So I was asked to deliver a talk at last Wednesday's (gulp!)
four-hour discussion about the hardcore continuum at the University of East London. Thanks to K-Punk, Kode9, Kodwo Eshun, Joe Muggs, Alex Williams, Jeremy Gilbert, Blackdown, and Lisa Blanning for their contributions, and to Bok Bok, Melissa Bradshaw, and everyone else who made their points from the floor. I'm not going to dwell on the event at length, especially when Blackdown has already written about what was my own epiphany on the day: that
the changes to the Olympic site already look absolutely astonishing.
[photo: Andy Wilkes]Entirely new structures are emerging from the sprawling east London rubble, and right now the artists' impressions, the imagined totems to gleaming regeneration, are still at that awkward, scrappy, cement-and-hard-hats stage. You've got to tear down the old edifices before you can build them anew, though.
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Here is a recent
Simon Reynolds article for The Wire, which establishes the journalistic processes he used in the 1990s, the passionate involvement and close attention that begat the hardcore continuum:
"Around the time of 2-step and “Adult Hardcore” [i.e. 1999], I also noticed a continuity in my approach: I realised that I’d been operating a little like an ethnomusicologist, someone who gets involved in the tribe and joins in the rituals, and in the process has their objectivity compromised more than a little. I’ve been what anthropologists call a ‘participant-observer’. A critic-fanatic."
[i rep funky/bassline clothing range]And here is a fascinating example of a contemporary participant-observer, Gabriel Heatwave, doing exactly what Reynolds describes:
JA Bashment meets UK funkyThese burgeoning connections went unmentioned on Wednesday, and indeed, tellingly, few people talked about funky at all. I made sure to refer to funky's utterly compulsive danceability (I was the first person to mention
dancing, only two hours into a seminar on
dance music, but that's my buffoon empiricism for you) and the anti-recession perma-summer of Crazy Cousinz' aesthetic (
I'll bust your windows... OPEN), but most of the 2009 focus was on w*nky.
In response to Gabriel's post, I'd add that
Paul Gilroy was kind enough to write to me in a dialogue ahead of my continuum talk, as I attempted to find out what was really meant by 'rudeness' in music in 2009. Race and the changing nature of black Britain was another sadly ignored aspect of this debate on Wednesday at UeL. Here are a few of Gilroy's thoughts:
"We are moving towards an African majority which is diverse both in its cultural habits and in its relationship to colonial and postcolonial governance so the shift away from Caribbean dominance needs to be placed in that setting. Most of the grime folks are African kids, either the children of migrants or migrants themselves. It's not clear what Africa might mean to them. Not all are Muslim. They are open to a US sourced version of black style and culture which is also contentious and repellent. Their ambivalence towards it is the key I'd guess. The Ethiopianist framing of a post-slave history means next to nothing to them, even as a generic signifier of human suffering and powerlessness. I suppose that Pokes' ironic celebration and affirmation of the DJ lineage is a residual trace of that past. He is not Wiley, "Bashy" or African Boy."
"I am an agnostic when it comes to the "rudeness" comparison. I suppose my basic difficulty is that the misnamed "funky" and its adjacent styles are a problem precisely because they aren't remotely interested in bringing the funk. That has always been a dividing line for me. I haven't gone deeply into soca/grime but "funky" often sounds just like soca to me and has some of the same small island rapture that made that unlistenable."
It's unnecessarily reductive for us to posit the idea of Africa (e.g. 'Donaeo's 'African Warrior', and the potential but difficult-to-prove influence of Afro-house percussion) against the Carribean, in some kind of bizarre fight for the lion's share of influence over funky, but these are issues worth thinking about. I'm fascinated by Gabe's post, by the idea that Africa is here but we're not sure what it means, and this sense that funky echoes 'a small island rapture'. One thing that's undoubted, is the deejay lineage is certainly there in funky, and hosting is a sort of stop-gap compromise on the part of MCs, a promise to
purists that they are not grime MCs, and they won't come over and ru[i]n this ting. Check out what Stamina (very self-deprecatingly) says about his
'Party Hard or Go Home' vocal of Lil' Silva:
"Dont get it twisted im not an MC or artist im simply the party host with most... Big up all the artists making the dancing tunes, lets keep doing it like the Jamaican artists do lol"
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I'm not going to post the whole 2,000 word transcript of my hardcore continuum talk, not yet anyway, but I will post the final sentence:
"UK club music continues to move forward – and I feel very sorry for the section of my profession that is incapable of doing the same."
Labels: 2012 olympics, Afro House, blackdown, continuum, dancehall, funky, jamaica, paul gilroy, regeneration, simon reynolds, skank tunes, the heatwave