Henry Kapono is an artist who is making his mark combining the traditional music of his native Hawaii with music from other traditions. After a several decade long career successfully writing and performing folk and pop songs, Kapono began recording Hawaiian language songs about 10 years ago. Last year he released “The Wild Hawaiian”, a collection of songs that are traditional Hawaiian language music mixed with rock and roll guitars and percussion, for which he was nominated for a Grammy in the Best Hawaiian Music category. What makes Kapono’s story interesting is the fact that whether he wins his Grammy or not will be more a statement on how the Grammy voters feel about what Hawaiian music should be than on the music of “The Wild Hawaiian” itself. If they like the idea of Hawaiian music progressing by combining it’s traditional roots with music from other cultures Kapono is a sure thing for the award. However, if they decided that Hawaiian music should remain traditional “The Wild Hawaiian” chances are not great.
A musical style that was famously created by one race and brought to popular society by another is rock n’ roll. Early in its history, rock was equally popular among whites and blacks. However, as time went on and different genres emerged, a color line began to form in popular music, especially in terms of the type of music artists of the two races were creating. In her January 28 New York Times article “Truly Indie Fans”, Jessica Pressler writes about the growing number of black fans of indie rock, a genre that is traditionally dominated by white artists and fans. The community of “blipsters” (black hipsters) has been growing so fast that a skateboard and clothing shop catering to the indie rock demographic was opened in East Harlem last fall. There are also new online communities, documentaries, and all black music showcases dedicated to helping black fans of rock music find each other and create community. Sadly, many blacks in the community say that the majority of criticism and judgment about their being involved with indie rock comes more from fellow African-Americans than whites who are already involved with the scene.
Adam Bradley’s review of Jason Tanz’s new book A Shadow History of Hip-Hop in White America gives us a peek into the minds of people on the opposite side of the coin: whites who find themselves in the hip-hop world. Tanz writes in great detail about what it is like being a white man in the often African American dominated world of hip-hop and the feelings that accompany that. Bradley also writes about white America’s fascination with hip-hop and the possible implications of this fascination for hip-hop at a time when the genre is in the midst of an identity crisis. He openly wonders if hip-hop will be able to help bridge the gap between the two races for future generations. For an answer to this question I would like to invite Bradley, Tanz, or anyone else reading this to come to the Madrone Lounge in San Francisco any Tuesday night. It is a home to the future of hip-hop music and spirit, and frequently features performers of three and four different races sharing the stage. If this weekly gathering is any indication of how music is going to be able to bring together folks of different races and cultures we are in for good things.
http://www.nytimes.com/2007/02/07/arts/music/07kapo.html?pagewanted=1&ref=music
http://www.nytimes.com/2007/01/28/fashion/28Blipsters.html?ex=1171342800&en=ac50c7aba0356815&ei=5070
http://www.washingtonpost.com/wp-dyn/content/article/2007/01/25/AR2007012502313.html
I too had some "new to blogger" issues regarding italics and such, please forgive me.
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