Saturday, May 30, 2009

paradigmatic alterations

yeah so the title is a bit tongue in cheek but due to obvious events occurring i have been thinking a lot about things surrounding what is normally phrasally realized as a quote unquote paradigm shift and i thought that maybe one way to approach everything from the functional to the abstract slash theoretical realization or comprehension of this idea would be to attempt to apply it through the song lollipop off the album the carter iii now when i first attempted to start considering this application i really didnt know what to do with it there are no obvious or truly insightful lyrical markers of this phenomenon or at least no matter how hard i looked with the express purpose of finding one i couldnt which got me to thinking that there might be something else i should use some other song perhaps but then i started thinking harder about it and i realized that in a very real and important and productive sense the entire song lollipop off the album the carter iii is a musical instantiation and theorization of the paradigm shift not only in the usual historical perspective which common usage had caused a sort of blinder effect on my interpretation of the word which was now lost thanks simply to my new ability to see the idea in a new context but also the song lollipop off the album the carter iii works as a paradigm shift in a number of other ways some explicable and others completely inexplicable i would highly recommend that any readers out there who have taken anything up until now at all seriously would look at the song not simply as a song which is a thing that i have been sort of been saying below the surface of every post here but also and this is new as a functional paradigm shift from a non historical perspective now one way you could do this and im not saying this is the right way or that it is even necessarily the first step i am just providing it as an example in order to facilitate other new thought is to look at the rampant orality of the song as instead of taking part in the dialectics of power as taking part in the dialectics of altering the normative or naturalized functional versus pleasurable reality of the sexual act because oral sex lies in a space that is neither fully functional nor fully pleasurable neither is it fully entrenched in either camp of the natural versus unnatural or perverse camp it is in a sense used as a new paradigm which exists outside of personal binary structures but not in the sense that it subverts or annihilates them since it operates beside them another way to look at this for people who are not interested in reading about oral sex would be to look at the song lollipop off the album the carter iii from the perspective precisely of a historical paradigm shift the most obvious and manageable of these being the history of the career of the artist who produced now not only is the song lollipop off the album the carter iii one of the most highly regarded and loved songs that have come out of this particular artist it signalled the final mainstream introduction of the artist before the song lollipop off the album the carter iii the artist had undeniably had hits and was famous but the song lollipop off the album the carter iii indelibly intertwined the artist within popular culture and then we can use this personal biographical paradigm shift in order to look at a larger paradigm shift within the culture in the apparent cultural ramifications of the popularity of the song lollipop off the album the carter iii but then i will leave off here in order to tell you to listen to the song and to not take what i have to say as gospel truth

theory of lollipop performed aka video of my first performance

theory of lollipop part one aka the text of my first performance

okay so usually right now i would start listening to that song again but since this is in a public setting and i don’t want to bore you because i know that so many of you are disinclined to be bored under any circumstances much less ones you paid to be involved in i am going to break from my usual modus operandi and talk to you about this song that we just listened to and i am going to do it while we listen to the songs which are on right now courtesy of the duo uninterpretative no versus dj infektial blowjob in order to provide some context to the the things im saying without like i said before boring you so i want to start off by talking about autotune now as you all probably know autotune is a pitch correcting software the idea behind which is to alter the pitch of the singers voice in order to make it more in tune so to speak and all of you also probably know that the song that i just played which is the song lollipop off the album the carter iii is in fact not sung so much as rapped although the rapping is done in a less than conventional fashion so starting off with autotune the question is why employ it because we all know that rapping is not about hitting the right notes as singing is but about keeping rhythm in words and this is why i think that the usage of autotune on vocals which it cannot have any beneficial effect on is ingenious see autotune on a rappers voice is a purely ornamental or luxurious addition to the music and as we all well know this is precisely where the difference between artistic and conventional or everyday usage of language lies that is to say that art is the disconnect between necessity and actual usage which is drawing from the Russian formalist ideas of poetic language but i think theres some obvious truth there and that the usage of autotune is a really subtle and powerful way to reinforce this notion of art because this disconnect which it simultaneously acknowledges and in acknowledging exacerbates is one from the days in which it was assumed that the meaning that art carried still had the capacity to fundamentally alter people that is to say that in using the autotune to reach back to this tradition the song escapes the so called postmodern vacuity of meaning which is the culturally dominant mode because of how tight of a stranglehold it has on the construction of pop cultural items today which you can see in the rampant reductive meaning of all cultural items as being nothing but what they say they are explicitly or at best instantiations of certain prescribed general experiential truth this can be seen from everything from the most quote unquote experimental avant garde brilliant subversive art to the most conventional brilliant quote unquote mass market pop country radio but anyway like i was saying the songs use of autotune resituates it within an alternate history in which art still has meaning so before the song even starts to do its work the form that is chosen by which to convey the vehicle of the lyrics indicates an overarching respect and belief in what it is about to do now the sort of logical thing to do would be to say that im going to start from the beginning but i think starting from the beginning would be a bit of a banal move for a song i have listened to as many times as this and well if you havent then it isnt my fault i have been telling people to listen to this song for a long time man so the next thing im going to talk about is the use of nonstandard expressions and i dont mean that in the sense that the song uses particular dialectal phrases or idioms or what have you but as you may have noticed that there is quite a bit of what might be described as purposeful stuttering and even unsanctioned onomatopoeia and so on i think this is a very ripe topic in any linguistically based art especially metrical ones like poetry and rap lyrics because while they can be used simply to fill places where the syllable count is lacking even then they are a purposeful and extranecessary piece of the whole because leaving these prosodic nodes semantically void is the most ostentatious way of calling attention to their existence which word itself brings up the fact that there is a sort of poetic existential crisis looming over this whole point which i am taking a tangent from at the moment to call to mind the fact that there is an ongoing debate within the hip hop community and especially its apologists slash fans about whether or not rap lyrics constitute poetry and then on a higher level what this means for poetry if it is the case but this is all background to use a film metaphor as is the existential crisis which this song presents so i will get back to what i was saying before about the ostentatious way of calling attention to the prosodic elements existence which is something that is usually at all points effaced in favor of smoothness but the constant restating of certain syllables in the song lollipop off the album the carter iii is an incredibly effective and unobtrusive way of indicating that there is a disparity between the form and the content in that the form is predigested and technical whereas the content alleges itself and is usually read as being banal and crude at best and the first thing this disparity does is call into question the point of this form if it is only to be used as a vehicle for an apparently tawdry display of desire there is really no reason to be expressing it as though it were in the poetic tradition and what im not trying to say is that all cultural productions need to be inherently lofty and beautiful or what have you just that because of the constant slippages which act as allusions back to the form of the song it is safe to assume that there is something analogous to a consciousness within the song which is placing this disparity in view in order to elicit some reaction or to imply something which cannot be pointed at in the lyrics of the song due either to issues with the form itself or even with the commodification of the song that is to say that it is aware that it has a market and it doesnt want to alienate that market now what this reaction or implication might precisely be is up for debate obviously but what i think is at stake in this stuttering way of directing the consumers attention is a critique on the popular intellectual notion that form dictates content in that it circumscribes possibility or rather not a critique on this notion itself but on some of the apparently logical repercussions of this notion such as the idea that and this is the idea taken to an extreme but like all polemical viewpoints it holds more than a small amount of truth if someone chooses a poetic form they cant help but present things in a poetical way no matter what they are talking about and putting this in the terms of artists who think like this it is the same as saying that one focuses on ugly things in ones work in order to make those things beautiful but anyway i think the stuttering and phrases like jerp zherp call to attention the fact that this metrical style of expression is anything but forcing the author into a certain set of parameters of expression of course in order to express this thought the song is still reliant on the technique but taking this viewpoint is incredibly reductive in the worst sense of that word because it not only takes away from the possibilities of the song it actively denies a logically constructed argument on dogmatic grounds which would all be uninteresting except that the song itself mirrors this fact in how its predigested poetic meter is actively undermined by its content by the simple fact of drawing said form to light with the dogmatism by which i mean that it is the very act of dogmatism and self effacement that is being brought to light with these stutterings or marginal nonstandard utterances as i called them before and so to give it the reductive meaning i just mentioned would be to literally read against the text that is to say it would not in any real notion of the word be reading which is important as a transitionary point i suppose in that the next thing i would like to talk about is the quote unquote readable lyrics that is to say those which might contrastively be called standard in that they have a higher degree of transparency as to their meaning and a correspondingly higher degree of opacity as to their place within the form of the song and i mean obviously there is not going to be enough time to get through every lyric within the song or even a sizable amount of them and even if i did have the time that would just give this whole endeavor a false degree of comprehensiveness which is very clearly antithetical to the ethos that this song and the oeuvre as a whole presents and even beyond that the production techniques and so on but that is a topic for another time or more accurately theorist because i have no interest in exploring those topics with respect to the song lollipop off the album the carter iii even if i could ostensibly segue into them with a poor transition using the lyrics about shawty needing a refund but back to the lyrics as such or rather given where we are i think a better consideration would just be to talk about the thematic element of oral sex because i have encountered a lot of resistance to this idea in my discussion of this song with people the first obvious thing to get out there is that while there is definitely a certain culturally impelled symbolic degradation in the act of giving oral sex i think it is beyond obvious even with the littlest amount of thought possible that this whole song is playing with that notion with the combination of the lyric that pussy in my mouth had me lost for words evoking imageries of the artist bound and gagged with a vagina in a reversal of the violent and banal extremes of pornography in which the woman is almost invariably forced to suck cock until she slobbers everywhere and in addition to that lyric is the equation of the penis with the lollipop which is a really childish in multiple senses and comic phallic symbol if there ever was one and although i didnt really want to bring the music video into this it seems that the video seems to symbolically equate the lollipop not with the penis but with money as all the lollipops are being licked by male characters and there are shots of women lying in a sea of lollipops just as they might lie on a bed of cash in another music video all of which goes to place the imagery of oral sex not only on its head but also in a larger context and what i mean by that is that well basically the metaphorical lollipop is oversignified in such a way as to make the preferred reading and i say this both in the way that it is usually read and in the way that the song seems to indicate one to read it is actually an impossible reading because of how certain signifiers ie the lollipop are drawn out in a myriad of completely opposing directions so that they cannot mean what they are quote unquote supposed to mean okay now to tie this all up i am going to play the song lollipop off the album the carter iii one more time and i want you all to sing along with me now

coming out



yes thats right im going to be performing as the opening act for astronautalis and bleubird on april thirteenth in san luis obispo you will all get to see me for the first time and i hope you will like it

self awareness song

im going to break form a bit here and talk about a song called cant believe it by t pain it is very plainly disguised as a generic radio pop ballad in the vein of what has come to be thought of as the pop version of r and b or hip hop now the song essentially tells of the encounter between a man and woman from the mans perspective and the man then goes on to describe the various places to which he desires to allow her to take vacations ie a beach house in costa rica after t pain goes on for some time in this vein describing essentially the ability of his affluence to transport this young woman he finds desirable into what are essentially idyllic locations the line i can send you down south is rap slash sung and i think this is the perfect example of the kind of self awareness that is so important to hip hop and makes it such an important and useful artefact i mean listening to the song it is pretty apparent that there is underlying the banal love story issues of outsourcing and of deferment but that line both drags this issues explicitly to light with the particularly non idyllic destination provided which casts the others into relief and then on top of that it also introduces a very specific lineage which before hearing this line could only be inferred from the artists and the consideration of genre and the songs place of origin namely that of american slavery and being sent down the river and so on which with this line goes from an unspoken idea haunting it to an idea present within the text in a line which is delivered with a flair which allows for both the comedy of it to be evident and for it to be subsumed as part of the song effectively co opting the idea and making it not only an observation within the song but an integral aspect of the song which point i think is particularly interesting in that it does not succumb to the didactic impulse that would seem to necessarily follow such a crucial movement in ideas of the song instead it is simply presented and used as a jumping off point which i think is incredibly fascinating now the whole song is fascinating obviously but to conceive of it in such an autotheoretical fashion is just a point which i dont imagine most people read it with even though it is quite clearly present i mean it would be hard to argue that the reason that this line is there is completely coincidental and would require a pretty childish or racist presupposition of the ignorance of the artist in order to make this argument

a response to fellow personal blogger maggie may

a little while ago my fellow blogger maggie may whose blog you can find in the comments section of a few of my recent blogs note this is not true anymore but anyway she had deleted her blog not long after i originally created this blog so anyway she asked me a question about some espn thing that is a blog and i told her that i would let her know just why you could be assured that it wasnt me who wrote those and the reason as should be fairly obvious to anyone who knows me is that i am notorious for never writing anything down i do my best not to ever write anything down i dont believe in the immutability of signs in the way that the writing process seems to suggest now the next question you might pose to me after i do precisely what i say i never do is that why are you doing exactly what you just said you dont ever do how is writing about how one doesnt write proof that one did not write something and further is this lack of familiarity with the writing process the quote unquote truth behind the style with which you write to all that i would say it is much more complicated than that and as with all banal truths this one is as misleading and reductive as any other truth one could possibly imagine now as for the other part namely the question of why i am doing this if i am so averse to writing well that is a good one see the problem is that there is a broad aesthetic category which i am unable to access through any mode except for writing which was the impetus behind my creating the user account on last fm which then transmuted into this blog later on which will remain unnamed for the moment but which is an incredibly important thing which more people need to think about and consider the implications of in addition to that there are other more banal or artistically situated phenomena which also are inaccessible except through certain forms of writing and so i decided that the personal blog is the most effective way of producing as many of these ideas as possible and that therefore i had to begin one despite my as i stated before aversion to the medium inherent to the blog that is to say writing and so that is why i did not write the espn blog if you will

it worked

apparently posting that threat at last fm actually worked since my audioscrobbler hasnt fucked up since then im kind of worried about posting this follow up since theres a chance theyre watching this profile and will revoke my fixedness when they see this i dont know why they are choosing to do this to me but i will power through it i suppose unless it starts happening too much then ill just fucking quit their service but im probably just throwing threats out into the aether so ill cut it out for the moment although the coincidence aka syncronicity is very convincing nevertheless im glad that whatever happened happened and i hope it doesnt relapse and ill be back on my post that i promised really soon

an open letter to last fm

if you dont stop saying i scrobbled tracks that i never scrobbled i am going to break your goddamn servers

first post of the new year

yeah i know its late as fuck but i still gotta say that i am looking forward to 2009 i gotta lotta shit in the pipelines if you know what im saying and the new year has been pretty good to me i gotta say its been a hell of a ride so far but its only going to get crazier from hereonin the longer i been in the game the more respect i got for the cats who been doing this for decades theres people in this game whove been around since before the day i was born and that aint no fuckin joke if you know what im saying now even if i dont like some of those cats i gotta respect their hustle because thats what it is all about on some level no matter how much you want to try and reinterpret or distance yourself from that fact it is a pretty insurmountable absolute in this reality no matter what youre doing on some level youre hustling and the type of hustling that were all involved in differes from person to person but there are particular games you can get into and this rap game is one of the toughest games to get your money in even harder in many respects than the drug game though ive got no beef with those out there slanging since whether or not you like it you better fucking recognize the fact that motherfuckers slanging and transporting that shit are straight acting on the world stage buoying up nations and heavily impacting the international flow of capital and they have a lot of risk from every side of the so called justice system but thats all beside the point im saying that the rap game has a particular selectivity and highly hierarchical demeanour combined with this absurd determinations of taste and imagistic preference with everyone from record executives to fans to radio djs and while this isnt as necessarily life threatening as the issues that drug dealers might have to deal with they certainly cull tons of people out of the game making it a more selective field than just about any other hustle in the world but all of that is just sort of my musings what i really came to say was that this new year is going to be one hell of a new year if you know what im saying im pushing so much shit out this year you will not even believe it and one of those many things is going to be at least if i concede to my new years resolution the promised theory of lollipop that i put forth in an earlier blog entry its something ive been working on for such a long time now and i feel like if i do get it out its going to be a goddamn dissertation length hardass essay to read because despite what all the haters have been saying there is a wealth of implications and interesting details about that song in addition to it being a straight hip hop classic club banger with a straight phenomenal hook

people fucking with me

i have been told a number of times about some shit that went down in new york this past weekend the fucking knitting factory is shutting down which is a goddamn shame but fuck them for catering to some haters motherfuckers have been telling me there were two distinct instances of performers on stage talking shit about me first was some cat named alias from the rap crew anticon he got up there and was straight talking shit and fuck him and fuck his shitty little record label he made some reference to recording a diss track against me and fuck that i would tear him to pieces before he could even spit a fucking bar and id do it in autotune dont fuck with me kid and then the next night sacha jenkins was emceeing a rakim show which was the last hip hop show at the factory and he started talking some shit in order to get the crowd riled up against me which is some straight bullshit that guy needs to stick to the fucking white rapper show and his defunct ass magazine i mean how fucking dare he say some shit at a rakim concert about me that is just beyond comprehension that motherfucker shouldve got booed off stage i mean i know some of yall are still on some east coast versus dirty south shit but you got to show some fucking respect for the game as a whole when the god is in the building i just cannot fucking believe the audacity of these motherfuckers the two of you might as well form a fucking nazi hip hop collective called take the music from the black man

theory of lollipop

no not here its forthcoming i just wanted to jot some basic ideas that ive been having and use this to remind myself of it in the future i really want to focus on the intertextual nature of lollipop not only as a piece of an oeuvre but as a piece within the context of a culture as a whole based on the pilfered or otherwise appropriated materials which appear therein

i fucked up

i was just listening to lollipop and i realized that i have been fucking up big time with this blog i mean i havent once mentioned the homie static major and he made that fucking song without him that song wouldnt be half as good as i was listening to it i finally got past trying to determine all the intricacies of the lyrics and the interaction with the beat and i started listening to the way static major sang and holy fucking shit man that guy was definitely one of the best i cant believe hes gone the pathos with which he sings elements of that song are just absolutely remarkable especially considering how it is on the surface just some generic club banger that can get the people moving but i mean honestly listen to the last bit of that song when he is singing as though through clenched teeth it really creates a wholly alternative feel to the song it sort of wraps everything within the song together and spits out a whole different monster seriously if you could hear the song without that singing at the end you would be surprised how different it sounds and it isnt like those awful twist endings that simply redirect the plot in an unexpected direction it is something much more deeply powerful that redirects the entire emotion of the piece without contradicting anything that has come before i think that people should really give more credit to static major i mean i dont think people in general consider that song enough or think highly enough of it based on my own listening experience but now i dont think that based just on the production and the lyricism but also on the remarkably artistic and brilliant work of the late static major

im not dead

seriously shut the fuck up

hiatus

sorry about my internet hiatus guys i was busy and without access to the internet i plan on returning to semi regularly update this blog again though i know it has been a bit of a fitful post history in the past but i respect everyone who has checked it even once it is not easy to let this kind of personally important but publically insignificant information out into the world in a way that doesnt run the risk of mockery or whatever but yeah this blog has been very therapeutic for me in not only the emotional sense but also intellectually im sure ill look back on this blog and laugh one day but that will merely be because i will have grown as a human being then not because what i said here today was supposed to be intended with the utmost deadly sincerity i just need to get things into the world in a way that doesnt require that they are written in verse and repeated a ton of times that repetition can be a powerful rhetorical tool but it can also act like a cattle prod just poking and poking and poking until all thats left is a big fucking hole where your skin used to be i am glad to be back the other thing i wanted to talk about was that i have been listening to a lot of lollipop as usual and i am really starting to wonder what the impetus behind the semi onomatopoeic words was i really need to interrogate this further

open letter

note i wrote this in response mostly to the people visiting my last.fm page and talking shit but it is relevant to this forum too dont think i dont check the comments i get so i did a little editing and here it is this is an open letter to everyone trying to tell me that i am not the real wayne i would just like to say fuck off just because you are a bunch of cynical fucks who can't comprehend the possibility of a celebrity having free time or even existing outside of the spotlight doesnt mean that some dont there is something insipid about all of your blase conceitedness that really does not fail to annoy me and it is not my problem that you have all failed to comprehend the fact that anonymity works in more ways than simply allowing for the impersonation by a nobody of a celebrity honestly there is a lot to be said about how fucked the celebrity culture we are living in today is and i cant say im proud to be part of it but fuck you if you think that means i am not going to accept credit where credit is due or that i am going to pull some bullshit buckethead slipknot residents crap in some bullshit self effacement wankfest there is a thin line that i walk and i wont have it erased by some internet personas constantly assaulting my integrity

pitchfork review

i know youve all been waiting for me to respond to this so i think i will finally get around to it pitchfork medias review of the carter iii is somehow simultaneously both incredibly shameful and impossibly flattering i very much respect what the people at pitchfork are trying to do in general which is to say the way they are trying to revolutionize the review industry by creating a new paradigm in the business but all that aside they seem to think that they are capable of telling what to me is an entirely new audience their revisionist adaptation of my biography i would really prefer that they didn't have such a overseer mentality when they did it i mean honestly people trying to turn a living person into some sort of abstract story created as a marketing ploy in order to package a human being into some sort of bite size commodity i have always been against this and i though pitchfork with its alleged antiestablishmentism would be as well but it seems that they are just as big of shills as the rest of the media outlets and i can honestly say this saddens me quite a bit however i dont want to dwell on the negatives when they were so respectful of my artistry and as such i must say that i still have the feeling that pitchfork holds the capacity to reform the review industry as we know it if only they will get rid of these slave owner mentalities that they quite obviously possess but would never admit to in any case i would like to thank and warn pitchfork in their wonderful review of me keep on guys i respect you

elitism

the elitism that seems to be all pervasive in hip hop these days especially in that place known colloquially as the internet is something that is in my opinion a more important perpetrator of the nasian hip hop is dead syndrome than any sort of issue one might have with ringtone rap or the perceived content of the genre as a whole being unimpressive to use a euphemism this idea that the only real hip hop is wu tang or public enemy and rakim or whatever is contrary not only to the spirit of hip hop in general but also to the basic ethos of those artists as well as their taste and so forth i cannot claim that any one movement is better than another but this post backpacker mindset takes such a holier than thou mindset that it seems only justified to respond in kind fuck all that turn the other cheek dont stoop to their level shit this is a question of the viability of hip hop in the future not just mine but all of it there needs to be a re education of sorts in the fringe hip hop communities i fully respect independent artists but some of them are a cancer on the whole of art i cannot be accused of hyperbole because this is pure truth that i am typing i am certainly no savior of hip hop but I will do my best to protect that which i love i know i have sort of talked about this in my first blog entry but i see it more and more as the months go by and i just cannot handle this shit for much longer

collaborations vol two

a few days ago i was talking about the implications of hip hop and the collaborative effect on the community thereof and i would just like to return to that topic in order to recommend a prime example of what i was talking about with the song rick ross speedin remix the myriad of talent present on that song is undeniable i highly recommend everybody pick it up in one form or another and reread my collaborations entry and try to let it stew in your head for a bit this is something i am not quite fully sure of but i know is surely a fecund line of thought that perhaps one more adept at thinking than i might pursue to fruitful gains if so that person should talk to me about it so that i can use my particular talent to put it into poetry

personal entry

i just realized how much of a focus on abstract items this blog has carried from the outset and i decided that if i am going to have an internet brain dump it must equally function in terms of concrete brain and abstract brain sloughings there is nothing quite so inane as a blog that functions as a first person bildungsroman for the author who assumes himself to be the same as the narrator especially when the author is a grown man who has no reason to be coming to terms with himself i am doing my best with this blog to defy all sorts of non fiction narrative conventions not only by way of my style of stream of consciousness or whatever you would prefer to call it typographical style but also in projecting incohesiveness and half bakedness as legitimate without any sort of caveat or bullshit nb to convince people that i am actually smarter than this but i was just thinking or whatever and so mission statement aside i would like to enter into a recollection about my previous night in which i and a few of my friends sat in my kitchen for a few hours discussing such topics as dungeons and dragons blogs batman superman and comic canon and other inane but yet life defining subjects afterwards we went to albertsons to pick up some alcohol and i searched very hard for a wine that my friends parents make which ended in me texting him this was about midnight and then we returned to my place two people left to get drunk and the other friend stayed a bit then also left and i proceeded to read superman red son and listen to some of my more personally esteemed contemporaries until i got a return text message from said friend proclaiming his love for me and giving me the information i needed and after a short text message conversation the two of us ended and i went to bed

the dark knight

i just got back from seeing the dark knight with a couple of my homies and i must say that all respects to heath ledger that shit was fucking dope christopher and jonathon nolan are really quite the brilliant writers i feel fully qualified to say this even though i am generally against judgmental criticism in any form unless it is very well substantiated but i think that the film speaks for itself and i think that heath ledger is very well likely to win plenty of posthumous awards that he well deserves although i didnt respect him as an actor before this film i can really feel for the loss the acting community has suffered

collaborations

in hip hop one of the most prevalent ways in which a community can be formed and this is also why the hip hop community can successfully be so malleable in its makeup and dramatic metanarrative is through the collaboration of two artists now this is almost always essential in the creative process due to the fact that there are few mcs who produce all their own beats or vice versa but in terms of the publics perception of the collaboration there is still the multiple emcees per song where one mc guests on anothers album or mixtape or whathaveyou in order to do such varied things as showing solidarity marketing and friendly competition in that placing ones verse immediately adjacent to a contemporaries is always capable of envigorating the competitive nature of the game but perhaps the most important point that i am trying to make is in the difference between the contemporary scene of hip hop as opposed to previous iterations of music making wherein the only community visible was the self contained pseudo community of the band and interaction came only in the form of the suits of the record industry and possibly interchanging managers whereas as i have described above the hip hop community is just that an actual community that is created through artistic collaborations that take the movement ethos one step further than it has gone before in music not just releasing covers and split singles or albums but literally co existing with one another to create a music that challenges whole new aesthetic boundaries as well as defying so called conventions i am not sure how to describe this in neutral terms it seems every phrase that desires to spring forth from my fingertips is purely laudatory and my journalistic credibility may be threatened by this so i beg you to think of this particular post purely in terms of an opinion piece one artists philosophical wrestling with his medium in the infantile stages of its thought process committed to digital paper for the interactive element that is absolutely necessary to all philosophical and sociological epiphanies

flow

probably the most indefinable aspect of the art of hip hop is the idea of flow that is used to define rappers or if not indefinable perhaps the least quantifiable this is also one of the most important pieces to the puzzle of successfully reinterpreting the genre into your own personal vehicle which is why it is so disheartening that so many of the same critics who will testify by my lyrical prowess which is undeniable will in the same sentence denigrate my ability to flow or will do something that is clearly intended to deny me the status as one of the greats because they are worried about being disagreed with too vehemently or because they have some valorized notion of artists that creates the idea that only the old greats were true greats and all contemporary artists are mere shadows of the former great ones and even i will admit that i might not be any sort of gift of gab but at least i am not a gimmick artist like twista and not only that but my ability to flow has been progressing with each album and there are intricacies which are by and large overlooked by people who think everything about my music is simply straightforward club oriented trashy pop or whatever which i can fully respect but i basically just wish that at some point people who are paid to do so would look deeper and inform the public thereof but bemoaning the critical state of the times will get one to no path that hasnt been tread a million times and i meant to talk about flow in general and the conundrum that it presents something that has been bothering me for a few years now and i guess i just wanted to ask for anyones opinions on what precisely it is since to me it seems to be something to the effect of an amalgamation of a rappers ability to maintain their percussive style of singing over a period of time but is also the particular tambre of the voice as well as any idiosyncracies of style that the rapper has and maybe even the uniformity present when someone raps over various dissimilar beats perhaps it is that constant that people speak about when they say someone has a good flow

accusations of ghostwriting

considering the fact that contemporary hip hop is built around certain ideas that stand as the way by which to judge the art form which are maintained by anyone with more than a passing interest in the genre inspired by the sudden burst in acceptability of rap in clubs and on television and mainstream radio there are certain things that can be brought to bear on a rapper that would be at worse entirely inconsequential in the rest of pop culture but which could be both the popular and critical death of a rapper and perhaps the most terrifying of these is the allegation of ghostwriting not only because these allegations need not be substantiated for the rumor to gain credence nor is it simply the fact that these accusations will stick around long after the rapper has become a popular legend or a critical darling and will always undermine even the most ardent of fan one thinks of the allegations of the ghost production that happened on nearly all eric b and rakim albums in analogy but the most terrifying thing about people believing that you are being ghostwritten for is that it an implicit criticism of the one thing that hip hop has had as its central tenet since the days of grandmaster flash and the furious five and which allows certain historians to trace its roots back to great orators like malcolm x and martin luther king jr that of above all else maintaining a reality which is exactly coherent with the reality which is prevalent among people on earth and since hip hop is a poetic form in which the narrator and the author are conflated if the narrator/author is revealed by way of ghostwriting to simply be the narrator then this central tenet is revealed to be indelibly blasphemed against making the rapper the equivalent of a christian who feels neither love nor fear but only malice toward his god and the fanbase which the rapper relies upon to carry forth his name after he is gone which is as i see it the true goal of all artists

the state of hip hop

for this second post i would like to talk about the relation of elitism to my fanbase i exist in a very strange place in the hip hop community it seems that there is no consensus to any criticism about me the members of the general public who hate songs by me who havent heard anything except lollipop and fireman and shit like that seem to be under the impression that i am just another rapper just some guy who sounds like every other ringtone rapper to them and who doesnt deserve all the praise given to him by the press whereas the hip hop heads who diss me tend to also complain about the praise i get and use this to somehow undermine my own strengths so i think that the weird thing about these two camps is that neither of them hate me so much as they hate my praise that comes from the greater majority of people and especially the people we call experts on the subject or professionals i guess either way the critical public and the critical elite agree with each other in that i am the greatest lyricist alive and yet there is a sizable subgroup within both of these groups that hate me for the very reason that the rest of their group is behind me in my artistic endeavour i think this is bullshit and can only wonder why it is that these supposed anti conformists even exist there is no reason to rebel for the sake of rebellion just because james dean was attractive and mythologized as a great actor doesnt mean that rebellion sans justification is a proper course of action from anyone that is like saying that objectivism is a feasible philosophy its nonsense as though solipsism was something other than something you ought to consider briefly to contextualize critical thinking speaking of which in nas new album he says break free of the matrix when he is spouting platitudes of empowerment and i must say that this is precisely what i was getting at with the james dean reference nas is unwittingly using the tools of a culture that he is trying to rebel against and in doing so is only revalidating it just like these haters who are attempting to denigrate my rap career and my latest album criticizing me for doing too many drugs while they spout off about how the best rappers of all time were biggie and pac like they were fucking sober or talking about how krsone is the best lyricist because even though they havent heard him they have heard that line being repeated hip hop is an art form and one that has yet to stagnate just because you prefer to accept talking points proffered by hip hop pundits doesnt mean your opinion will be considered relavent by anyone with any knowledge of the subject i am going to keep perfecting and moving forward the art form and maybe twenty years from now when someone better than me finally comes along your kids will be repeating the line that ive been promoting all along

lollipop

i know a lot of people love this song but there are a number of people with good reasoning skills who hate my new song lollipop and i would like to address this to them i truly believe this is one of the few times in life when the saying all naysayers be damned is a proper course of action to take because there is nothing in this song worthy of your hatred aside from the self assured elitist hatred of populist artistry i am not trying to call all of my detractors elitist but i would make it known that these people are unable to be reasoned with and that this causes me no qualms but as for the others who have a distaste for my song i would say that the most prevalent are those who may be offended by it which is to say those of us who have been conditioned to respond to any mention of fellatio with the idea that it inherently denotes some sort of sexist power dynamic which i very much disagree with in that this power dynamic is certainly easily arguable but nevertheless exists purely in metaphor i dont know about you but there have been plenty of times where i was getting head and it produced in me no desire to subjugate women or even a disdain for the woman in particular who performed the act the truth of the matter is that fellatio has a very distinct and confused place within our culture and that it is one of the sticky points which must be interrogated through roundabout means namely art and that is what i am trying to do albeit in such a way as to not preclude the average listener from both listening to and enjoying my music i have some of the undisputed best producers in the world behind me and have won numerous awards for my lyricism it seems to me that at this point in my career i might be able to create a work that plays with conventional understandings of broad cultural metaphors and not immediately decried as sexist lollipop is not exactly the culmination of art or anything but neither is it some thoughtless bit of anti feminist misogyny and i would just appreciate the openmindedness of my audience and hope that those who would level such heinous charges would not do them so lightly as to just name them as being true without proper analysis of the situation and the particularity and not just some broad generalization about the state of music or culture or rap or whatever next time i post i will aim my sights at another of these groups of haters thank you for reading

revitalizing the blog

i am going to be reposting all of the older posts on this blog over the next however long it takes me because i feel it necessary here are the relevant statistics my first blog post was originally on saturday july fifth two thousand and eight there were originally seven posts in july two in august two in september one in october three in december none in january one in february three in march and four in april and then this would have been the second one this month i have some free time and a new blog post in the works and have been popping back into last fm recently and im checking out new layouts i think this one is good but not the potential best im going to look into that but anyway this is just a warning so lets get started fixing this whole thing