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I honestly didn’t think that in 2019 we’d be litigating the late ‘70’s/early ‘80’s NY music scene.
I doubly didn’t think it’d be necessary to point out the seminal influence of Black musicians on a scene where one of the figureheads calls himself
James White
I doubly didn’t think it’d be necessary to point out the seminal influence of Black musicians on a scene where one of the figureheads calls himself
James White
btw
I DO get tired of this.
One of the reasons I’ve avoided keying in on the ‘early ‘80’s part of my resume (a lot of people don’t know I was the bass player in the Contortions late ‘79/ early ‘81)
is I can’t really talk about it without dealing with the issue of race & racism
I DO get tired of this.
One of the reasons I’ve avoided keying in on the ‘early ‘80’s part of my resume (a lot of people don’t know I was the bass player in the Contortions late ‘79/ early ‘81)
is I can’t really talk about it without dealing with the issue of race & racism
what defines the NY scene of the late ‘70/early ‘80’s is that was the moment when the “culturati” “discovered” all the super-advanced culture that the Black people of NYC had produced
whether it was the jazz of loft scene, the art of the graffiti scene, the dancing & music of both the straight (proto hip-hip) & gay (the Loft, the Garage, etc.) scenes —not to mention what was happening in the Caribbean communities
Black culture was in full bloom in NYC in ‘79
Black culture was in full bloom in NYC in ‘79
The “white” people on the No Wave scene were all creating in dialogue with (and quite often borrowing from) THAT.
To claim otherwise is to rewrite history
To claim otherwise is to rewrite history
It’s ridiculous that I need to say that. But obviously I DO need to. 😕
