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#76
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As one of those minorities, I actually read every post in this thread, and yours resonated with me the most. It is, indeed, a strange feeling to be one of few non-whites at a Stevie Nicks or Fleetwood Mac, particularly in a metropolitan area where it tends to be more of a mixed crowd. But that's not really the case with Stevie or Mac. It's generally 98% white and 2% everybody else. But feeling uncomfortable in this setting is my own personal issue. I just don't like to stick out or draw attention at a concert. I'm just there for the music, like everybody else. But I have never experienced any racism at any Stevie Nicks or Fleetwood Mac concert. And the Stevie Nicks/Fleetwood Mac fans that I've met in person have always welcomed me with open arms.
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Daniel |
#77
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I dug out this article that I really liked in Pop Matters, We Were the World: 85 Word Aboard the Crossover Express. It talks about the cultural politics of music from a (not "the", as if there was only one legitimate one) black American perspective with much more authority than I can.
My dad and my uncles were among the first generation of recognizably educated black men. They were high-brow intellectuals with an image to maintain in the Chicago black community. During my toddler years, they mixed in their “white” albums and eight track tapes with communally acceptable black artists. Sinatra, Lanie Kazan, and the Association (yep—“[they] harmonized as good as the Dells,” swore my Uncle Jeff) were their kiddie porn, black people’s “race music”. It was music not be shared in “same” company, racially speaking; a fetish that could cause huge embarrassment and misunderstanding amongst “the peeps”, especially for my black nationalist, black is beautiful, “death to whitey” Uncle Jeff. They had no problem with their reading of Playboy and Esquire being public knowledge, but “that” music was listened to at low volume and with windows—car and home—closed, and was their way of setting themselves apart (and maybe a little above) their working and middle class cousins and neighbors. Come the ‘70s, and the walls of my bedroom walls blared out with Sean Cassidy, David Bowie, and the Average White Band competing for space alongside Bootsy Collins, a shirtless and unsanctified Al Green, and the Jackson 5. Apartheid in music had vanished, “crossover” was the order of the day, and even some country spun on the turntables at black radio stations. I could go my own way, indeed. ... We debated openly the messy politics of sexual lust and the respectful co-opting of “race music” as American race and sex politics in became less honorable and more contemptible each passing day until the ‘70s ended. The ‘80s brought an unabashed and proudly apartheid moment in music. MTV entrenched itself. Music was to be seen and not heard. Artists that looked more carnival geek (hello, Joe Jackson) or over 30 (goodbye, Fleetwood Mac), no matter the beauty and intellect in notes and lyrics, found themselves the musical equivalent of a televangelist, stuck in the 3AM time slot, if their videos rotated at all—as was the case for black artists looking for purchase on MTV. Corporate entities that produced wire hangers and air fresheners bought up every radio station in America, leaving behind a hard-wired playlist not to be diverted from. Music for the respectable misogynist/racist/ageist/homophobe became the flagship of the American Cultural Armada. The whole thing is a good read, IMO, and good food for thought. It speaks to the fluid dynamics at play when culture meets art (and when doesn't it?). Last edited by redbird; 03-11-2013 at 12:02 PM.. |
#78
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As for black artists on MTV, I think "Thriller" is still considered the most successful video of all time. I watched a lot of MTV, and I never really thought they had a racial diversity deficit. Look at the mainstream success of hip hop. You don't think Yo! MTV Raps! had anything to do with that? MTV can be partially blamed for the downfall of popular music to some extent, but I think MTV actually did more to narrow the racial divide in the culture of music than not.
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins |
#79
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I am African-American and I love Fleetwood Mac. I got into the Mac by listening to their music during AM radio during the mid to late 70's as a kid. My first FM album I actually purchased was Tango In The Night. I went back over the years and got all of the Fleetwood Mac albums. I love the Green era and the Kirwan/Welch era too!
I saw the FM in Mountain View, Ca on the Dance tour. I did not pay too much attention but I did notice that there was not that many African-American fans there at all. At the end of the day I go for the music and not to see if there are a lot of black folks there. |
#80
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Mary J. Blige said she liked Stevie's voice....Dr. Dre was interviewed in the studio once and Rumours was playing and he made the comment, "That's the real deal"...Destiny's Child and Beyonce asked Stevie to be in Bootylicious,...and Queen Latifah once introduced Stevie as, "my girl, Stevie Nicks.....
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#81
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Thank you for this info. It's music to my ears.
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#83
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So it seems to me like it was definitely a struggle to get MTV to respect black artists initially. And even once Michael Jackson changed that, it could still have been in the memories of audiences and artists alike. MTV helped once black artists stood up for themselves and demanded better treatment. Last edited by redbird; 03-22-2013 at 10:05 AM.. |
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CUE THE RAIN songwriters listed are: BUCKINGHAM LINDSEY FLEETWOOD MICHAEL LYON ANDRE CHRISTOPHER MC VIE CHRISTINE MC VIE JOHN GRAHAM MONTILLA EDWARD JOHN NICKS STEPHANIE OWENS DANA E VALENZANO MARCELLO ANTONIO Performer: QUEEN LATIFAH
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"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash" |
#85
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Last edited by Dreamz19; 03-24-2013 at 02:48 AM.. |
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