The debate over how racial identity is expressed in popular music is a crucial one; one might even say that pop itself is a debate over how race is expressed. A new round of this always-necessary conversation is unfurling, causing heated discussion among avid music fans.
It started in October, when New Yorker critic Sasha Frere-Jones published an essay lamenting the lack of African American influence in indie rock. Carl Wilson countered in Slate, suggesting that class, not race, is the dividing point. Now David Brooks has written a New York Times op-ed piece, based around a conversation with E Street Band guitarist Steve Van Zandt, blaming technologically driven social fragmentation for isolating musicians, causing historical amnesia and resulting in music that "stinks."
These pundits raise many valid and troubling points. It's tempting to just join in, starting by gently noting the irony of three well-published, white, upper-middle class men leading an argument about race and class. Then there's gender: Frere-Jones' description of his musical ideal as "miscegenation" -- a word choice he's said was deliberate and appropriate -- raises serious issues about sexual violence and racial objectification that stretch all the way back to slavery and can't just be put aside in the paragraph or two they've been granted in this debate.
But first, a practical intervention. Frere-Jones has claimed that what's happening right now doesn't negate the historical arc he's described. That's fair. But his piece is being read in the present tense, when in fact indie rock right now, like pop in general, is strikingly hybridized.
This cross-fertilization is one of the most positive aspects of pop today. It's been renewed by a love of dancing, cross-cultural collaborations forged on the Web, and the ever-growing diversity of fans themselves. Here are several artists, among the many, who are making it happen. (In addition to Ann Powers, the following contributions are from staff writers Richard Cromelin, Randy Lewis, Todd Martens, Margaret Wappler, August Brown and Charlie Amter.)
M.I.A. Living the complexities of race and gender, women in hip-hop always occupy multiple positions. Internet-savvy world traveler M.I.A. leads a new wave. She's the most political of a bunch that includes Philly upstart Santogold and Kanye protege Kid Sister, but simply by existing, these ladies redefine the game. (A.P.)
