“Sound Effects”, November 2000: “Amen Mannie”

The other part was anger at hearing yet another

backhanded compliment directed at rap, one that reimagines

rap artists (and black artists in general) as unconscious rather

than conscious participants in the creative process – implying

that their expressions are less works of art than sociological

documents. Documents that have little meaning – wouldn’t exist

at all – removed from the ghetto. Furthermore, it’s a view that

imagines life in the ghetto as a one-stroke painting, lacking

nuance, humor, or contradiction.
Continue reading “Sound Effects”, November 2000: “Amen Mannie”