Nod, you're probably right that it only sounds imprecise to me because I don't have the right frames of reference. It also probably doesn't help that my sampling of different genres is usually too shallow for me to understand the (usually different) canon vocabulary for each.
I do think that the deconstructionist arguments are taking place out there, just out of view for the (I assume mostly white) world of pop criticism. I was watching a PBS documentary on remixing and sampling in hip hop (which I linked on Twitter a while back), and it was clear that the DJs being interviewed (largely PoC) were extremely aware of the race and class dynamics involved. (It was also equally clear that the documentary felt pretty uncomfortable explicitly exploring it.) I wouldn't be surprised if those conversations are taking place within that community. Incidentally, I thought the documentary was interesting to me for its parallels to the fan community: the same conversations about whether derivative art is still art, who owns ideas, what is transformative, etc.
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Date: 2010-02-02 05:32 pm (UTC)I do think that the deconstructionist arguments are taking place out there, just out of view for the (I assume mostly white) world of pop criticism. I was watching a PBS documentary on remixing and sampling in hip hop (which I linked on Twitter a while back), and it was clear that the DJs being interviewed (largely PoC) were extremely aware of the race and class dynamics involved. (It was also equally clear that the documentary felt pretty uncomfortable explicitly exploring it.) I wouldn't be surprised if those conversations are taking place within that community. Incidentally, I thought the documentary was interesting to me for its parallels to the fan community: the same conversations about whether derivative art is still art, who owns ideas, what is transformative, etc.