By T. Brown, B. Kopano
Considers the misappropriation of African American pop culture via a number of genres, mostly Hip Hop, to argue that whereas such cultural creations have the aptitude to be therapeutic brokers, they're nonetheless exploited -often with the complicity of African americans- for advertisement reasons and to take care of white ruling type hegemony.
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Extra info for Soul Thieves: The Appropriation and Misrepresentation of African American Popular Culture
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40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. Asante, 111. Ibid. Asante, 112–113. , 113. Ball, 78. too-short-says-there-was-an-industry-wide-plot-to-shut-down-consciouship-hop Ibid. Ibid. Ayi Kwei Armah, Two Thousand Seasons (London: Heinemann, 1973). , 29–30. Arnold. Armah, Seasons, 104–105. Wynter, 20. Pasteur and Toldson, 42. , 40. , 40–41. , 40. , 133. Wynter, 22–23. Norman Podhoretz, “My Negro Problem–and Ours,” Commentary 35 (February 1963): 99.
23 Too Short was like many other hip hop artists and other black cultural creators whose experience in the entertainment industry corroborated Armah’s proclamation that “everything filthy among us was now being deliberately supported and helped to multiply by the white destroyers . . ”24 What exactly were the “white destroyers” seeking? The acquisition of black bodies was at the core of what the “white destroyers” had come looking for during the physical raid of the African continent. These black bodies would be responsible for providing the labor and natural resources that would propel all of the Western powerhouses to their global supremacy.
Persia’s discourse comes as an all-out verbal assault on Brown, highlighted by her use of rhythm, slang, and expletives; she, in essence, played not just the dozens, but she played the (dirty) dozens with Brown specifically because of her use of the expletives. ”21 In the end, both Persia and John Brown demonstrated, through co-opting signification: (1) verbal dexterity, which is a proficient and skillful use of word play, (2) the ability to maintain a level of coolness under pressure, and (3) lyrical spontaneity—skills needed for rapping and a historic part of black verbal popular culture.
Soul Thieves: The Appropriation and Misrepresentation of African American Popular Culture by T. Brown, B. Kopano
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