haven't been blogging lately. I'm feeling somewhat paralyzed about writing (either blogs or poetry, though I'm not seeing much of a difference lately besides what medium I'm planning on presenting a thing in). Paralyzed, not by lack of ideas, but by a flood of ideas.
Keeping up with a hundred or so poetry blogs, more blogs, coffee blogs, local blogs, "culture" blogs, political blogs, music blogs, Reddit, rap beef, books (bought a bunch more Acker, and a 3 foot stack of new books I'm working through), music (just hip-hop and noise right now), "the news", comics, webcomics, "film" (hk action movies and Masaokis' YouTube channel), found out Zizek has a twitter (last tweet: "Bilbo Baggins is a perfect example of a liberal communist").
--started a blog about racism,
--started a blog about the word "crunch",
--started a blog about various people's conception of high/low art,
--started a blog about Harriet's new comment voting system,
--started various blogs about more SlowPo thoughts,
--thought about writing a blog "close reading" The Game's rap "beef" (just one-sided at this point) with Jay-Z.
--argued for a while with Joseph Hutchinson about conceptual poetry,
--argued for a while with Seth Abramson about the Henry Louis Gates bullshit,
--have begun a long study of Masaokis' YouTube cooking movies.
--began vague structuring of a blog on Parkour and Freerunning
--started about 30 or so poems in the last week,
--our noise band has been practicing for several hours a week,
--just joined some artist's group, not sure what we're doing, drinking and talking about art I guess.
I'm not making this list because I think it's impressive, I'm making it because I haven't thought of myself as "doing much lately" and it's just not true. So I just started listing things off to prove it to myself.
I go through periods where I think things aren't "worth" blogging about. And really I'm not sure what my problem is. I'm not sure how to pace myself with all this shit, cause I care a lot about all of it, and it even all fits together in my mind. It all has bearing on what I'm trying to do with the Pathologos blog. I'm just too fucking fascinated by every little thing (this morning, I spent an hour reading about frogs). I'm feeling very engaged with everything, which is good since it helps to counter this feeling of impending doom that seems to be settling over metro Detroit (15% unemployment for the state and rising). The stories I hear on the bus seem to get more depressing by the week. I'm happy though, for the most part.
____________
_________
Some time ago, Ron Silliman said he was going to blog better and blog less this year (paraphrased). I don't really have any complaints about the result (and with 2 or more dauntingly invaluable link dumps a week, there's nothing to complain about). However, I don't see a connection between the value of material and the frequency of posts in a blog. In fact, I want to blog way more often, with less fully formed ideas. In general I'd like to see way more writing that doesn't pose like it knows what the fuck it's talking about.
I've said it before, but I'm way more interested in people's notes. I want to hear about what people notice, and what they're thinking through, more than I want them to force out some final word on the matter.
Friday, July 31, 2009
Wednesday, July 15, 2009
Response artifact from watching Sicko
take off my shirt and burn off a colloquialism
teenager label understands the fat black insurance
immediate benefit
experimental test
each white lotus line magnetizing requests
standard neural denial
imperial block magic, brick serif
tandem clarification, arrest of savings
get it back get it back
chronic bracket, a sweet internal history
of kind colds, helicopter rashes, and labyrinthine limping,
and too bad too
lose a few
and see what fun's to be done
a cold melt of raptured weeks
jdfjing list ninging
he was my best friend
dirty langaaguge
langnagen
anaglange
langugae\
languge
language
THins in a private enterprise one
all the incentibe are towayds less medical acear
the purpase of the
this sort of thing is what cripples
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
too much kmonay manarchy monarchy
do you really want the government to contol your family?
socialized metasign
fair and equal don't you know
until one day we will awake to find we have socialism
muh knee
that's understandable
rata tat tat
rx wrcke wrecks
two billion typos
asdfasdfasdfasdfasdfasdfasdfasd
;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj
--------------------------------
(((((((((((((((())))))))))))))))))
((((((((((((no body))))))))))))
(((((((((((((((())))))))))))))))))
--------------------------------
;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj
asdfasdfasdfasdfasdfasdfasdfasd
too young for cervical cancer
stress free
(((((((((((((((((((((((((((((((((
(((((((((((((((((((((((((((((((((
(((((((((((no body))))))))))))
)))))))))))))))))))))))))))))))))
)))))))))))))))))))))))))))))))))
na
not necessary, barter for blatant
feelings. A threat.
Kein
a daze of seem,
guilt for being here almost,
snatch at batter fat chance
a bring, peeps at, milks the...
an out-of-town afraid-braid
so many crash and blood
tolerant families, why shy
away from any mark, hard
to to it.
personal collections of Kenya,
Dominican Republic, and others.
asdfasdfasdfjinjinjinijinijinijinijinijinijinijijinijinijidnijinji
adnfidnfkdiekdcmi
not a new thjing
ccccccccccccccccccccccccccccccc
cccccccccccccccccccccccccccccc
ccccccccccccccccccccccccccccccc
didn't know where whse sher
didn'gt know where she was
belted out deletedeletedetele
ddddrop off pping
drong off pint
drop off point
take care of yourself
askfing
who are we?
initial heroism
NYFD
Y
DF
N
limpin' ain't easy
what about terrorism
a crunchy treat
designed to remind
-brand-/ potato chips
anoy
anonymous
onybeadf
me: just bought ongbak2me: oh, i might be using this convo in a poem, and posting it to pathologos
teenager label understands the fat black insurance
immediate benefit
experimental test
each white lotus line magnetizing requests
standard neural denial
imperial block magic, brick serif
tandem clarification, arrest of savings
get it back get it back
chronic bracket, a sweet internal history
of kind colds, helicopter rashes, and labyrinthine limping,
and too bad too
lose a few
and see what fun's to be done
a cold melt of raptured weeks
jdfjing list ninging
he was my best friend
dirty langaaguge
langnagen
anaglange
langugae\
languge
language
THins in a private enterprise one
all the incentibe are towayds less medical acear
the purpase of the
this sort of thing is what cripples
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
too much kmonay manarchy monarchy
do you really want the government to contol your family?
socialized metasign
fair and equal don't you know
until one day we will awake to find we have socialism
muh knee
that's understandable
rata tat tat
rx wrcke wrecks
two billion typos
asdfasdfasdfasdfasdfasdfasdfasd
;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj
--------------------------------
(((((((((((((((())))))))))))))))))
((((((((((((no body))))))))))))
(((((((((((((((())))))))))))))))))
--------------------------------
;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj
asdfasdfasdfasdfasdfasdfasdfasd
too young for cervical cancer
stress free
(((((((((((((((((((((((((((((((((
(((((((((((((((((((((((((((((((((
(((((((((((no body))))))))))))
)))))))))))))))))))))))))))))))))
)))))))))))))))))))))))))))))))))
na
not necessary, barter for blatant
feelings. A threat.
Kein
a daze of seem,
guilt for being here almost,
snatch at batter fat chance
a bring, peeps at, milks the...
an out-of-town afraid-braid
so many crash and blood
tolerant families, why shy
away from any mark, hard
to to it.
personal collections of Kenya,
Dominican Republic, and others.
asdfasdfasdfjinjinjinijinijinijinijinijinijinijijinijinijidnijinji
adnfidnfkdiekdcmi
not a new thjing
ccccccccccccccccccccccccccccccc
cccccccccccccccccccccccccccccc
ccccccccccccccccccccccccccccccc
didn't know where whse sher
didn'gt know where she was
belted out deletedeletedetele
ddddrop off pping
drong off pint
drop off point
take care of yourself
askfing
who are we?
initial heroism
NYFD
Y
DF
N
limpin' ain't easy
what about terrorism
a crunchy treat
designed to remind
-brand-/ potato chips
anoy
anonymous
onybeadf
me: just bought ongbak2
Ian: nice!
dvd or vidisc
me: dvd
Ian: sweet
lemme know when it arrives
me: reports say it might not actually have subs even though it said it did
Ian: but whatever
me: yeah
i don't own any tony jaa movies with subs
it almost ruins it
Ian: subs''ll probably be atrocious anyway
me: which can be a good and bad thing
Sent at 12:30 PM on Wednesday
Ian: true
working or mugging?
Sent at 12:32 PM on Wednesday
me: worik
just watcht sicko
Ian: any good?
me: uh, yes
it's still a michael moore movie
Ian: his hammy fists beating at your irritation nerves
me: so he fudges certain things to make them seem one way, not lies perse, but it's frustrating, cause he really doesn't need to do that and it just discredits otherwise good work
sure
sure
how longs is it?
me: he got 911 rescue workers free healthcare in cuba
2 hours
Ian: wait, what about 911 workers
me: he took them to cuba and cuba hooked 'em up with free meds and all sorts of procedures
because our gov wouldn't help volunteers
Ian: ouch
me: so off duty emts that helped and got sick weren't covered
Ian: that's pretty cool -- maybe not an argument, but still pretty cool
me: right,
it's a michael moore flick, so it makes more emotions points than intellectual ones
"emotional points"
Ian: sure
I should probably watch it at some point.
me: it's free online
Ian: soihear
me: streams fast, low res
Ian: I just have trouble thinking: this is the next hour and a half of my life.
while I'm online
me: yeah, i watched it periodically over my last two shifts
Sent at 12:41 PM on Wednesday
Ian: smart
me: that's me for you
Ian: no thanks
my problem is, the gorilla never seems to be acting natural.
It's like he's all "I'm an asshole," but I can't believe it.
Just seems like a nice guy I guess.
me: wat
Ian: Oh, sorry, got convos mixed up
forget I wrote that
me: nice
Ian: just kidding.
me: i figured
Ian: just bein' weird
me: it was so "i got convos mixt up"-suspicious
Ian: yup
I would never earnestly write "convos"
me: is that important to you
Ian: yup
me: i accept your statement then
Ian: I'd write it ironically, as above
me: or with "quotes"
Ian: like a sucker
me: yeah,
quotes are nature's cop-outs
"nature"
Ian: quotes are "nature's cop"-outs
me: i'm trying to figure out what's going on with that
Ian: nothing particularly useful
me: i'm thinking:
Ian: just playing around with em
me: cops in the forest (forest=nature) trying to find a way out
the cop is made of trees
copse
Ian: that the natural (speech world) is policed by quotations; speech without ramifications = coercive control over linguistic expression
oh yes, copse. I like that too
Sent at 12:48 PM on Wednesday
me: natural is speech-world?
hmmm
Ian: yep. I went there
me: you sure didi
Ian: t
me: that buddy
i mean thanks buddy
thuddy
Ian: which buddy
thuddy. heh.
me: you with the ali oop
Ian: got it
me: how the fuck do you spell ali oop
Ian: ally-oop?
though that's more like allies in arms,
not really allie-oop ish
me: alley oop
Ian: maybe there are different kinds of ali oops for different occasions.
me: derived from the french allez-oop
Ian: I've your bud helps you out it's an ally-oop
if you are in the middle east it's an ali oop
if you are in, um, an alley, it's an alley oop
and so on
me: i accept
"the cry of a circus acrobat about to leap"
Ian: aieee! oop
or were you thinking of something else?
me: also that
no, that straightup where the term comes from
Sent at 12:55 PM on Wednesday
me: "In the 2008 film Semi-Pro, protagonist Jackie Moon invents the alley-oop after being knocked unconscious and speaking with his deceased mother in a depiction of Heaven. The crowd and announcers are left nearly speechless, unable to comprehend what happened, and the referee thinks that the maneuver is two fouls."
Ian: that sounds good.
except it
is
semi-pro
w/ will ferrel
me: i like that it says "depiction of Heaven"
Ian: In case anyone was worried
me: like, there's an in-movie assumption that it's not real?
yeah, don't worry people, not really heaven
Ian: it's cool guys
we didn't actually film heaven
you won't go to hell for watching it
me: that is good,
i haven't seen the movie
but now i at least know i can
Ian: see it?
me: yeah
Ian: I heard it was completely "ok".
me: oh, of course
it'd too "post-anchorman"
like, just trying to do that same style over and over
Ian: sure
me: i mean, it's cool for a while but movie on
Ian: he did like 5 sports movies. It's like geeeeez
me: inininininininininnin
sorry
Sent at 1:02 PM on Wednesday
Sent at 1:02 PM on Wednesday
Ian: why is that?
me: your words: APPROPRIATED
oh, uh
it's because i was writing a poem capturing the "response artifact" of watching sicko
whatever the fuck that means
Ian: ass
me: why?
Ian: oh, just the way you're always like "response artifact" and then follow it up like you don't mean it.
me: "lol"
It'll be on the internet so it's not "serious"
its just ephemera
Ian: you're just a goof with a pretentious streak then?
me: hmmm
i don't think i'm pretentious
Ian: I'm joking
in a sense
me: so you're "joking"
Ian: so
no
'joking'
single quotes
me: nice
Ian: different shade of meaning
me: we need more ways to differentiate the planes on which various forms of meaning happens
I mean "lol"
Ian: thanks
finally talking in a "language' I can understand
me: i first thought it was double quotes on both sides, then though of doing double quote then single, then I saw that that was in fact what you'd done
that was the play-by-play of my reaction
Ian: I like it when brain processes are trackable
me: perhaps I had the idea only because part of my brain noticed what it really was
Ian: What a novel idea! I should consider mixing it up with... oh, yes.
Sent at 2:12 PM on Wednesday
me: i talked to gretchen on the phone about the movie, but didn't record it
so i could try to write it down, but it would just be the capture artifact of the response
Ian: yes
which is cheetin'
Sent at 2:20 PM on Wednesday
me: well, cheating, sort of, mostly just not what the poem's about
Sent at 2:28 PM on Wednesday
Ian: exactly?
PITETSBKRRH
First, there is a stray flash -- which could be construed as a dot representing the letter "E" -- between the two dashes that represent the two "Ts" in Pittsburgh.Then there is a dash that should be a dot at the start of the seventh letter, turning what ought to be a "U" into a "K."
Finally, there is a dot that should be a dash at the start of the ninth letter, changing the "G" into another "R."
Typos I made searching for the video:
pittsburg
pittsberg yui
pittsberg tyupo
pittsberg typo youubte
Tuesday, July 14, 2009
Friday, July 10, 2009
the approprations in the Slow Poetry discourse?
If you haven't read Kenny Goldsmith's post up at Harriet, check it out. He talks about his interest in identity as fluid (not, as everyone seems to be reacting to, identity as non-existent).
John Oliver Simon responds to the post:
also, (and this is not aimed at John Oliver Simon particularly, just to be clear) :
can people (mostly Harriet comments I guess) please stop invoking "the lower classes" when arguing against conceptual poetry, flarf, and appropriation in general? It's extremely fucking ironic. You demarcate "the lower classes" as if they were a cohesive group that you are speaking for with one voice. You're appropriating the REAL struggles of diverse and nuanced people for the purpose of winning a petty poetry argument.
__________________
____________
Poets connected to slow poetry are extremely well-versed in the act of appropriation.
For instance, Richard Owen's writes:
no effort, so far, has been put into connecting these things in any real way. We're just supposed to pour our ignorance (or just distaste for, whatever) of flarf and conceptual poetry into the already formed molds of "Ponzi schemes", "markets", and "globalization". It's a nice (if a little sloppy) way of piggy-backing discourse that has already taking place, copying and pasting it into one's own motives.
demonstrating very nicely (perhaps unwittingly) that conceptual poetry really isn't doing anything new. Appropriation is, in fact, the basic mechanism of language. And getting worked up in a frenzy over it only demonstrates how embroiled one is in this Capitalist idea of "ownership", and particularly "intellectual property".
John Oliver Simon responds to the post:
Problem is the identity theft here only works in one direction, privileging the conceptual poet who pilfers magpie pretties from the phone book. Kenny and his gang still expect to have their names up in lights, to get the grant and the prize and tenure.I responded (edited for typos at Simon's request) :
I don't understand what your argument is supposed to be. There's a difference between saying identity is fluid and identity is non-existent.
The very act of naming is an appropriation.
You seem to be arguing as if kennny's use of his name is hypocritical in some way. Not only is it not hypocritical (as if that were a reason to discount someone's work), it's what he just said was the whole mechanism of his work.
When a thing is named, both the name and the thing being named are changed forever. Kennie demonstrates this precisely in the act of placing his "own" name against texts he "didn't write".
also, (and this is not aimed at John Oliver Simon particularly, just to be clear) :
can people (mostly Harriet comments I guess) please stop invoking "the lower classes" when arguing against conceptual poetry, flarf, and appropriation in general? It's extremely fucking ironic. You demarcate "the lower classes" as if they were a cohesive group that you are speaking for with one voice. You're appropriating the REAL struggles of diverse and nuanced people for the purpose of winning a petty poetry argument.
__________________
____________
Poets connected to slow poetry are extremely well-versed in the act of appropriation.
For instance, Richard Owen's writes:
Q: What happens when a gaggle of middle-aged financially-secure nobodaddys tell an old boring joke as if it were new and not boring?And Dale, also, appropriating similar themes of discourse, writes (brackets/blue text mine) :
A: Their ponzi schemes are backed by cultural and economic muscle and richly rewarded. The Whitney. The latest issue of Poetry. Viz. whoever's got the cash can make it sing. Nothing tough or edgy in making cultural capital that challenges nothing sing like a nightingale. It always has the blessing of power.
Until F-ConPo [flarf and conceptual poetry] can articulate something that distinguishes what it does from others, I wonder who would possibly listen? At best, such efforts create a distracting show, while at worst, they eat up a lot of bandwidth and natural resources [where are his carbon credits for that accusation?] in order to promote a group of people who don't really seem to care about poetry, but about the social atmosphere and its manipulations--the market. A market based on an old model of globalization.By "old model of globalization", I'm assuming he means the current, and as of yet, inescapable model (does this mean slopo is utopianist? I mean, "I'm not saying; I'm just saying").
no effort, so far, has been put into connecting these things in any real way. We're just supposed to pour our ignorance (or just distaste for, whatever) of flarf and conceptual poetry into the already formed molds of "Ponzi schemes", "markets", and "globalization". It's a nice (if a little sloppy) way of piggy-backing discourse that has already taking place, copying and pasting it into one's own motives.
demonstrating very nicely (perhaps unwittingly) that conceptual poetry really isn't doing anything new. Appropriation is, in fact, the basic mechanism of language. And getting worked up in a frenzy over it only demonstrates how embroiled one is in this Capitalist idea of "ownership", and particularly "intellectual property".
Wednesday, July 8, 2009
texture poem experiments/whatchamafuckers
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Sunday, July 5, 2009
Method Man and Redman, Hipponax, and the choliamb
I'm interested in language as physical, rather than as metaphysical. Also, in the extracommunicative kinetics and physical artifact of language (yuck: that sentence). Frinstance, say i tyt.... type this sensten sentnce sentence withing without using the backspace (I'm a shs shitty typist). That shit. Fiddlings, lisps, drummings on the keyboard while thinking, stutters, stumbles, limps, shibboleths, etc.
Blah blah blah, I don't actually want to get into this too much in this post. It's only supposed to be about something I noticed in a Method Man and Redman song.
Anyway, Hipponax (c. 540 B.C.E.) is a fascinating poet in terms of the physicality of his poetry. He was a Greek lyrical poet who was disfigured (supposedly anyway) and walked with a limp. This limp actually manifests in his poetry with a metrical mode he invented: choliambic meter or the scazon. Also called a "limping meter", he would place a spondee (two long syllables) at the end of an otherwise iambic line creating a sort of stumbling or limping effect.
So, I was listening to Method Man and Redman's first collaboration, Blackout!, and I noticed that the album often features this "limping" effect. Or close anyway, hip hop doesn't really operate within metrical constraints as much these mechanics are just part of its arsenal (in fact, you could say that the words happen over top the rhythm, as opposed to "traditional" metrical poetry that happens within the meter).
So, as far as I know, the vocabulary that constructs our idea of "meter" is not really well equipped to describe all the stress and timing mechanics going on in hip hop (someone who knows more than me, please let me know, meter's not so much my "thing"). However, something at least similar to the choliamb does seem to be going on throughout Blackout!. I had noticed the tendency to end a "line" with two stressed syllables, but wouldn't necessarily have been reminded of Hipponax if it weren't a line in Cereal Killer spat by Redman: "I talk like I walk, with a fucked up pivot".
Blah blah blah, I don't actually want to get into this too much in this post. It's only supposed to be about something I noticed in a Method Man and Redman song.
Anyway, Hipponax (c. 540 B.C.E.) is a fascinating poet in terms of the physicality of his poetry. He was a Greek lyrical poet who was disfigured (supposedly anyway) and walked with a limp. This limp actually manifests in his poetry with a metrical mode he invented: choliambic meter or the scazon. Also called a "limping meter", he would place a spondee (two long syllables) at the end of an otherwise iambic line creating a sort of stumbling or limping effect.
So, I was listening to Method Man and Redman's first collaboration, Blackout!, and I noticed that the album often features this "limping" effect. Or close anyway, hip hop doesn't really operate within metrical constraints as much these mechanics are just part of its arsenal (in fact, you could say that the words happen over top the rhythm, as opposed to "traditional" metrical poetry that happens within the meter).
So, as far as I know, the vocabulary that constructs our idea of "meter" is not really well equipped to describe all the stress and timing mechanics going on in hip hop (someone who knows more than me, please let me know, meter's not so much my "thing"). However, something at least similar to the choliamb does seem to be going on throughout Blackout!. I had noticed the tendency to end a "line" with two stressed syllables, but wouldn't necessarily have been reminded of Hipponax if it weren't a line in Cereal Killer spat by Redman: "I talk like I walk, with a fucked up pivot".
Listen to the track on youtube (it'll start at verse two, near the line I just quoted)So, I was entertaining the idea of Redman having heard of Hipponax. I do refuse to believe that it's a coincidence, but I'm leaning more towards there being an intuitive connection between language and other body kinetics. Also, both Hipponax and hip hop in general construct a poetry as a reaction to being "pathologized" by mainstream culture.
Wednesday, July 1, 2009
From Possemego
If you're coming here from Dale's blog looking for me talking about SloPo,
-you can find my response to Prevallet's piece here.
-And a reaction to Karl Young's piece and Joe Safdie's piece here.
-A response to someone accusing my of "not getting" SloPo and "looking silly".
-Some preliminary thoughts on SloPo and reflections on the discourse that's taken place over it.
And don't be as impatient as Dale just because I haven't got to the poems yet. These things take time.
-you can find my response to Prevallet's piece here.
-And a reaction to Karl Young's piece and Joe Safdie's piece here.
-A response to someone accusing my of "not getting" SloPo and "looking silly".
-Some preliminary thoughts on SloPo and reflections on the discourse that's taken place over it.
And don't be as impatient as Dale just because I haven't got to the poems yet. These things take time.
Tha Slow Poetry of Lil Wayne? (only sort of, and not really at all)
And I don't rap fast I rap slow. Cause I mean every letter in the words in the sentence of my quotes. --Lil Wayne
Despite my love Tha Carter III, I can't say I'm excited about Lil Wayne's new album Rebirth, scheduled for release in September. The album will be his "rock debut", and as scary as that sounded, I was going to be open minded. I like when artists step out of their element to try something new. Even when they fail hard, I'm still glad to have seen them try.
That's how I feel here, but I just listened to the new singles Prom Queen and Hot Revolver. And I hope I never have to hear them again. It's hard to tell how much my distaste for these songs comes from their failure to be what they want to be, and how much it comes from my hatred for what these songs are actually trying to emulate. When I thought of Weezy doing rock, I thought of a bizarre new rock/rap, but these aren't even the songs of a rapper immersing himself in rock music. This is studio-mixed radio rock with erratic auto-tuned vocals. Wayne's raspy erratic lyrical style just doesn't mix well with the sterile over-produced sound that rock has honed over the years. The sound of a distorted guitar playing power chords has become so cheezy that polka now sounds more edgy and transgressive. And at least at its best, radio rock songs still sound like they were composed (at least at some point) during a jam session, all the members playing together, riding each other's energy. The lead guitar's wails shouldn't sound (like they do on Wayne's new songs) as if they were mixed-in in post-production.
Rock tends to be performance-driven music, good bands are best live because the performance is energized by the band playing together. Rock can become quickly watered-down in the studio, especially with an over-zealous producer. Hip-hop, on the other hand, is production-as-performance. We don't necessarily remember the producers of the rock albums we like as much as we do with hip-hop. It's a producer's genre (not as much as electronica, but...).
These are just ideas of course. Rock has (decades ago even) ceased to be a genre. And certainly not one you can talk about using just the word "rock". Hip-hop, too, is becoming that way fast.
Wayne just didn't step out of his element enough to make this sound work (and I guess I should withhold some judgment until I hear the whole album). He's not composing (as if you could call anything Wayne does "composing") along with a live band rocking the fuck out. He's still in the studio spiting lyrics (with only slightly more song in his voice) to whatever Cool & Dre have mixed up for him in his headphones. It's just a "rock" beat now. And who knows, even that could have been cool somehow. It's just that here, it really just isn't.
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Of course, I'm sure many will say, when Rebirth finally comes out, that Wayne is turning his back on hip-hop (as some said for Kanye with 808s & Heartbreak). And at that, I will gladly defend the album. Hip-hop has always been about appropriating and participating in (on its own terms) the sounds of pop culture and pop music. It's a post-Death of the Author art movement (even more so in that it has never needed Barthes to be so).
Hip hop has never been about creating "new things", but about reassembling what's already there. It's participatory. It's why Kanye can "just" rap over Daft Punk (in Stronger) without really changing the song. It's why Drake can "just" rap over Kanye's Say You Will (on Say What's Real) without "doing" anything else at all to the song. People who don't "get" hip-hop tend to be put off by this, and think these artists are just riding other people's talent.
It's the art of a "reader" (listener in this case), appropriating a sound you like and adding your own voice to the conversation.
: : :
Perhaps unknown to Tom Orange, hip-hop (at least as I've described it above) fulfills a lot of what he's looking for in his "poetics of the long now" laid out in gallery 3 of the slopo feature. That he doesn't identify various past movements with similar goals is perhaps the biggest flaw with the article, which is otherwise quite good. Easily the best thing in the feature thus far. At the very least it has fully formed ideas that I can argue with without having to speculate on what he could mean (which describes a lot of the other pieces in the feature). More on this later.
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