Rice’s argument in chapter 6 is that the term cool can be broken down into three different levels as noted by Amiri Baraka, a noted poet and playwright who emerged in the 60s during the civil rights era. These levels are, the cultural level, the economic level and the political level.
His argument is that the cultural origins of cool can be traced back to African culture and the Yoruban word itutu, which has the same meaning as the American term cool. It is conceivable that the cool movement came to America during the time of the slave trade. Because of this origin of cool, Baraka makes the argument that to be cool means to be detached, uninvolved and nonparticipatory. Baraka proves his point in the appropriation of African American music by the white culture. Blues and jazz originated with the African American population and was made popular by white artists and ultimately appropriated into rock and roll. White teenagers adapted this new sound and new attitude and this music culture became popular. White-owned radio stations and record companies ignored the original African American artists, but would promote and sell this music appropriated by white artists. African American culture defined what was cool, but white culture appropriated these behaviors and ideas. The result was the African American versions of these behaviors and ideas were forgotten as being the original versions.
Cool on the economic level is the denial of economic rights to a particular ethnic group. Again using the example of African American blues and jazz, this music would be created in the African American culture, but not promoted by white-owned radio stations and record companies. This music would be appropriated by white culture, white artists (such as Elvis), and would be promoted by these companies. The white artist would earn royalties on this music, but the original composer would not receive any royalties or recognition. Since African Americans were denied economic participation, they would be considered cool on the economic level.
African Americans were also considered to be politically cool because of their lack of power and control in politics. If political power is absent, so is economic and cultural power. During the 60s African Americans were denied equal access to employment, and more importantly to many basic rights. Forced, blatant discrimination in every aspect of life robbed African Americans of any political power and as a result, loss of economic power as well.
The argument is that oppression is the basis for cool. Those in power are not considered cool. Instead the empowered represent mainstream society, the group who are in control politically, economically and culturally. By definition cool is rebellion against the establishment, those empowered. Behaviors associated with the oppressed become cool, because this association defines the oppressed as anti-establishment.
In chapter 7 Rice discusses sampling and plagiarism. Sampling in music, takes familiar songs from white culture and uses the tunes and lyrics to make a statement. Sampling is appropriation of white music by African American artists. Public Enemy appropriates white music to initiate social change. They do exactly what white culture did with African American blues and jazz, the difference being that they are appropriating the dominant cultures music for their own purposes, thus empowering African Americans (artists) on an economic level. However, sampling enters a gray area in relation to plagiarism. P. Diddy’s “I’ll Be Missing You” samples only one song. This song is unmistakably appropriated from The Police’s “Every Breath You Take” and is done primarily for entertainment value, not social change. Martin Luther King Jr. appropriated, or sampled in his “Letter from Birmingham Jail” from works such as the Bible. His goal was social change and sampling from this source as well as from other philosophical texts, was done in an attempt to make a Christian white audience identify with his message.
Plagiarism is taking another person’s work (written, musical composition, art, etc.) and claiming it as your own creation without acknowledging the original author. Sampling is taking another person’s work, making minimal changes and calling it your own. Though I do not think it fits the exact definition of plagiarism, it is the use of someone else’s work and therefore should not be considered an original composition.
