, I wager there would be a deluge of African American techno from every one of the 5 major labels. This is because their marketing departments are 100% reactionary. How often do you see trully innovative music *from a new artist* debuting in pop charts? Never. This is because they don't take chances. I think this is deplorable, and the effect is discriminatory, particularly for African American electronic music producers. So that's one issue we've been discussing, but there's also this whole issue of appropriators and how they contribute to the problem. I'm surprised no one's mentioned Tosca's "Opera" album while we're on the topic. Every time I get involved in an M word debate with a non-electonic music listening friend, I tell them to listen to that album. They both use samples extensively, but Dorfmeister and Huber don't simply build soul-less music around a catchy African American sample - they create a coherent whole, synthesizing multinational elements along the way - and they've always done that. I think what Wes was saying (correct if wrong) is that it's the spirit in which you sample. If you are respectful of the roots, and contributing to that lineage, then all is well and good. Brinkmann and Reich seem to be doing the same thing. Haven't rap and electronic music always been about combining unlikely elements? Isn't that the well from whence this all springs? Where the appropriators come into play is the point when they disconnect from the spirit of the original, and they do it for money, which perpetuates the racist effect of stagnant marketing. This wouldn't be as objectionable if they didn't do it for money. If they were just making uninspired music no one would care. But both Fat Boy Slim and Moby have departed from their roots to cash in on a diluted version of a deeper sound, with little or no respect for the original. If you like it, cheers. I think no less of you for liking it, but I don't see it that way. That's why IMO Brinkmann, Tosca, Reich and others have credibility, and they don't. And for everyone advocating color-blindness, let me just say that I don't think anyone is implicating you and your beliefs when we're discussing institutional racism. There's no reason to get up in arms about it. There are specific instances of discrimination, and societal forces which contribute to inequality. These are two different things. I think the topical part of this thread, and what really concerns us musically, is the institutional part. The confusion between the two is what yields pundits like the City Journal author. Conservatives trump people like this all the time. "Look, we have an African American supporter - we're absolved". It just doesn't work that way - unfortunately, it usually does the trick for extinguishing white guilt. ALL IMHO. Is this the first thread ever that won't die once someone mentions Nazism? And would someone please boot this Chrise fella? (S)he is contributing nothing but kerosene. Tristan ---------- http://ampcast.com/phonopsia <- My music http://phonopsia.tripod.com <- Mixes, pics, thought, travelogue & info [EMAIL PROTECTED] <- email <FrogboyMCI> <- AOL Instant Messenger _________________________________________________________ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
