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