When Punk Goes Crunk Wigger Lover the Blog yells, "Fuck"

So some motherfucker thought this idea would be funny. On April 4th Fearless Records will release a compilation entitled "Punk Goes Crunk" that includes over a dozen modern punk rock bands covering "a whole bunch of [urban styles] from classic hip-hop to R&B to crunk." The press release touts that the CD drops in part because "just everybody is dying to know what hip hop songs covered by white-bred punk kids will sound like."

Just like everybody dies to know what paint chips taste like.

This blog isn't knocking the concept of punk rockers embracing hip hop and rap. Indeed there is somewhat of a historical precedent for that. In the documentary Westway to the World the British punk rock band The Clash are shown visiting the Bronx in the early 80's to live in the same environment that was creating their favorite hip hop records of the time. (As a result they recorded the tracks "Magnificent Seven" and "Radio Clash".) Sex Pistols singer Johnny Rotten even co-produced a collaboration with Afrika Bambaataa entitled "World Destruction" that melded rock and rap years before Run DMC and Aerosmith's "Walk This Way." And in 1999 punk rockers Bad Religion opened up for the Beastie Boys, Mos Def, and Talib Kweli at a New Jersey benefit for imprisoned Black Panther Mumia Abu-Jamal.

In a way those heartfelt past fusions of punk and rap aren't that surprising. Both musical styles create a culture that borderlines on the religious for younger followers in dress, speech, and ideology. Both (at times) eschew traditional pop music songwriting constructions for minimalist sonic layers and direct lyrical content. Each feature an internal clash between mainstream artists appealing to escapist fantasies and underground acts dedicated to venting and documenting frustrations with social injustice and political inequality. And you can hear "Fuck Bush" (or some variation) multiple times in 74 minute long compact discs.

But this new shit embodied by Punk Goes Crunk is kind of ridiculous. A struggling punk act now (or the working class white kids they target as fans) would have more in common with lyrics and themes from Dead Prez, Pharaohe Monch, Mr. Lif, The Coup or even the Game than they would from a fucking joke cover of Skee Lo's "I Wish" or Rihanna's "Umbrella." This CD is unheard of by the authors as of now, but odds are it'll comes across like this:

Comments

[Erin]

I'm no punk expert, but this doesn't sound like punk music at all. I do like the very thoughtful way you posit this album in a historical context.
As always, thank for making me think about something new.

[focusedpurpose]

the irony of this clip is- this black face wearing clown speaks of black women with substantially more respect than any of the "hip hop" artists you have mentioned in most of your posts.

name calling notwithstanding, as i am no one's mammy; i would prefer to have someone sing about my smile and the fact that they will walk a hundred miles for me anyday---before referring to me as a bitch, ho, skeez, jumpoff, shawty, baby mama, or ms fat booty.

injustice anywhere is a threat to justice everywhere.

[Ivan Rice]

"i would prefer to have someone sing about my smile..."

Then fucking try-out for THE BACHELOR. There's a history of art for ages that expresses male (and female) rage and contempt at partner's for heartache, breakup, etc. In punk and hip hop. But how does that make a systematic dehumanization of an entire race of people all the more appropriate if someone decides to sing about that person's "smile"?