By Joshua Clover
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Extra resources for 1989: Bob Dylan Didn't Have This to Sing About
Are just as much thematic, social, political; it is equally a leap from Black Power and Black Nationalist hip-hop to gangsta rap. That is to say, the conversion is a matter of styles and t h e b o u r g eo is a n d t h e b o u l e va r d 27 worldviews at once. It is a formal and ideological tandem which haunts this book; they change together or not at all. This chapter is concerned not with naming the change so much as understanding its particulars—in grasping the fires of the moment and the forces that helped reshape a genre in the era’s crucible.
This breakaway sect was begun by Clarence 13X, who had attended Malcolm X’s Nation of Islam temple in Harlem before departing in 1963. “The focus of the 5 Percenters’ belief system includes numerology, cryptic scientific theory, and a more extreme race theory. ” 6 These 5 percent are “gods” descended from the original “Asiatic Black man”: 28 t h e b o u r g eo is a n d t h e b o u l e va r d each Allah, each obligated to be a “poor righteous teacher,” eloquent and committed to the transmission of sacred knowledge.
The period is scarcely the only one of expansive and strange experimentation—by default, for example, the early days of Old School are ripe with inventions workable and not, songs like “Rappin’ Duke” (by the eponymous artist) and the collective adventures of the “Roxanne” series. In any period, moreover, a great proportion of rap exists beyond that moment’s organizing structures—the kind of music often referred to as “pop rap,” a term less indicative of its success than its deracinated eagerness to please (though these may accompany each other, as in MC Hammer’s 1990 Please Hammer, Don’t Hurt ’Em, then the bestselling rap album ever).
1989: Bob Dylan Didn't Have This to Sing About by Joshua Clover