[...] A stereotype [...] is just a false synecdoche, a token of the conceptualizer's ignorance or laziness, not of some certain distorted features' representative power. [...]
[...] Rap's highly self- and history-conscious unfamiliarity, its image of inaccessbility to established markets or truly teeming-mass appeal, is often reduced by critics to the kind of 'surly musical hostility' that, like Punk's, quickly loses its novelty for those outside, can become for Us like …
[...] how sex and violence and yuppie toys represent perfectly the urban black lifedrive to late-80s American glory. (This latter many older blacks despise as less dull than just a disgusting recidivism to a pre-King/Malcolm vision, like your kid pawning your Purple Heart to buy rubbers and gin.)
Serious rap's a musical movement that seems to revile whites as a group of Establishment and simply to ignore their possibility as distinct individuals—the Great White Male is rap's Grand Inquisitor, its idiot questioner, its Alien Other no less than Reds were for McCarthy. The music's paranoia, to…
No one's a yuppie because everyone's a yuppie, a consummate consumer, for U.S. purposes, today. Even—you will not leave this sampler unconvinced—that unlikeliest of markets, black recording artists on the leading edge of the pop explosion called rap: yuppiness right out their dactylic assonance, …
