What I learned this week was in Daphne Brooks, “The write to rock,” is when she mentions about “Love and Theft ” when she stated, “The sex-ed up, the necrophilic dalliance of white (musical) masters and the (always) black, (most often) men they admire and desire to consume and cannibalize continue to hold center stage in the critical imaginaries of performance studies and rock music histories alike (Brooks 55).” This shows how when I guess the “white masters” that produce or manage the black artists and how blacks admire whites in the sense of this statement. It’s more how whites are higher tier than blacks and the theft part comes in when credentials are being stolen from black artists.
What I also learned in Ann Powers, “A spy in the house of love,” is when she states “...reclaiming lost history and unacknowledged pioneers; championing contemporary figures otherwise overlooked by mainstream…(Powers 40).” This shows that when history is lost we as the audience don’t look into as much just because there’s a lot of mainstream artists that overpowers I guess old music. As we can reclaim the history that’s being lost, we can recognize the first people that started it and give those artists the credentials they deserve.
The reason why I chose these two songs because the general topic was just racial discrimination which kinda what we’re learning throughout class about how Black’s credentials are being taken away by Whites and what relates is how segregated the world was back then and I guess I how it affects these artists with just racial discrimination.
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