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This is especially urgent in the context of music education. I’d like to believe that there’s a way for us to use the spice more gratefully, and to give more back in return. I want to challenge white supremacy, and I take bell hooks seriously when she says that “contemporary commodification of Black culture by Whites in no way challenges White supremacy when it takes the form of making Blackness the ‘spice that can liven up the dull dish that is mainstream white culture.'” We need that spice, and it’s impossible to resist reaching for it when it’s all around us. How much daylight is there between me and Chris Thile, or between me and Pomplamoose for that matter? I also sometimes do “ I Know You Got Soul” by Eric B and Rakim in class. After seeing Office Space, I got obsessed with “ Down For Whatever” by Ice Cube, and even performed it in front of a small audience one time. I like to think I treat my source material with more respect than Pomplamoose does, but I’m sure I’ve done some tone-deaf appropriating too. I’ve spent my musical life playing blues, funk, jazz, and R&B, and producing hip-hop and techno. I will admit that some of my revulsion for the likes of Pomplamoose comes from the fact that they force me to take an uncomfortable look in the mirror. For example, here’s Artie Figgis doing a Wu-Tang classic on guitar. There’s a whole genre of YouTube videos showing white people playing rap songs on acoustic instruments. Maybe the best thing Chris Thile could have done was to just play Kendrick’s track intact for the Prairie Home Companion audience (or even better, the video) and let it speak for itself. But the whole point of Kendrick’s music is that it revolves around autobiographical truth-telling. Because, does Chris Thile actually hate the po-po? Are they going to shoot him dead in the street for sure? You might say, well, Thile has done plenty of murder ballads in bluegrass contexts, and he didn’t literally mean those either. So what should Chris Thile and the rest of us be doing? One alternative that would be more in the spirit of hip-hop would be for Thile to write a song over the beat/backing of “Alright” that’s truthfully autobiographical, or at least plausibly fictional. But if you’re an American in the present day, you can’t ignore the issues around “Alright.”

It’s easy to ignore the cultural and political issues of eighteenth century Vienna and other faraway times and places. The Western classical concept of “ absolute music” would have us believe that musical works exist in some Platonic realm of pure abstraction, but that belief is itself a politically motivated ideology. It’s inextricable from cultural and political context. And there’s nothing intrinsically wrong with straying outside your lane that’s how innovation happens. Of course Thile should be paying attention to Kendrick, everyone should. Robby Burns is on Mastodon October 19, 2018 And what avenue does he have to explore this without imitation? I think in this case he is trying to challenge his audience as much as he is himself. Robby Burns puts the question I often ask how someone like Thile progress artistically without embracing musical influences that challenge him. I’m trying to be generous here, but the fact remains that Thile’s performance is “skin-crawling,” in the words of one of my Twitter friends. To his credit, Thile recognizes that his version was problematic: “I would readily admit that my love of the song kind of blinded me… I think it was a bad call.” This whole situation raises uncomfortable questions for other white people (like me) who admire black music and want to imitate it. Thile’s risk paid off, to an extent–you can go online and read positive reactions from people who had never heard “Alright” before, who were impressed by it, and who were even motivated to go listen to the Kendrick Lamar original. I went to a couple of tapings of the show back in the Garrison Keillor era, and while the crowd might have been politically liberal, it was also very old and uniformly white. He had little to gain by doing “Alright” in front of the Prairie Home Companion audience, and much to lose. Who can blame him for being taken by Kendrick’s song? Who can blame him for wanting to learn it, and sing it at home for his son, and then eventually do it on stage? Based on interviews, he seems like a good person. He has spent his entire career transgressing genre boundaries. He’s a brilliant musician, arguably the best mandolin player in the world, maybe the best one ever. This song is a hard one to play and sing, and Chris Thile does it more than capably.

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