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

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

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

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