Monday, May 29, 2017

Stop the presses, neither reggaeton nor hip hop are black!

The link between reggaeton music and black culture is basically fallacious, and the same can be said of hip hop; both certainly derived from black musical expressions, but as primarily commercial, non-cultural products. The origin of both would be established in the American Pop of the decades of the seventies and eighties of the twentieth century, and the Reggae of Jamaica; both eminently black products, which in this identity expressed that culture in all its projections. However, once there the phenomenon develops as eminently socio and not ethnologic; although with the political vice that makes the black population coincide with economic marginalization in a ghetto culture. From there the ethnological link would be established, which does not however attend to the porosity of the lumpen as social class; since the margin of the social structure is not exclusive but only mostly black, giving rise to the ethnological fallacy that reduces it as a cultural expression.

Of course, that majority of the black race in the social margins, identifies it by extension; but only as a political class, and in no way ethnographically, since it is in fact established in intrinsically syncretic forms. The fallacy is aggravated by other developments, such as the mercantilist manipulation by the consumer industry; that recreates the imaginary of the marginal lumpen, unified in a segment of mass consumption, to which to sell this product; which, far from being ethnologically defined —and this is truly representative— actually synthesizes under the same label of black the totality of the marginal culture. Once here, the paradox is that the elites of black cultural militancy assume this racially reductive and simplistic identity; demonstrating that the goal is not the claim they advocate but the maintenance of the status of belligerence, as a support of their own lifestyle.

The problem is that this would be precisely what resists all efforts to conciliate, delegitimizing the cause; even if the phenomenon occurs as a spontaneous perversion, given the other determinations of the rise of postmodern capitalism; that is to say, even if this demagogic derivation does not respond to some form of cynicism, but inevitable in the set of political contradictions. This refers to the other phenomenon, by which postmodern capitalism is a corruption of the industrialist (individualist); in a neo-feudal corporatism, with which postmodern society contracts in an evolutionary crisis, with the cult of personal success. Because of this, marginal class mimic the cultural behavior of established elites, such as their own sense of personal success; in a kind of vicious loop through which the economy expands, but artificially, feeding on itself, in a dynamics of unbridled consumption.

Because of this, manipulation of the (corporate) music industry would fuel the consumption of hip hop and reggaeton; first as an image of generational identity, to which the ethnographic aspects of origin are progressively remarked. These references to origin could function as the same image of their gestation like a great metaphor; given in the ridiculous and even pathetic relationship because reductive, of the original song Rappers Delight with the Aserejé of a European pop light group called Las Ketchup. Thus, it is the entire economically and political margin that is encompassed in the so-called urban culture; which in reality is a reduction of that social class to its most primitive and violent practices, without even the intellectual element of sublimation in the collective imagination.

Here again, the paradox of these militant elites, who, far from conditioning their participation in the whole of culture, try to kidnap it; maintaining it in this primaries, in the name of a supposed anti-Western liberalism, like —and it’s an example— the hypocritical barbarism of Arab cultures. In fact, if these elites were interested in claiming their cultures, they would appeal to the most valuable contributions that these culture can do; that’s very different from the folkloristic sensualism that insists on bestializing them, and could correct the natural excesses of the culture itself. In this sense, it must be recognized that the so-called western culture is rather a state of the development of all culture; which is technologically superior, resulting in a more efficient political organization. Therefore, it is a universal phenomenon, as it is characteristic of any culture, which simply has different stages; but for what is so immoral to manipulate more primitive developments for the benefit of the more developed ones, as well as the other way around.

Thus, instead of rumba, blacks could take advantage of the current momentum of the sciences, and correct Western immanenism with a sort of neo-transcendentalism; for which they would have to synthesize their own traditions, already codified in their treatises and religious magical practices, in conjunction with the latest findings of quantum physics. That signifies a real task, systematizing the traditions in a philosophic structure that has nothing to bring to the ego but to the world; and all that matters today is the ego and not the world, which explain why we have so strong personalities and not a solution for problems. Anyway, that would lead to an effective claim, rather than to the perpetuation of the status quo; in which a white elite always leads their efforts, hoarding a financial system based on the subsidy, from which they let crumbs —in the form of ego stimuli— to their black protégés.

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