The sell-out, be it the “black girl” who wants slimming down or the white one’s desire for excess, supposedly can’t claim those “responsibilities” necessary for “race and community.” Apart from these “carnival exhibit[s],” Humpty Hump can only become brown through tanning (despite the wish to “change it”). Doctor skit pulls at the argument, demonstrating how the nature/science relationship is one of collusion, a “sedative” and a “scalpel.” Race politics, like corporate musics, still stuck in exhibit mode.
“Overriding” all communicative/sharing technologies, the interstellar pirate surgeon delivers “cosmophonic[ally],” submerged in the “same data same system” and translatable across all contexts. More of a trax dealing with movement, articulation, and strategy; talking trash and mocking localization, specialization, and knowledge production. Afronaut move to excise brain cancer, focusing on the “earth planet” where “nothing’s aware.” System indebted to its outside. Less of an embrace of one’s nemesis, more of a diagnosis of potentiality awkwardly trained inward. Race technology overload.
Kweli is in the middle of “e-Kweli-ty”; likewise, equality is constituted between points (in relation) and not at them (as the nodes of an economy). Being “without a history” within the “industry” is embraced because we’re always “live from somewhere.” The complication arises when the promise of an afterlife is offered as motivation for becoming a “visionary.” “Vocab” bombing’s victory of substitution.
C.R.E.A.M.: “cash rules everything around me.” Laid back, groovy sample goes round and round, demonstrating no exit from the money nexus. All sides of town the “New York Times-side” or, better, the Wall Street Journal-side. Inspector Deck: “Living in the world no different from a cell.” Late in the track, the sample pauses, opening a hole. Escape route implied but can only be conceptualized from the within (no outside position for too easy moralizations….cf. The O’Jays’ “For the Love of Money”).
The only organization going on here is to break through the “battery” of “flattery” which promotes rap for affect-ive community building. This is “straight coffee” that can make everyone act like an “army brigade” because it only takes an “ounce” for “you to bounce.” Much too powerful for anyone, track revels in its ability to both “lynch” the listener and “jack off wack MC’s”; the less pity, the better. Theory of organizing: the bigger the game, the less we have to “toke” for our minds.
As a remix of an earlier, forgotten single often described as “sinister” and having “stakes in the streets,” it’s the claim that the trax is an example of “rap vérité” which proves (unintentionally) helpful. From jump, Prodigy exploits this: the listener is “stuck off the realness” of affect-less characters with gang loyalties. Yet the stakes of realness aren’t in the streets; they reside in those who are slumming it, vicariously rehearsing the rags-to-riches-to-rags (-to-grave) persona (and keeping their “shook” sensibilities at bay). But there’s no “halfway” engagement when “react[ion]s” between those of “no relation” are all this world asks of you. Moments of anxiety are nested within, manifested through questions of doubt (“do I deserve to live[?]”), motive (“thirsty for recognition”), and legitimacy (“I’mma live illegal”). Read against voyeuristic tendencies, the rub: “I’m creeping” beyond the “petty thinking” and watching you watching me.
Rapping’s not a “tribe,” but even if it was, it wouldn’t be “fancy” or adorned with the lust to enforce tribalisms. Impossible, but it’s the strategic maneuver that allows for agency: claiming minimal racial identity instead of having a “Romi-et-oh or Juliette romance story” over it. “No stunts,” “sorrow,” or “pity.”
“Gift wrap” without a material gift. Aliens offer alternative frequency (“naughty noise”) to dispossessed; droning and swaying as response and revision. The sample as the “fa-so-la-ti,” with no guarantee of a next. Conduit logic.
Urgent, celebratory, and kinetic, this trax—the second most sampled in history—is trans-temporal, extending backwards and forwards. Most known as the vessel or container for the “Amen Break,” it’s also a participant in citation as well, incorporating musical figures from previous songs. This “groove robbing,” as Kodwo Eshun deems it, runs in a deeper, more sustained way than we’re led to expect, too. It goes back to “Amen!,” the gospel tune, which can possibly be traced back to The Presbyterian Hymnal. After that, things get murky. The key is whether we dutifully follow the tendency to work against the secularization of the song. After all, it is testimony. The Winstons’ addition, however, of “brother” in the title issues a challenge: must a profession of faith be directed infinitely outward or can it be shared, agreed upon, enjoyed while avoiding a consolidation into an aspirational grouping? Yes, but only if such an agreement eschews the power to confirm or elect.