afterlife2009
Superstar
http://pitchfork.com/thepitch/631-n...nd-jay-z-and-the-spectre-of-white-aspiration/
There's some more after this.
Pitchfork: "Is Pharrell a House N*gger?"
- Thread starter afterlife2009
- Start date
http://pitchfork.com/thepitch/631-n...nd-jay-z-and-the-spectre-of-white-aspiration/
There's some more after this.
John Hull
You can’t see me!
Dragonfly Jones
Siiiiiiiilence Punk!!
Pitchfork is like the cac and house n1gga bible tho
so this is ironic
so this is ironic
ThaRealness
Superstar
I don't think the author is a staff writer for pitchfork. So Im assuming she wrote the article, auctioned it to various music sites, and Pitchfork happened to pick it up
Poh SIti Dawn
Staying Positive, Getting Better Everyday. Holler!
Wonder if the author is black or white. If black, then how can you ask such a question when you yourself have made something out of yourself without blaming the white man. If the author is white... 
the comparison of Jay and P are so P said nothing similar to Jay. Jay said white people try to be apart of your life once you're rich. P said that you can't blame whites for things, he's right. Black people don't peep game how Jay got money and went legit, most rappers get money, stay in the streets, get locked up and then scream fukk the police.
the comparison of Jay and P are so P said nothing similar to Jay. Jay said white people try to be apart of your life once you're rich. P said that you can't blame whites for things, he's right. Black people don't peep game how Jay got money and went legit, most rappers get money, stay in the streets, get locked up and then scream fukk the police.
Poh SIti Dawn
Staying Positive, Getting Better Everyday. Holler!
Btw I've never read this magazine or whatever it is, probably won't ever now. But it's sad that they're focusing on race when it's a music magazine and to use such an ignorant term when they have this huge of a platform.. like wow talk about desperate
This was a good read yall
In Jay-Z’s Decoded, he recounts his days at Marcy Homes, a New York City project housing complex. Exploring the relationship between poverty and public displays of affluence, Jay-Z writes:As kids we didn’t complain about being poor; we talked about how rich we were going to be and made moves to get the lifestyle we aspired to by any means we could. And as soon as we had a little money, we were eager to show it. I remember coming home from doing work out of state with my boys in a caravan of Lexuses that we parked right in the middle of Marcy. I ran up to my mom’s apartment to get something and looked out the window and saw those three new Lexuses gleaming in the sun, and thought, "man, we doin’ it." In retrospect, yeah that was ignorant, but at the time I could just feel that stink and shame of being broke lifting off of me, and it felt beautiful. The sad shyt is that you never really shake it all the way off, no matter how much money you get.
Rappers rap about their money for the same reasons cultural critics write about rappers rapping about their money: they are driven to assert themselves. Assertion is what all writers, including rappers, do. The difference between hip-hop and other forms, though, is that hip-hop uniquely exists at the intersection of ambition and insecurity.
Hip-hop assertion, as an authentic and authoritative act, often hinges on braggadocio and blackismo. Most rappers are rapping and speaking from the position of where they’re from and where they started (from the bottom). And even when they reach the pinnacle, their perspectives don’t seem to shift that much. In fact, the brags become more deeply entrenched in their past experiences. This lack of a shift opens up the space for assertion fueled by a noxious mix of insecurity and ambition. This is where most of the "new black" discourse permeates.
Status anxiety, as coined by Alain de Botton, is defined as "an almost universal anxiety... about what others think of us; about whether we’re judged a success or a failure, a winner or a loser." It’s clear, based on the interactions that have happened between rappers and rapper-adjacent figures in 2014, that some rappers are experiencing status anxiety now more than ever. This anxiety plays out on black public spaces like hip-hop radio stations and Twitter, as well as outside of those spaces. When Kanye compares himself to Steve Jobs, Walt Disney and other white men—as if Kanye as Kanye isn’t enough—it’s an insecurity that rests on this notion that breaking whatever glass ceiling there is for black men, placing oneself at the top of the game, doesn’t cut it. It’s understandable, considering the fact that not many rappers are comfortable being #2, but except for the Michael Jordan comparison every now and then, Kanye rarely says he’s the [insert black person] of said genre. Why? Because that would be redundant, yes, but also: he’s trying to live up to a standard that says white is right. A standard quite different from Pharrell’s, which leans more on black status.
Black status anxiety looks no different on Kanye than it does on Childish Gambino. In a Breakfast Club interview, Childish Gambino elaborated on his tweets about the "bigness" and "whiteness" that he wants for himself, for his career, saying, "It was a poem about freedom…I do wanna be big and white. Like, Will Smith is big and white." Childish Gambino is almost saying what Pharrell is saying, except he’s not couching it in any kind of a mentality. He’s saying what Kanye is saying without making it explicitly about white people, even though it is when whiteness is the default and standard. Charlamagne the God pushes back in the conversation, asking Childish Gambino why he doesn’t simply say "human," but their opinions aren’t too far off when the issue harkens back to emulating and acquiring wealth, success and fame in the white power structure.
The tiny differences between Childish Gambino, Charlamagne, Pharrell and others are just that—tiny. They hinge on outmoded capitalistic ideas that uphold whiteness as aspirational. The blackness-affirming pushback from other artists like Azealia Banks and J. Cole is essential in 2015; while the dream of New Blackness—a life where we float free from everyday American racism, wholecloth spiritual re-invention—is a fun dream to entertain, it’s a dream that comes at the expense of Regular Old Blackness."
-------------
And hell yeah he a house nikka,seen dude talkin bout "blue eyed soul" on tv one day
...he aint alone,glad they pointed out Childish Gambino,Charlegmane too....and pointed out Jay aint buyin into that shyt despite what folks try to say about em
In Jay-Z’s Decoded, he recounts his days at Marcy Homes, a New York City project housing complex. Exploring the relationship between poverty and public displays of affluence, Jay-Z writes:As kids we didn’t complain about being poor; we talked about how rich we were going to be and made moves to get the lifestyle we aspired to by any means we could. And as soon as we had a little money, we were eager to show it. I remember coming home from doing work out of state with my boys in a caravan of Lexuses that we parked right in the middle of Marcy. I ran up to my mom’s apartment to get something and looked out the window and saw those three new Lexuses gleaming in the sun, and thought, "man, we doin’ it." In retrospect, yeah that was ignorant, but at the time I could just feel that stink and shame of being broke lifting off of me, and it felt beautiful. The sad shyt is that you never really shake it all the way off, no matter how much money you get.
Rappers rap about their money for the same reasons cultural critics write about rappers rapping about their money: they are driven to assert themselves. Assertion is what all writers, including rappers, do. The difference between hip-hop and other forms, though, is that hip-hop uniquely exists at the intersection of ambition and insecurity.
Hip-hop assertion, as an authentic and authoritative act, often hinges on braggadocio and blackismo. Most rappers are rapping and speaking from the position of where they’re from and where they started (from the bottom). And even when they reach the pinnacle, their perspectives don’t seem to shift that much. In fact, the brags become more deeply entrenched in their past experiences. This lack of a shift opens up the space for assertion fueled by a noxious mix of insecurity and ambition. This is where most of the "new black" discourse permeates.
Status anxiety, as coined by Alain de Botton, is defined as "an almost universal anxiety... about what others think of us; about whether we’re judged a success or a failure, a winner or a loser." It’s clear, based on the interactions that have happened between rappers and rapper-adjacent figures in 2014, that some rappers are experiencing status anxiety now more than ever. This anxiety plays out on black public spaces like hip-hop radio stations and Twitter, as well as outside of those spaces. When Kanye compares himself to Steve Jobs, Walt Disney and other white men—as if Kanye as Kanye isn’t enough—it’s an insecurity that rests on this notion that breaking whatever glass ceiling there is for black men, placing oneself at the top of the game, doesn’t cut it. It’s understandable, considering the fact that not many rappers are comfortable being #2, but except for the Michael Jordan comparison every now and then, Kanye rarely says he’s the [insert black person] of said genre. Why? Because that would be redundant, yes, but also: he’s trying to live up to a standard that says white is right. A standard quite different from Pharrell’s, which leans more on black status.
Black status anxiety looks no different on Kanye than it does on Childish Gambino. In a Breakfast Club interview, Childish Gambino elaborated on his tweets about the "bigness" and "whiteness" that he wants for himself, for his career, saying, "It was a poem about freedom…I do wanna be big and white. Like, Will Smith is big and white." Childish Gambino is almost saying what Pharrell is saying, except he’s not couching it in any kind of a mentality. He’s saying what Kanye is saying without making it explicitly about white people, even though it is when whiteness is the default and standard. Charlamagne the God pushes back in the conversation, asking Childish Gambino why he doesn’t simply say "human," but their opinions aren’t too far off when the issue harkens back to emulating and acquiring wealth, success and fame in the white power structure.
The tiny differences between Childish Gambino, Charlamagne, Pharrell and others are just that—tiny. They hinge on outmoded capitalistic ideas that uphold whiteness as aspirational. The blackness-affirming pushback from other artists like Azealia Banks and J. Cole is essential in 2015; while the dream of New Blackness—a life where we float free from everyday American racism, wholecloth spiritual re-invention—is a fun dream to entertain, it’s a dream that comes at the expense of Regular Old Blackness."
-------------
And hell yeah he a house nikka,seen dude talkin bout "blue eyed soul" on tv one day
...he aint alone,glad they pointed out Childish Gambino,Charlegmane too....and pointed out Jay aint buyin into that shyt despite what folks try to say about em
Red Maverick II
Special A Class Hunter
Your god damn skippy he is.
I'm almost at the point where I NEVER want to hear what a Black celebrity has to say about anything race related
I'm almost at the point where I NEVER want to hear what a Black celebrity has to say about anything race related
Piff Perkins
Veteran
Pharrell's comments are nothing new. It's talented tenth bullshyt for the 21st century. What is "Old Black?" Lazy, ignorant, etc? fukkouttahere.
I can't even imagine some of the shyt these c00ns probably say about black people while talking to white industry people.
I can't even imagine some of the shyt these c00ns probably say about black people while talking to white industry people.
jilla82
Veteran
which is why yall need to chill w/ that c00n/House Nikka shyt some black folks like to say.
Its already been picked up by whites...Pitchfork probably loved seeing the article come their way.
Wonder if the author is black or white. If black, then how can you ask such a question when you yourself have made something out of yourself without blaming the white man. If the author is white...
Clearly the words of a cac or house nikka Edit:
1st of all what exactly leads you to believe the author has "made something out of" his or herself? Are you familiar with the author or just because his or her work is published in Pitchfork you're assuming their accomplished? Could just be a frustrated freelance writer who's barely making ends meet. Getting your article featured in a online magazine doesn't mean you've broke free of oppression and "made something out of" yourself. Also the irony of you saying the author of this article is successful while not blaming the white man for anything is hilarious because the whole purpose of this exact article is to bring light to how ridiculous this "new black" shyt is
2nd you're right, what Pharell and Jay said weren't similar they're actually the exact opposite point of views. P is declaring himself some new black which is absolutely ridiculous while Jay is stating how much he resents being put in a different category such as the "new blacks" Pharell speaks of.
Cacs and C00ns never wanna talk about race although it is clearly a huge part of our society. In the recent Sony email leaks there were execs at Hollywood's highest level talking negatively about actors and actress just because they're black, but according to you undercover racist/self-haters racism is such a thing of the past. What a fukking clown
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jilla82
Veteran
why do you cats always think its about white people?
How can successful blacks talk about how to get ahead when people dont want to hear anything other than "its the white mans fault"?
If you read just about any writings coming out of the civil rights era....or books written by successful black folks...they talk about how we need to focus on bettering ourselves.
In today's climate black people cant say that w/o getting labeled a "c00n".
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