High-concept and insincere…

Tiny Mix Tapes on Die Antwoord and related white tributes to nominally black art  in (including Major Lazer, your Girl Talk, your MSTRKRFT, your Rat-Tat-Tat) in “The Passion of Vanilla Christ“.

Particularly loved this paragraph;

We’re talking here about mostly white tributes to nominally black art. That divide stands in for a hundred others around the globe, either subcategories of it (Afrikans and Xhosa) or multicolored parallels (Japanese and Koreans; Greeks and Turks; Israelis and Palestinians). But does semi-campy culture-clash music really offer anything to 21st-century efforts to move past the genocidal hatreds of the 20th? There are a few dissenters to the Die Antwoord love-fest, and though these are mostly backlashers, cranks, and morons, there is a legitimate point beneath the varieties of reactionary whinging. The most powerful, thoughtful objection so far comes from Mungo Adonis at Mahala, who actually took Die Antwoord’s music around the Cape Flats and played it for the Coloured people she’d grown up with. The verdict is that a lot of people in the Flats have never heard of Die Antwoord, Ninja’s accent is obviously fake, and even hardcore gangsters think their beats are fire. Adonis describes the appropriation as “high-concept and insincere,” which pretty much sums up the hipster-black culture connection. What are the chances Rat-Tat-Tat would be anything but profoundly uneasy actually hanging out with Bun B?

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