I'm listening to Bone Thug's classic tune "For tha love of $" right now, getting myself in the zone to continue plowing through my second essay for my Music and Text class, which is due a week from tomorrow and has to be presented conference-style to my classmates and a panel of professors.
(Excuse me briefly while I shphitz.)
Anywho. Though many of you might be recoiling at the idea of listening to and/or writing about gangsta rap, it's been an incredibly interesting project thus far. It's helped by the fact that I've always been a pretty big fan of the genre, mostly the era critics refer to as G-Funk, which was ushered in by Dr. Dre's 1992 release The Chronic and continued by Snoop Dogg, Tupac, Warren G, Nate Dogg and the like through about 1997. But beyond that, I'm writing about two issues of key interest to musicology and the ways that gangsta rap reshaped them in relation to popular music in general. The issues are simplified into the terms authorship (first, does the author truly exist in art? and is our knowledge of the author significant to reception of the art?) and biography (the old life to art, art to life contiuum debate).
I should be getting back to said essay post-haste, because I need to write another 1,000 words today to be on schedule with my timeline, but I wanted to drop a quick post to say that if I manage to reach my goal by about 3 today I'll be delivering up a real meaty post, the likes of which you haven't seen since I started getting distracted by a certain Adorable Englishman who shall remain nameless. So brace yourself.
Til then, cross your fingers that gangsta rap agrees with me for the next few hours!
cheers (and PEACE, homes.),
HRH (tha mack) e. cawein