A Paler Shade of White---Sasha Frere-Jones Podcast and New Yorker article Criticizing Indie Rock for Failing to Incorporate African-American Influences

when J. Geils came out, weren't they regarded as a white r&b band? And isn't a lot of '80s stuff very black-music-rhythm-section, but played on them newfangled synths? For that matter, listen to any Malaco music (Jackson, Miss.) from the '80s featuring soul musicians. They're playing it on sequencers, synths, and so forth. And I think that '80s groups like the T. Heads weren't trying to get rid of blues influence as much as they were trying to return to what blues/soul/r&b had been about before the guitar heroes made the blues an intolerable genre. ensemble playing.

when J. Geils came out, weren't they regarded as a white r&b band?

minus the "white" part, yes. (it's not like "white r&b" was some new unheard of thing.)

Some day I'll get around to reading this vast expanse of thread.

xpost: and otm about '80s stuff, especially synth-poppers. culture club, eurythmics, heaven 17, that stuff's all r&b.

1. Sorry, I haven't really read the thread! I was trying to stay out of it.

2. Yes, that's exactly my point about 80s stuff: it was the moment where the ongoing tradition of the "new" black-music rhythm stuff was basically made shiny and digital and pop and firmly corporatized and preservationist then reached a sort of end-point. (Those are not criticisms, just descriptions: one example on the other thread was Aretha in her pink caddy)

3. One funny thing about this article is that you can read it as a giant compliment to indie, if you happen to think there's an indie rhetoric around trying to reshape music: if American pop/youth music has been "black" for decades, and indie bands have somehow created a vision of it so white as to merit New Yorker coverage, they have been profoundly successful in re-creating the world. Thing is, they haven't, which is why the article rings false

And I think that '80s groups like the T. Heads weren't trying to get rid of blues influence as much as they were trying to return to what blues/soul/r&b had been about before the guitar heroes made the blues an intolerable genre.

No. David Byrne has specifically said that one of the rules established when they started the band was that no identifiable blues structures, chords, or scales be used. How well they adhered to this rule is a different matter, the fact is they made a conscious aesthetic choice to attempt to avoid what they viewed as an omnipresent and oppressive trope.

Didn't Boston invent the "no blues" rule?

that's at the beginning, though. I have a hard time believing they rigorously maintained that rule over 14 years together. (xpost)

i heard the velvet underground had a similar rule prior?

I can't find the exact quote, I think its in the liner notes to the Sand in the Vaseline box.

and yes this was very much "at the beginning", obviously as they went on Byrne largely abandoned this posture.

x-post

(I mean obviously saying "NO BLUES!" and then worshipping at the font of P-Funk is kinda, er, problematic. But all hard-and-fast aesthetic rules are ultimately problematic.)

I don't think so, really. You can extract whatever stylistic beats and pieces you want from your influences and leave others behind.

haha, should read "bits and pieces"

There's some story about VU having a "no blues solo" rule.

Talking Heads, though, the blues rule doesn't really matter once you listen to Remain in Light and Naked and Bernie Worrell and all, and Tom Tom Club of course.

Quiz:

1. If your influences are white people who were influenced by black people, is your music "white?"

2. What was the "blackest" point in Stereolab's career?

3. What would you call John Mayer's music, without all the "black" parts?

4. Who's "whiter": Kanye West or Nivea?

5. Who's "blacker": Jon Spencer or Johnny Mathis?

6. How many indie boys can you fit in a bathtub?

7. Headbands: so white they're black, or so black they're white?

8. Why are Ladysmith so WHITE? I mean, that's some straight up NPR yuppie stuff, right there.

9. Rate Graceland on a scale of Wolof to Nordic.

10. Wearing hats: still "black?"

^^^^^^^^^ kudos

lol

chevy chase IS my favorite world music performer

9. Rate Graceland on a scale of Wolof to Nordic.

this is gonna get me in trouble laughing at work

hahaha

Some of those are actually serious questions! I only know the answer to #2 (answer = "not Uilab").

Actually I think it might be Cobra, which kinda tanked! SFJ OTM!

Or else ETK, which would lead to the opposite conclusion.

don't forget the beat at the end of dots and loops

There's some story about VU having a "no blues solo" rule.

I think Lou didn't want blues, but he did want doo-wop: "We mustn't forget people like The Spaniels" or something like that. And Mo's big influences were apparently Bo Diddley and Babatunde Olatunji. And Lou wrote various commentaries on this very problem that SFJ has been wrestling with in "I'm Waiting For My Man" and "I Wanna Be Black."

<i>2. What was the "blackest" point in Stereolab's career?</i>

Uilab!

Joke-stealer! I actually can't remember if that was true of Uilab or not.

1. If your influences are white people who were influenced by black people, is your music "white?"

i remember wondering this once about robert cray's clapton derivations.

remember that common joint w/ the chick from stereolab on the hook

and pharrell said he sexes to dots & loops

This is totally insane but two minutes before I saw your post I thought, "I want to hear that Uilab version of St. Elmo's Fire," and ripped it to my computer. Must have Ui on the brain.

http://sz-shop.sueddeutsche.de/mediathek/shop/img/01_59_so.jpg
Ui, Ui, baby
Ui, Ui, baby

The Stereolab thing was dead serious: I asked about them mainly because they strike me as being interested in exactly the kinds of black musicians/musics that wouldn't get recognized in this argument (even though a lot of them fit SFJ's definitions just fine). They just happen to integrate them in an atmosphere that everyone wants to code as European/white/highbrow.

(God forbid the "white" category ever gives up sole possession of "highbrow" -- these days jazz practically gets coded as white, in about the same way phantom people can look at a room that's 10% middle-class east Asians and go "god, it's all white people in here.")

more than 10%, dude

does anybody even consider white guy/asian girl hook-ups to be interracial at this point

"They can't steal it if they can't play it." Discuss.

phantom people?

casper

does anybody even consider white guy/asian girl hook-ups to be interracial at this point

the white guy/asian girl couples I know are definitely aware of it

Kinda keenly relevant to indie fandom: there is a surely disproportionate representation for first-generation Americans of east-Asian descent and middle-class upbringings. But in this conversation people like that just vanish away into the code for "white."

as part of a white/west asian couple my gf considers herself 'caucasian'

cauc rock

The Blues Brothers movie is an interesting way to measure how things have changed since 1980. Belushi played these anti-establishment characters, and Jake and Elwood were against the Chicago machine and for John Lee and Cab and Aretha, and their own band was made up of those actualy authentic Stax guys (white). It's just a whole other era with few parallels to this one.

("These characters" being Jake and then the Animal House guy who gets ruffles the campus (white) establishment by getting the Isley Brothers to play at his party.)

booker t & the mgs, man

booker t (black)

This might or might not be a whole other can of worms, but when I went to Pitchfork Festival this past summer (on the guest list of my friend who was performing and is African-American), I was aware of how there was so little sign -- either in the performances or in the audience -- that our country is in the middle of an actual war that is costing lives and a billion dollars a week. Granted, I wasn't there for Yoko, but I think in retrospect that's what will be startling about this decade's counterculture. I mean, the Blues Brothers and Woodstock were up against the machine.

(as far as the BBs band, I was thinking of Steve Cropper and Donald Duck Dunn)

you totally missed the deep, complex symbolism of kevin barnes's lady spooning spaghetti sauce over the audience

the lobster claw was Rumsfeld

... about the same way phantom people can look at a room that's 10% middle-class east Asians and go "god, it's all white people in here."

what the fuck? i've never experienced this.