General Staiger has to deal with criticism in the German Hip Hop scene for improvement, so it stimulates a round table, which should be spoken on the subject between artists and editors "
(Source: http://rap. speak de/news/5165)
overreactions to criticism of rappers means to talk about reactions to reactions. Criticism is never action that always reaction. If one wants to talk about this subject, you have in the project, starting in this case, therefore, the musical product of a rapper, then get on the reaction, the criticism of this product.
Let's start with the music. Hiphop as Music as well as lifestyle or, if you culture is an import product from the U.S., which include the high degree of anglicisms Deutschrap - explained - Flow, Skills, Tight, Beat etc.. Hip-hop as an import product had to fight a long time with cultural differences. While in the U.S. was colored mainly trying at this new art form (and thus most of the white middle-class youth of the suburbs supplied), it was here just rapping those middle-class kids who started. While the U.S. rapper in the ghettos of American gangsta rap Großstadtsprawls and prospects of the black youth have been identified, in the political Conscious rap sometimes radical Black Panther slogans used and the porn-rap caricatured stereotype of the long-tailed, of potent black man, the Germans were doing something serious. For in the package insert of the import product Hiphop equal to the slogan "Keep It Real" was included. Even in the 90s was always stressed Deutschrap warning, yes we are not removed in Compton or the South Bronx and from states as far over there.
The German-language rap was therefore limited to competition, self-referential rap-is-my-life sayings, word play, searching for unusual rhyming words and the like - basically only logical considering that Germany is still considered the country of poets and thinkers understand.
Only when the German rap mainly from about the turn of the millennium took in the Berlin scene of the previously maligned divisions Gangsta Sex and distinguished himself backward aging process from the German hip-hop in all clarity. While the American rap "over there" organic with all phases of childhood through adolescence growing up, he came to Germany as an adult is ready. And since then he brings not only to the childhood he never could have in this country really, he is developing as Benjamin Button to the child back.
raps now in Germany that is the same social clientele, as then in America: Migrants, social misfits, the underclass, that what sociologists dub the "suspended precariat. And it does so not in youth centers under the supervision of Old Left social workers who are proud that "their kids at least something useful" to make, but in isolation from all dogmas and any supervision.
The fact that they are no less dogmatic than the German rapper of the 90s have to state, nor are discussed as the question whether the simple, reduced to slogans Straßenrap has been in this country sucks. Rather, we now want to come to the criticism, and thus the internal scene in response to this kind of music.
the rap critics are chiefly ancestors of Deutschrap typical oldschool, so summarized: all those who have been celebrating ten years, the adult on Competition and import product-centric hip-hop wordplay. And like all adults do it for ages, they look to the next generation with a mixture of resentment and misunderstanding, which would express in everyday life worn in "The youth of today" award.
in everyday life. In the hip-hop, it proposes more with slogans like "This should be Rap The use yes not even double rhymes?" To book, and here mixes a another, perhaps typically German phenomenon, the cultural chauvinism: Arts, which is a best academic, in any case but with high mental effort associated product and behind the large Thoughts, so everything the classic German teacher question, "What the poet wants us to say?" justified. Consequently, the Kulturchauvinist looks so to the artist and sees only the Neukölln wogs with secondary school, and what can already have thought such a big presence when he's lyrically simple glorification of violence and / or misogynist texts has rhymed together ...?
As the cultural chauvinism is expressed in practice, you can see your public dealings with the rapper Lady Bitch Ray. Your porn rap lyrics are in the word choice is not unlike that of their male colleagues. But Lady Bitch Ray has studied Germanistik and is a PhD student at the University Remen, and while the magazine "Stern" once the porn rape of the non-studied artist gynecologist as a "rape nightmare scenarios" titled, Lady Bitch Ray's little squeamish texts in the magazine "Time" as "perfect imitation of youth language" have been praised - clearly, the lady has studied, there must indeed more behind it.
That the cultural chauvinism of the majority of the Deutschrap scene dominates one sees less of a direct reduction of artists from the Straßenmillieu - that's not possible, because the hip-hopper, according to self-understanding, of course, tolerant - but to the claims which are commonly of 'good rap "be asked: unusual and multi-syllabic rhyme words, sophisticated comparisons, Punch Lines and elaborate ideas clearly structured texts, to name only a few points. All standards, like the ones they set are from the time when hip hop was still an adult, mature and thoughtful. And since you polysyllabic rhyme words and unusual natural conditions only with a correspondingly large vocabulary, the Neukölln Kanake with a CSE is dependent on the sidelines, or is "wack."
This is precisely one of the biggest problems of criticism in Deutschrap. For some perfidious, never written but in many minds but existent old-school rule book are taken from the standards and artists be constrained based on such standards often do not create value. Certain, that the criticism of art is always lagging one step lies in the nature of things, just action and reaction. But especially in the Deutschrap are the standards so cemented that
it gives the impression Calculate than the quality of a rape tracks based on the flows or the punch line or double rhyme density almost by itself
Read the review must ensure that there is no over-fulfilling requirements are in rap, but as in any art form a huge range of stylistic devices that can be used by the artists. The voice, the voice onset, the emphasis heavily spezifierbare factors such as delivery, authenticity and atmosphere, all this and much more make the End product of the total. And when a rapper raps used exclusively assonant and monosyllabic rhyme or a simple purpose, to snare emphasized staccato flow, then that tells you nothing about his abilities or the quality of the track, but first of all of these stylistic devices.
Man on wearing the utterly on the film: Lars von Trier established in his Dogme films, the shaky handheld camera (for example, then later came in "big Hollywood productions like" Private Ryan "as a stylistic device used) and thus produced its own, extremely authentic "middle" atmosphere. If the standards of film criticism as driven as hard in rap, would the criticism that would presumably have reacted: "The movies are bad because they are filmed with shaky, hand-held camera of coarse, was too stupid to keep quiet about, and had enough coal for 'ne Full-HD Cam?"
Lars von Trier was precisely because of the consistency with which he used his stylistic appreciated. A rapper is to ignore the standards with the same rigor as the rap-criticism is, however, as "incorrigibly bad." be that through such condemnations fronts harden softened instead, should be clear.
0 comments:
Post a Comment