A recurrent topic at the conference is the black reclamation of a southern identity, namely, southern hip hop. Countless papers brought this up in conversations about racial politics and pop culture, which makes sense due to the huge and growing popularity of african-american musicians re-forging their southern roots and identities.
To talk about Leadbelly here would be going in the wrong direction, because the idea is that this new generation of hip hop is fueled by a kind of empowerment and self-conscious purpose. But to talk about Cowboy Troy might be entirely appropriate? Or maybe just bizarre. Jon Caramanica was so giddy to get to be talking about Cowboy Troy, I can only imagine the sorts of things that might be going on at Vibe Magazine.
But I think there is something else to this element of absurdity. Charles Hughes gave a fantastic presentation on the love triangle of Nashville, Memphis, and Muscle Shoals – namely, the particular symbiosis of country and soul (and disco?), black and white, that largely determined the mainstream sounds of both genres in the 70’s. And when someone asked him what contemporary artists could be compared to the genre benders Billy Sherrill, George Jones, Ray Charles, etc etc…he said Bubba Sparxx’s album Deliverance. Now that to me is absurd. Not that Hughes is wrong, but that I never took Sparxxx seriously – I think one too many frat parties may have tipped the scales for me in that respect (one?! okay, maybe 20). And then Hughes himself addressed this, as if he’d read my mind, bringing up artists like Solomon Burke and Allen Toussaint, lamenting that “they’re all so damn serious.”
Lightbulb! I get the “too damn serious” comment a LOT, so I get what he means here, though I may be on the other side of the coin. Bubba Sparxxx? Definitely not. Fans of Bubba Sparxxx too – POPISTS! Which is the whole reason why we’re at the Pop Conference in the first place.
We all draw our own lines between what’s pop and what’s serious. Different for every person. This makes me think of a little tibit that Meghan Askins taught us yesterday, that Nevada County, CA, drew their county lines in the shape of a pistol aimed at Nevada State, angry for stealing their name. The way that we all draw our lines tends to have a kind of larger metaphysical purpose as well, aimed with a certain discourse in our sights.