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Originally posted by mrmonsoon
Imagine replacing black in the quotes with white and think of the responce.
Originally posted by Jenna
Music itself belongs to no culture, it is universal.
Shot in a Battersea junk-yard the scene depicts a group of black militants. A heavy use of ideological rhetoric and literary quotation is used throughout the scene. The opening of the scene focuses in long shot on an individual reading about the theft of 'black music' by white musicians, and the popularisation of its form for white consumption. It is difficult to source the quotation, but it is possibly from the work of LeRoi Jones or Eldridge Cleaver's autobiographical 'Soul on Ice,' a work that is heavily quoted from in this scene. "A well-known example of the white necessity to deny due credit to blacks is in the realm of music. White musicians were famous for going to Harlem and other Negro cultural centers literally to steal the black man's music, carrying it back across the color line into the Great White World and passing off the watered-down loot as their own original creations. Blacks, meanwhile, were ridiculed as Negro musicians playing inferior coon music."
The irony of these words are not lost when compared with the previous scene of the Rolling Stones in the studio. The Rolling Stones music is heavily derived from black music. Initially beginning their musical career as a skiffle band with the rather unfortunate name of 'Little Boy Blue and The Blue Boys' the Rolling Stones adopted traditional blues music and fused it with white popular music. Skiffle's origins were found in "..rent parties that used to be given in poor, Negro quarters to raise rent money–the blacks of New Orleans called them skiffle parties."White popular music had increasingly borrowed from what had been called 'Black Music' since the 1950's. The most well known exponent of course being Elvis Presley; but by the early 1960's Groups such as The Rolling Stones and The Beatles were beginning their careers with Skiffle bands, blatantly using what had been traditionally 'Black Music'. Godard intentionally sets up this conflict in to show the political nature of art, and in the context of One Plus One, the derivation of art, its political transformation, and importantly, the ramifications of imperialism co-opting art. To reinforce this point Godard intrudes upon the scene cutting away back to the Rolling Stones in the studio.
The six major record firms have a colonial-like relationship with the black Rhythm Nation of America that produces hip hop and other forms of black music. Despite the names of a few big money makers - Suge Knight, Sean Combs, and Russell Simmons - or the lurid deaths of Tupac Shakur and Christopher Wallace (also known as Notorious B.I.G. and Biggie Smalls), rap, like most black music, is under the corporate control of whites and purchased mostly by white youths.
Originally posted by AKINOFTHEFIRSSTARS
Look around you. We are not accepted, in the past as well as present. In school every month was white history month. One month of the year we were taught about Americans of color, and about a week of another month we learned about people from mexico. We always learn about Anglo(Rome,Russia,Germany,britain) history but we never hear about contributions of nations of color(Olmec,Malinese,Libyan,Arabia)which have contributed alot of elements that are fundemental for our everyday life.
--Peace and Love--
The U.S. population's distribution by race and ethnicity in 2006 was as follows:
Total population: 299 million
White alone: 74% or 221.3 million
Not including the 23.2 million White Hispanic and Latino Americans: 66% or 198.1 million
Hispanic or Latino ethnicity, of any race: 14.8% or about 44.3 million
Black or African American alone: 13.4% or 40.9 million
Some other race alone: 6.5% or 19 million
Asian alone: 4.4% or 13.1 million
Two or more races: 2.0% or 6.1 million
American Indian or Alaska Native alone: 0.68% or 2.0 million
Native Hawaiian or other Pacific Islander alone: 0.14% or 0.43 million