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

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

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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

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