By Joshua Clover
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Extra resources for 1989: Bob Dylan Didn't Have This to Sing About
The shift from Black Power and Black Nationalist to gangsta rap, in and around the year 1989, is a radical revision of the mode of social relations organizing the imaginative space of Black culture. It can be rendered schematically as the turn from intergroup confrontation to intra-group conflict: the emergence of the internalization of struggle. A s N asty as T hey Wanna B e The period we have been puzzling over is exactly what is generally agreed to be the “Golden Age of hip-hop” (a span generally understood to last from around 1986 through 1989).
However, in understanding how these showdowns husbanded the shift from Black Power to gangsta rap, one notes that gangsta scarcely appeared an accommodation to the culture war, and was in fact the recipient of renewed vitriol in the form of decency crusades. As we’ll see, the pivotal moments of the culture war in this period nonetheless had the effect of disciplining gangsta’s emergence in a specific and curiously narrow direction en route to becoming hip-hop’s house style (which it remains, in considerable and calcified degree, to this day).
9 Public Enemy achieved this reputation in part because of its insistence on articulating the new politics as a historical development—as a supersession of rap’s early ethos, that of partying and self-celebrating proclamations (self-empowerment as contentless desire, one might say). This supersession preserved the earlier tradition within itself, even while turning it upside down. ” “Bring the Noise” at once celebrates Run-DMC’s formative role in the genre (“Run-DMC first said a deejay could be a band”) and announces why their spirit is no longer adequate to the situation.