Teleprompter Tunes, Accidental Racists
|by Timothy R. Sunday|
File under: Fake Culture08 Apr 2013 17:28 EDT
We may have come to expect canned statements of multicultural solidarity from our 21st century politicians, but in the past popular music was a relatively unregulated arena in which cultural styles could organically blend toward something essentially human, race notwithstanding. Think of all the ways in which black musical traditions, for instance, have challenged and disrupted the starched Calvinist ethic of the white mainstream. And all without any multicultural engineering! Men like Chuck Berry, Ray Charles, and James Brown did it all on their own, without any affirmative action, because their music was genuinely provocative and meaningful to all audiences.
Today, that deeply felt black tradition that brought America some of its richest musical traditions has been reduced to something akin to a corporate PowerPoint presentation, stripped of any feeling and listed in a series of programmatic statements all aimed at achieving some fake sense of community and understanding. Recently, the major media moguls have taken to promoting awful patchwork songs that read like they were written by a PR specialist and not a poet. Check out this recent 'collaboration' by country singer Brad Paisley and rapper LL Cool J called "Accidental Racist":
Clearly, this isn't a song in a real sense of the word, especially not any kind of creative synthesis of different cultural genres. There is no mixing of the rap and country traditions in any new or provocative way, just a gray melting away into something we may call 'pop'. The lyrics are, of course, similarly artificial. Here are a few of the major duds:
What? If not for the obvious labeling, how are we even supposed to know that it's a black man that works at the Starbucks? Is this some kind of novel stereotype that whoever ghost-wrote this is just making up? And are black southerners actually offended by the battle flag of the Army of Northern Virginia? No, not really. It's an image spectacle that's easy for the media to hype, but recently a black student even fought for the right to hang up the flag in his dorm room.
Is this a musical performance or a press release? Is this supposed to be the Gone with the Wind for the 21st century? There is very much to feel and say on this subject, but this like a SparkNotes summary of the politically correct position on the southern experience, not any feeling derived from actual experience. Next it's LL Cool J's turn to read the teleprompter:
So let's see here. There isn't any sense of true communication between the races. LL Cool J laments that he's just seen as a stereotype, and he's really misunderstood. How does he choose to express this? By stereotyping black culture as gangsta culture, of course. We're working toward greater depth here, supposedly, but only insofar as we can both rigidify ourselves further into our stereotypes. This all works up to our grand finale, where Paisley and LL Cool J engage in some really challenging conversation:
Appropriately, the music throughout this final stanza and lyric at "Oh Dixieland" is totally copied from Paisley's earlier work "Southern Comfort Zone", showing you just how ground-breaking this work really is. At the end of this extremely stilted exchange, we get the desperate reminder that this is supposed to be real, an obvious sign of the most contrived feeling. Just forget the fact that there was nothing emotionally challenging in the toothless multicultural feel-good narrative that preceded. We're saying it was real, so that's that. This is truly the artist as failed public relations propagandist.
Prior to the neurotic need to socially engineer multiculturalism, different ethnic traditions organically mixed and produced lasting real art in genres like rock 'n' roll. This song, by contrast, is the like the total ghettoization of music — whites have their neo-country pop genre, blacks have rap, and we'll try to mash them together to pretend we're getting along as a unified culture. But the music doesn't lie. This is not a unified work, just a kind of failed photo-op in song.
And, of course, everything that is supposed to be ground-breaking in Fakenation has already been done before, and far better. Check out Sly & The Family Stone's song addressing prospects for racial harmony, unspeakably offensive by contemporary standards, but undeniably better music:
Yes, controversial music might actually offend people! This is totally lost on the people producing music like "Accidental Racist". Now the Fakenation wants to have its controversy in pre-packaged little feel good sound bites, not authentically radial music. We'd do much better to follow this advice from the legend Sly Stone himself: "Don't hate the black; don't hate the white. If you get bitten, just hate the bite."
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