http://news.bbc.co.uk/1/hi/world/americas/us_elections_2008/7713237.stm Dizzie Rascal on Obamas Win, It did make me laugh slightly... but enjoy!
Fair enough. He's a smart one, and I like his pro-britishness, very positive too. Doubt he'd be up to much in office, but I pretty much agree with what he was saying, even if he's not half as articulate when talking as he is when rapping.
Thats the bit i liked. But yeah his positive attitude was nice and very British. I have the amusing image in my head, when "Mr Rascal" goes home, he slips into his stereotypical British 4 piece tailored suit, with bowler hat, put on his real accent, which is very posh, proper british you understand and sits around drinking earl Grey out of fine bone china.
If he was REALLY british he wouldn't dare wear a hat indoors, especially not his own home.... article made me chuckle though, he's an odd character that one!
Dizzee is a great guy overall and a far better role model than all the plastic fantastic trash getting shoved down kids throats normally.
This vid compelled me, too, to titter -- perhaps because of Dizzee Rascal's hapless good nature, which respects and laughs at itself but is not always intentionally amusing. Interview-er and -ee seem in a giddy mood usually kept off-BBCamera. ========================= [Veering utterly off-topic] One thing I can't abide: the idea that hiphop artists are largely twits. The genre's too vast for that sort of typecasting: had you said corporate rap, I might have agreed, since the board room's plagued with stereotypes. Not true of the good stuff, however, which I'd trace from artists like MF Doom, Jurassic 5, Blackalicious, Tribe Called Qwest and KRS-One all the way back to Fab Five Freddy, whom I've met more than once and who should be teaching musicology in a university. The ascension of Gangsta over other kinds of hip-hop was completely corporate (other forms were often historically literate and intellectual). Sadly, even Murder, Inc. was a merger of corporate and dealer greed, which can exude a certain nihilistic luster and reveal limited/limiting truths, but is nothing compared to the collective reach, eclecticism and artistry that hiphop was made to embody. My problem with certain crime-obsessed sub-genres of hiphop is that the narrative is often myth-driven first-person autobiography. This all started with a 60s publisher called Holloway House and two of its authors in particular: Iceberg Slim (a/k/a, Robert Beck) and Donald Goines. Unlike other noir writers, Goines and Iceberg mythologized themselves instead of fictional characters. Eventually, Goines was murdered, which was seen as both a tragedy and a marketing tool to promote the posthumous writer, since his notoriety was legend. I really wish mainstream rap artists weren't pressured to narrate their own deeds in the name of "honesty," since (i) public confessions are never truly honest and (ii) negative self-aggrandizement is suicide by vanity. The problem isn't the form, it's the insistence on living the story. No classic noir novelist was expected to murder someone in order to write about a criminal, yet that's precisely the kind of literal-minded street cred that has fascinated suburban fans. Artists like MF Doom (who creates characters and pseudonyms too numerous to list) should be the most popular of all. Unfortunately, most fiction-specific rappers seem to be indie stars, niche politicos or bohemian eclectics ignored by the audience that would benefit from their influence. With his energized activism, Immortal Technique was necessary in the days of Bush III, but the tracks behind the lyrics were always tepid piss. The best rap music always has solid background tracks as well as inventive and engrossing lyrics.
^^^^This guy, clearly a genius^^^^ But Dizee, very funny interview, although Im not a fan he carried himself pretty well. But hip-hop playing apart in Obama's win? I dunno
