theory of lollipop enacted aka partial videos of my second performance

theory of lollipop part two aka the text of my second performance

the question it all boils down to is how we orient ourselves toward objects why might we want to see them as anything other than instrumental why might it be a big deal that they are seen as the mediation the lens through which the real world of human interaction gets refracted why for instance posit the lollipop as emblem to metaphorize the false appearance of objectivity into an anti euphemistic slash pc medium when to do the opposite is the much more obvious well established way to earn accolades to establish certain forms of notoriety or credibility or authenticity universally perceived as essential to the functioning of the actors in this generic field where the euphemistic is often outrightly snubbed in favor of the imposed ominous silence or backmasking why then linguistically cover the cock with the lollipop why then dip the last vestige of embodiment in the recorded voice in the android current of autotune why then rap without rapping but by simply being a rapper why cordone time with a package of sixteen beeps and how doesnt this beg you to answer more strictly than objects are instruments and how can these substitutions suggest something more interesting than instruments in the most boring sense like tools with no specific purpose how to strike the world how can violence be undone when the enemy is immaterial when the tools of uncreation are at best the sort of thing that you can feel yourself not feeling when speaking language disjoined from its subject of study creates vortices of the perceptually unmeaningful when you have been taught to speak is useless and crucial and all you can achieve and all that exists and a banal mitigated instantiation of useless subjectivity and when opinions fall dead to the ground like so many leaves unable to support their own miniscule weight and force acts without existing with all the abstract strength of the arrow when times bent until it exists only by mindfulness of gaps in noise acts when sounds stop when notes color themselves synesthetically and stack themselves in the corner of the televisual mind burning down like buildings falling through themselves and the few pieces that remain hold their washed out color like when candy coats the entire world and corrodes it but truly only the greyscale of post apocalyptic representation like licking muted blue lollipops as ash drifts slowly from the sky and everyone feels reverent the way melancholy takes people and displaces them infinitely how the song lollipop off the album the carter iii speaks to the substitution that gets done formally and materially how the metaphorizing stands in to refuse to subvert or master in that the act of covering with the lollipop neither operates outside of convention in that this is a figure which is often employed in the rap context but also in that it isnt an instance of projecting a sense that one is the best rapper alive an assertion conspicuously absent from the song lollipop off the album the carter iii all things considered which is crucial because of the context but also because this substitution which is not in the service of altering any sort of valuation on the continuum of greatness or of pseudo political aesthetic revolution is instead a more compelling idiosyncratic element of everything a sort of commentary that speaks of nothing to everyone laying the object within the object by which i mean the lollipop within the song lollipop off the album the carter iii as the full vessel of a metaphor in which the object of the object within the object becomes now bear with me for a second now i know this is getting a little convoluted but it will all become clear in just a second i am just endeavoring to explain a concept which is itself slightly difficult due in no small part to the infelicity of language to deal with prosaic repetition which is to say specifically the repetition of a specific noun which is structurally determined by its relationship with other nouns with regard to its meaning such that its reiteration is the only possible way of describing the referent in question while maintaining the structure which it may be necessary as in the current context to make apparent depending on the context by which i just mean to point out that the what is difficult here is only the phrasing insofar as it is the particularity of the phrasing which is both the convolutedness and the content to be conveyed anyway the object becomes the object being what it is namely the objectified female body referred to repeatedly as shawty objectified by way of the object the fundamental question returns with the sense that was always immanent to it but never was necessarily operated upon namely the question of how we orient ourselves toward objects is a question of how we orient ourselves towards women a proposition which should be at least comprehensible if not completely obvious just by noting that the concept of binaries can in part be traced back to the master binary of man slash woman with all other unequal binaries mapping themselves onto it while it maps itself back on to them but none of that has anything to do with the song lollipop off the album the carter iii or so you presume and you are not entirely incorrect the point to be taken out of the song lollipop off the album the carter iii is not any sort of political object based prescriptivism but instead this can help to imagine that the reference to the lollipop is not just a sort of mapping over the penis but is also in its status as object being mapped onto the woman and as such is a way of positing the old point that the woman quote is unquote the penis that is the shawty in the song is herself the lollipop as the object distinctions get broken down and revealed to be for all their linguistic difficulty fundamentally just one object or more accurately instantiations of the same fundamental force which being invisible can only be identified through that which it causes or alters namely its objects all of which meaning all of that which preceded this statement being a basic prelude to the hope that lil mama had a swag like mine will freeze the entire world for a moment as they dance will terrify and destroy will cause crowds to break out of themselves and perish all and rebirth in an instant so that she even wear her hear down her back like mine becomes words tied to tongues dripping blood flowing arms and legs exercised externally no control but the grotesque truth of action of being so utterly in control that nothing makes sense that before i make her feel right when its wrong like lyin this whole existence will have been so fractured the whole experience condensing so much it necessarily sucks everything into itself the ultimate defusal and destruction already implied in the structure of language when man she aint never had a love like mine but man i aint never seen a ass like hers that pussy in my mouth had me lost for words so i told her back it up like the end of the world

coming out part two

theres no flier this time but i will be one of the opening acts for filkoe at a house show in santa cruz on april twenty fourth thanks for tuning in

something horrifying

everything i say at all points gets refracted through all those things i have said before and put in place to be observed sometimes other times it in fact does not get refracted through those things and is simply seen as it is with immediate context or perhaps even occasionally entirely divorced of context as in one person saying to another a quote or description completely outside of this medium that i exist exclusively within this whole thing of course not just in itself but also necessarily and obsessively and purposefully and hopefully refracted through the song lollipop off the album the carter iii something which in itself possesses something or perhaps nothing nevertheless you will all see this and perhaps you will listen to the song lollipop off the album the carter iii or perhaps you will turn to my earlier blog posts or perhaps you will discuss things with me outside of these mediums or these entrapments or perhaps you will discuss things with people outside of me outside of this medium or outside of me within this medium perhaps any of these things perhaps a million more and i will never know any of them nothing of this will affect me except mythologically or hopefully or destructively insofar as they will absentually find their way throughout whatever it is i am and mind and hurt

song of the decade

i should probably just go ahead and get this out of the way and i mean no autohomo but the best song of the decade was the song lollipop off the album the carter iii by just about any measure you could possibly endeavor to judge anything by on that kind of scale the song lollipop off the album the carter iii is a paean to art as such art untouched by forces outside of art but also fantastically subtly critical of those forces primarily through form and both timely and timeless in its delivery and content not just in the inane sense of talking about current events or micropolitical phenomena as well as universal themes but instead in the sense of building a circularity into the lyricism which codes those things which we would normally refer to as universal in terms of the immediate and vice versa which is itself again more than a sterile feat of form in its extension through its collusion with the other particularities of the song lollipop off the album the carter iii such as the employment of autotune in terms of that utopian excess and also the repetition which cannot help but strike one as also being excessive but without becoming machinic which is to say both of these as well as the other facts about the song lollipop off the album the carter iii enhance and fill out the other parts like for instance the lyrical felicities of lines like shawty said the nigga that she with aint shit shawty said the nigga that she with aint this shawty said the nigga that she with cant hit shawty ima hit it hit it like i cant miss and he cant do this and he cant do that shawty need a refund need to bring that nigga back by not only creating of them a productive which is to say artistic hole but also a critical totality a raising up out of them into the real political that is from the greek polis and the conceptual interaction of the city in how the enactment of not just the interpersonal but all the difficulties and aporias therein of all the radical intrapersonality that is constantly being fostered in response to and as a consequence of what might be called contemporary politics and the perfectness of encapsulating them in the form of rap music of commercially explosive rap music carrying multiple traditions and subsuming them into something neither or both which brings me to the question of context which is precisely presupposed by the category of best of the decade by which i mean the question of the best whatever of a whatever is never an objective determination of a thing but is instead a way of measuring a thing in relation to other often arbitrarily connected things in the case of year end lists this arbitrariness being encapsulated in the coincidences of the gregorian calendar and so on but so the point being that the song lollipop off the album the carter iii deserves to particularly be called the best song of the decade not just on its own merits but because as i have been trying to say just now that perhaps the most fascinating and beautiful thing about the song lollipop off the album the carter iii is precisely that it grasps and consumes all of its relevant contexts and by this i mean of course all contexts relevant to rap but also because of the highly singular place of rap and especially of one particular rap artist throughout the course of this decade its relevant contexts extend through the cultural and into just about everything in the world thus the fragmentary and distraught nature of all of my previous attempts to figure anything through it i mean one can hardly be expected to call a totalizing piece of art by its right name without first dealing with a host of fragments and synecdoches and all of that other crazy shit but enough apologetics slash vague embedded promises i hope in some small way the case has been made rigorously enough that we can all begin to understand why we esteem this song so highly

important development for historicizing this blog and also about turnin me on

like always ive been away for way too long and i apologize but i want to take this opportunity to perform two actions one of which ive been sitting on for quite some time and another that has just come to my attention the latter of which will go first and so as some of you know i took it upon myself to repost all of the previous blog entries a bit ago which effaced certain built in modes of historicization by which i mean say for instance one wanted to know how long i spent between my fourth and fifth posts at this current juncture there is no way to do it however with the surfacing of this picture anyone can now retroactively discover certain facts about the state that this blog existed in before the revamp now the second thing which i want to discuss is the song turnin me on specifically the opening lyrics and their repetition fly as hell swagga right brown skin poppin now the question of repetition itself is very important insofar as it accounts for a beautiful series of subtle turns and dips and almost balletic movements in the song lollipop off the album the carter iii but in this particular case the beauty is one of appropriation which is another meta interesting phenomenon as you all probably know by now but in it the repetition of that first line serves to indicate that the role is being assumed and it does so in a move apparently dissimilar but deeply related to the one in the song with t pain so that has to be taken into account but more importantly for my purposes in this moment the twisting out from under the falsely positive or empowering nature of the song preceding it one of many sung by female pop artists who are trying to align themselves more with alanis morissette than fergie but in adhering to the formula that it sets for itself limits the possibility of it saying anything interesting by circumscribing itself within a format which only allows her to express satisfaction in the non material or chivalrous and dissatisfaction in the grossly material which is repeated very often in cultural moments so being caught in both this formula and in the broader cultural circular logic seem to be the fate of this song along with so many others but that repetition that crystal clear moment of appropriation and insight slash dredging up from the interpretive to the immanent it is in that beautiful moment that the song escapes from that necessarily being its totality and instead becomes something rife with potential where meaning is made to splinter and reconfigure kaleidoscopically

the non break

this is more of a brief exposure from within than a breaking of this hiatus i have going but i just want to reveal that i know where this all is going which is slightly off kilter if you will from where i predicted it would elsewhere throughout this blog but i have some slow burning things started which at this point seem as though they will be capable of being billed as my closing statements and they arent going to be around anytime particularly soon or whatever but i am just letting yall know whats up