Media Watch
The LA Times Explores 'Retro-Futurism' in Contemporary R&B
The Los Angeles Times posted a fairly interesting article on its site dedicated to
contemporary R&B this past Sunday entitled "Ne-Yo, Keri Hilson and the style that lasts: R&B." Once getting beyond the first few paragraphs of flowery descriptors and release dates for upcoming albums from Ne-Yo and Keri Hilson, the article opens into
an examination of one of the reasons R&B is the "style that lasts:"
retro-futurism. At superficial glance this term seems an adequate
definition for the contemporary influx of disparate sounds in R&B. Perhaps a great example of this idea is the current tour that joins Raphael
Saadiq and Janelle Monáe, representing traditionalism (possible
neologism: retro-ism) and futurism respectively.
Questionable use of a sexy, hyphenated term like retro-futurism aside (it references a specific period of twentieth century science fiction that also has connotations of dated conceptions of utopianism), it is a great one. And the author is careful to re-structure its original definition by stating:
"In 2008, retro-futurism is a means for renewal in R&B. Recent interviews with several of its leading talents revealed an eagerness to answer the examples of the greats -- Stevie Wonder and Marvin Gaye were the most often cited -- tempered by a cautiousness about getting stuck in the past...The fusion R&B retro-futurism represents begins in the studio, where artists and producers don't shy away from the synthesizers and samplers at the heart of hip-hop but also seek the warmth and riskiness of live instrumentation."
The introduction of this "philosophy" is thought-provoking. As is often the case when setting the parameters for R&B, retro-futurism also struggles in its attempt to totalize a practice in the genre that dates back to before the fusion of the styles that make up Rhythm and Blues: hybridization. It's what birthed the vast array of artists mentioned in the article, including T-Pain, Alicia Keys, D'Angelo, and Marc Broussard, and their ability to interpret what can be loosely classified as R&B however they see fit.
Ultimately a deeper exploration of "retro-futurism [as] a means for renewal in R&B" only reflects how constantly changing yet consistently self-referential R&B has always been and will always be in its eagerness to reflect on the past, utilize its most effective tropes and create something that is, at least in theory, innovative and challenging. [LAT]
Tags: alicia keys, janelle monáe, keri hilson, marc broussard, ne-yo, raphael saadiq
Comments
Actually - R&B was originally coined to label rock before it was appropriated by white folks. It is an intriguing article though.
Tyler | September 8, 2008 1:55 PM | PermalinkHrmmm, "retro-futurism". How many terms can we possibly come up with to define music? Isn't that what's wrong with the world today? Why does EVERYTHING have to be classified? People, social status', jobs, etc. I know quite a bit about this being as though I work for the federal government and see classifications pop up for people having degrees and having nowhere to fit in but to fit in with higher paid dummies like themselves. As far as my music knowledge, I played in a band for 5 yrs and getting another one back together. To me, music is music. Let Raphael Saadiq and Janelle Monáe do what they may in their musical endeavors. If the listener appreciates it, then that's what matters most. As far as T-Pain, should he even be in the r&b category at all? He's nothing more than a poor excuse of an artist that the industry makes believe he has what it takes to make it...as this is nothing more than another attempt to further the coffin burial of real R&B singers. Pretty soon, we'll have software programs and robots in the studio doing what Patti Labelle, Aretha Franklin, Miinnie Ripperton, Deniece Williams, Whitney Houston used to do with their natural abilities. T-Pain is the start of R&B's death if his "retro-futurism" is let to stand. And anyone supporting him is dead right along with him. His music sucks, the industry sucks, and if this is called "survival", I feel sory for anyone who can't pick up a guitar, play a keyboard, or sing a song from one of the soul music greats claiming to be "industry giants". It's amusing the type of stories people come up with in terms of "defining" music. I'm personally sick of it. I call this type of reasoning "education of the dummy". I bet Marvin Gaye is rolling around in his grave wishing he had a nickel bag to forget the nonsense being drummed up over music when it's nothing more than big business promoting it's own theories and self-induced processes for it's own selfish means. Real musicians like real music...not try and define foot-in-the-door styles from fake musicians being defined as "retro-futuristic".
cb | September 8, 2008 11:23 AM | Permalink