I THINK MIGOS AND YRN SYMBOLIZES FOR ME THIS WEIRD MOMENT WHERE I BECOME CRANKY AND START TO QUESTION EVERYONE’S TASTE
MY FRIEND BHK AND I ARE CONSTANTLY AGONIZING OVER THE “CONTENT” PEOPLE “CHOOSE” TO “PARTAKE IN” AND THAT YRN WAS SO IMMEDIATELY EMBRACED BY “ALL” THE “RIGHT” PEOPLE WAS A RED FLAG FOR ME. EVERY TIME SOMETHING OR SOMEONE APPROACHES COMPLETE CRITICAL CONSENSUS THERE’S AT LEAST ONE OUTLIER WHO MAY OR MAY NOT HAVE SOMETHING SENSIBLE TO SAY ABOUT THEIR OBJECTIONS BUT THAT DOESN’T EXIST WITH YRN AND THIS IS ONE OF THOSE THINGS WHERE I FEEL LIKE THERE’S A SECRET ILLUMINATI WORKING “BEHIND THE SCENES” TO ENSURE “WHO GOT NEXT.”
IN THAT REGARD YRN DOES “EPITOMIZE” THE “CONTENT” PEOPLE WANT RN: YOUNG, “TRAP,” REPETITIOUS, PROUDLY SHALLOW (CUE PEOPLE TELLING ME I DON’T “GET” THE HIDDEN DEPTHS OF THE RECORD), BUT INSANELY FUN AND CERTAINLY MEME-ABLE. IN ONE OF HIS TRADEMARK HIT-THE-NAIL-ON-ITS-HEAD AESTHETIC STATEMENTS THE MARTORIALIST REFERRED TO YRN AS “TRAPIS PORTER” AND THAT FELT 100% RIGHT.CHRISTOPHER WEINGARTEN CALLED IT “TWITTER RAP” WHICH WAS NOT MEANT PEJORATIVELY BUT IS STILL AN ACCURATE STATEMENT.
IT’S UNFAIR TO DUMP HATE GUYS WHO ARE YOUNG AND CLEARLY TALENTED AND ARE CAPABLE OF MAKING SLAPS BUT I THINK IT MIGHT ALSO BE EQUALLY UNFAIR TO HEAP HUGE AMOUNTS OF PRAISE ON SOMETHING THAT TO ME SOUNDS NOT YET FULLY FORMED AND SLIGHTLY UNDER-DEVELOPED. I MEAN IN THE SPAN OF ONE WEEK MIGOS WENT FROM A GROUP THAT WAS HUGE IN ATLANTA AND HYPED BY A DUDE LIKE WAVRIEL/SMACKDAHOE TO RYAN HEMSWORTH REMIXING ONE OF THEIR SONGS, A REMIX ALBUM OF YRN WAS ANNOUNCED, AND DRAKE OF COURSE SHOWED UP TO WHEEZE LIKE A DRYER ALL OVER THEIR BEST SONG. THIS PROJECTORY IS AS PREDICTABLE AS THE SUN AND IS BECOMING MORE -X- EVERYDAY.
IT ALSO MAKES ME THINK RAP WRITERS ARE SO RARELY CRITICAL OF THINGS UNLESS IT’S CRANKY-OLD-MAN-SARCASM OR KNEE-JERK CRASS DISMISSAL OF SOMETHING THAT’S ALREADY BEEN DEEMED “ACCEPTABLE” TO DISLIKE IN A WAY THAT USUALLY MISSES THE POINT. I MEAN YRN IS GOOD I GUESS BUT IT’S ALSO NOT EVEN CLOSE TO BEING ONE OF THE BEST THINGS RELEASED IN THE PAST MONTH AND A HALF. BUT IT’S EASIER FOR PEOPLE TO CONTINUE THE MEME-IFICATION OF REAL CRITICISM BY COMPARING IT TO YEEZUS AS IF THE TWO HAVE ANYTHING IN COMMON AND MAKING DUMB JOKES ABOUT IT ON TWITTER. SEE MY THOUGHT ABOUT THE STENCH OF CONDESCENSION THAT ARISES FROM A LOT OF PEOPLE WHEN THEY DECIDE TO TRUMP A PIECE OF MUSIC THAT IS SO CLEARLY ABOUT AN ENVIRONMENT/SETTING THAT IS SURELY UNFAMILIAR TO THEM.
AND I THINK THERE ARE OTHER RELEASES THAT HAVE COME OUT THAT PROBABLY DESERVE MORE INK/PRAISE BECAUSE FOR ALL THE THINKPIECES THAT ARE SHAT OUT EVERYDAY IT FEELS RARE TO READ ANYTHING OF SUBSTANCE. FOR EXAMPLE BRANDON SODERBERG ACCURATELY PREDICTED PEOPLE WOULD SHY AWAY FROM AN IN-DEEP ANALYSIS OF ACID RAP OUT OF FEAR OF BEING ‘WRONG’ AND THIS HAPPENS MORE AND MORE FREQUENTLY.
THERE’S VERY LITTLE “CONTENT” ABOUT ACTS/ALBUMS THAT MAYBE DON’T FIT INTO PRE-ORDAINED CONTEXT OR NARRATIVE AND IT SEEMS DUMB TO ESTABLISH A LIMIT FOR THE THINGS WE ALLOW TO DOMINATE THE CONTENT CYCLE. THIS OF COURSE MEANS A SLIGHT BUT STILL GREAT GROUP LIKE YUNG NATION FROM DALLAS WILL NEVER BE “PUT ON” BECAUSE THEY ARE TOO LOW-STAKES FOR SOME HANGER-ON LIKE DRAKE TO HANG HIS HAT ON AND ALSO THEY AREN’T QUITE MEME-ABLE ENOUGH FOR A LARGER AUDIENCE.
AND MAYBE THAT’S HOW IT SHOULD BE RIGHT? WHATEVER HAPPENED TO REGIONAL ACTS AND PEOPLE CHASING THEIR MUSE THAT DON’T NECESSARILY LEAD TO MAINSTREAM CONSUMPTION? MIGOS AREN’T QUITE HAVING THEIR SOULJA/GUCCI/OJ/WAKA/KEEF MOMENT YET AND I PRAY TO BASEDGOD WE DON’T SEE A THOUSAND RETREADS OF THE SAME “REAL HIP HOP” CONVERSATIONS THAT SPROUT UP EVERY TIME. SHOUT TO JORDAN SARGENT BECAUSE I HOPE HE SHUT ALL THAT SHIT DOWN.
CUE PEOPLE COMPARING THIS TO B.DOT ANYWAY AND COMING FOR ME LIKE I DON’T GET IT/SAYING I HAVE NO SENSE OF HUMOR OR SELF-AWARENESS
THAT STILL DOESN’T MAKE ANYTHING ON YRN BETTER THAN THIS SONG AND THE REAL TRAVIS PORTER DROPPED A SOLID FUN CONSISTENT AND GREAT TAPE MR. PORTER EARLIER THIS YEAR
If you’re not reading Matthew Ramirez, who do you get advice from?
… and I felt embarrassed by the whiteness of the crowd and all the DJs. Baring in mind that I have been listening to a lot of grime again recently and have aspirations of DJing it. But having been thinking so much recently about cultural appropriation in relation to my own whiteness, I now see…
What repackaging, exactly?
I wouldn’t say it’s a repackaging, but Grime has definitely had a massive change in it’s fanbase from it’s origins.
Grime’s taken a lot of changes as over the years, it’s stopped being a ‘street’ movement due to a myriad of reasons. For one, the established grime acts moving towards a more mainstreamed role in trying to be pop acts, or the slow… ‘universitization’ of Grime. I mean, as much as his growth is natural, logical and not too distressing, look at someone like JME’s evolution from his Meridian days to his current persona now. Not everyone is comfortable with this sort of distancing from the ‘road’ where grime originated from, and this general parade before a circuit of fascinated youth who don’t HAVE to deal with the world that produced these MCs.
One thing you have to remember is Giggs absolutely STUNTED grime. It seems oversimplifying to put the blame on him, but he came out with a rap ‘sound’ that was raw, UK-oriented and to-the-point, compared to the constantly busy sound of grime, that was more overtly about stylization and was descended from the more entertainment-based world of Garage MCing. You can see how for plenty of people, including former grime acts, would see an out from a scene that was increasingly expecting everyone to step up and make Top 40 music. And it showed in the fact that when Road Rap was properly booming, maybe a hundred MCs had emerged to gain new fans whereas you didn’t see that many new faces in Grime.
And as a result of that, the new MC talent is… incredibly divorced from what Grime’s supposed to be, beyond declaring that they love real grime and they’re bad and they’re… well… Who the hell are they? A lot of these younger grime acts are just relying upon the fact that they’re younger and they have fans who appreciate that they’re not making pop, but they lack the
After that, you have the tug of war between grime as a form of dance music descended from garage and jungle, or grime as a host of British MCs. I mean, it’s 2013, we can pretty much see who were truly grime MCs and who were rappers, biding their time in one scene until they could go full-on rap. Obviously it’s greatest power when it emerged was in that friction where it felt like it was garage, dancehall, rap & maybe anything else you could think of all in one… But eventually that friction results in the genre splintering on multiple levels. And in the case of instrumental grime, it became the idea that an MC ‘clutters’ an instrumental since it’s so strong as a potential dancefloor record. (Remember, this happened all the time as dubstep started it’s crossover, where MCs were no longer considered useful by the masses who weren’t familiar with soundsystem-based culture).
Speaking of dubstep, we all know that dubstep robbed grime of it’s place as the new ‘dance music’ of tomorrow. When Geenus called it ‘safe grime’ he knew exactly what it meant… Dubstep, while great in it’s emergence, had no real energy of youth behind it, no culture. It was dance music made by random producers, and never truly felt as cross cultural in the sense of grime where it was reaching various disparate groups of people and unifying them. Dubstep never had a feeling of ‘proper’ violence, of expression beyond the instrumental. It was moody, somber, subdued and held an austerity that grime couldn’t reach due to it’s association with MC culture, and all the negative stereotypes that come across with that. Any grime fan, or rap fan, who’s on the internet and knows the disgusting dismissals that people can fire off just because they see someone ‘rapping’ over something else with a bitter familiarity. So dubstep, which never depended on MCs, was saved from such judgement. It also ended up making more money (which subsequently resulted in one of the last great grime producers of the 00s defecting to dubstep).
And lastly, you have the fact that the elders of established grime are actually weighing down their scene. For every Slew Dem (who are currently working hard at re-establishing themselves based not only on their older merits, but providing new and exciting music for the game) you get another bunch of bratty diva MCs forcing their fanbase to slog through dire commercial crap that their label expects from them, or coasting on the entitlement of their success… It is 2013, grime has existed for at least a decade and even a bit beyond, we should not suffer the presence of older acts who have peaked and take up all of the money and exposure that should be devoted to newer and younger acts trying to earn a name for themselves. Such is the reason how an MC like Kozzie has been around since 2005 or so, and has only become famous in his scene in the last few years. Because he’s had to wait for all these people who’ve been around since as far back as the dawn of the new millenium STILL commanding all the attention, based on their past achievements.
I mean, I’ve been a grime fan ever since I heard Dizzee back in 2004, and then proceeded along into discovering the wonderful world that sired him. And I’m not trying to discourage people from this music by crying about how things were before this and that happened, because it’s been producing some of it’s best stuff in the last year or so both on an instrumental and an MCing level that stands up with those classics that blew my mind as a youth. But I can say with certainty that the audience for grime has switched up entirely into something radically different, and the original poster is right to feel a sense of apprehension at such a climate.
Hi, saw your reblog. Not sure how this is ripping off Kitty Pryde, considering she's been rapping (I think that's what you're referring to) since "Stay Away" at least. I mean, I've interviewed Kitty Pryde and like her stuff a great deal, but you could just as easily say this sounds like T'Pau or lots of people.
I don’t know. If you think about it, the video seems like a high-budget reinterpretation of OKC, and her delivery on the verse for this song mirrors that of Kitty (And let’s be fair, I can’t think of too many other female rap presences in pop that play up a more softer femininity than Kitty or maybe Kilo Kish. Charli is smart to know that the harder edged Iggy Azalea Banks-vibe is increasingly passe, and entirely unbelievable from someone like her.)
One of the things that always bemuses me about Jimi Hendrix perception with fans and casual observers, is when the latter group plays up the influence of Dylan, and focuses on that one bit of legendary footage of him crooning “Hey Joe” over an acoustic guitar. It’s always funny for me that one would divorce Hendrix from his true instrument which was the electric guitar as an unstable element. The wild soloing that would often dissolve into pools of sonic noise may not have had musical or cultural value (unless of course, placed in the context of his infamous “Star-Spangled Banner”), but they were a logical extension of Hendrix’s psyche.
Likewise, watching the celebration of “James Blake As Artist” with his debut was a bit of a lark for me being a fan of the frantic synth screeches that established the university student as one of the more essential acts among his wave of dubstep producers. Marrying the G-Funk/Grime Machismo of early Joker to a more gospel-indebted sense of melody, Blake’s early work such as his Untold Remix or the apocalyptic sounds of his Bells Sketch EP marked a high-point in the melange of ‘post-dubstep’. Between that, the autotune-trickstery of his “Harmonimix" projects, he seemed on top of the world.
And then, it happened; the experimental "Measurements", a R&B-styled response to Bon Iver’s “Woods” premiered on Mary Anne Hobbs BBC Show, well deserving of fascination for how it displayed a whole new world for Blake. He provided haunting vocals for his friends and then peers, Mount Kimbie, during live gigs together. Slowly, the weirdo James Blake was dressed up into James Blake, the commercial digital soul boy that creatures like early Badly Drawn Boy and Thom Yorke struggled to evolve into (the former abandoning it for bland singer-songwriter territory, the other seemingly too frantic in production and life to let his songs breath with a grace he cannot display). It was all very rewarding to see such a talent make it…
And yet, the debut felt like a betrayal. Gone were the eccentric buzzing noises, the weird little melodies. Instead, Blake moaned mantra-like hooks endlessly, while awkwardly cluttering together cheap pastiche lyrics. At least one critic compared it to Kanye West’s "808s & Heartbreaks", a not entirely unreasonable comparison, given the two records auto-tuned and processed their respective vocal performances. But whereas West had made a record that was seemingly stark, grandiose, harsh and invocating at once, Blake had smoothed out all of his edges into a rather puzzlingly dull sonic haze. He felt more of a subdued Howard Jones than the hardcore continuum’s Jamie Lidell.
Which is why this past week, hearing those synths harass me every time I click a youtube link, has been such a relief. Admittedly, considering the relative success of Blake’s debut, I assumed he would simply continue along at his given course, while ocassionally releasing relatively uninteresting little sketches or warped remix side-projects. But much to my, and the world’s benefit, Blake’s new album feels like the proper debut of the James Blake I was introduced to. So many of these songs play with the charged synths and startling sounds of his pre-Pro League work, to create a much more expansive and fascinating listen. Helps that he’s also stepped up the vocals a bit, and the songwriting a bit much more.
The point is, I am relieved to hear James Blake finally return to his instruments of choice, that demonstrate what REALLY makes James Blake one of the more exciting artists of his generation.
“Late Nights” grows stronger, as the evening clocks moves from the PM to AM. The track’s lone hand claps begin to feel like distant applause from a previous concert. Keys and synths linger, anticipating one final encore. And each backing track reveals Jeremih’s personal vocal tics, as one has fallen into his world. Too many great songs have been given the lazy metaphor of being soundtracks to late evening drives. “Late Nights” is not for those drives. Characters stumbled far too many times, after the first “after show” party for that to be an option. Instead “Late Nights” is in memory, ironically, to the nights unremembered. Evenings pieced together in a hope of rediscovering the pleasurable hours between a show’s end and the sun’s rising.
I think everyone’s had more than a good chance to talk about Jeremih and his superbly executed mixtape helping establish him as a forerunner in R&B right now, and it’s good for him. He’s penned at least two massive hits for himself, and “Late Nights” was a demonstration of sublime confidence. For the most part, the artist is currently struggling with a twinfold desire to do battle with soundscapes, or to be such a great shining presence that you can’t ignore them.
All over “Late Nights” however, Jeremih has been opting for a third option, namely corruption. All over the tape, his songs drown into seas of Chopped & Screwed vocals, slurry rushed raps caked in reverb. Jeremih has not become so succesful that his voice is so identifiable and separates him from the chaff, yet he isn’t so in love with himself to not destroy his identity by subverting it WITH the song. (Such was a great deal of my hesitance with Frank Ocean’s album last year. YES, he was singing adequately and writing well, but it tended to be over listless R&B cliches that threatened him in no way and felt too post-Sadiq/Las Vegas to take seriously sometimes. On a song like “Fuck U All The Time”, Jeremih and his female accomplice are reduced to sonic scraps.)
I wouldn’t say any of the songs on this mixtape are immediate standouts (in this regard I would compare it to the critically-adored but truly light-in-the-ass ‘classic’ of Prince’s “Dirty Mind”), yet I feel like this serves as an excellent indicator for Jeremih’s headspace right now. Yes, the collab w/ Shlomo was a nice slab of hype, but it was pretty meh in itself. But if there’s any positive gains from this, it’s to show Jeremih is currently attempting to move out of the typical field of R&B. But unlike say, everyone’s favorite indicators of R&B super-cession (Weeknd/Miguel) this has become less about the artist proving himself to be ‘more than his music’, but rather, letting his music override himself.
This is good and all but when exactly did Trouble become Future? (He yoinked the dude’s mixtape title too!) I cannot approve of this rise in hip hop ecstasy use if it means that even the angriest rappers are going to start giving out hugs and shit. It was cool that time when Gunplay temporarily turned into Billy Ocean but this is too much. Soon there will be no rap left to listen to when we punch walls.
Gunplay turning into Billy Ocean was more than cool. This is a shark bite.
You guys are tripping, melodic autotune jams are di rigueur now. & Future may have mastered the craft but he sure didn’t invent it. I’m just glad this song is so well written & I doubt that Trouble’s entire album is gonna sound like this. He’s always had a well-rounded sound, a diversity of styles and approaches.
May we also not forget that Trouble was trying to sound like Drake at one point on his first tape (which he did rather successfully); this guy does these things beyond the meatheaded muscle-trapper corner people try to fence him into.
Back when I was a kid, and MP3s were raining from the heavens like so many gems, and I was finally able to really start to learn about music, and what I liked, and disliked, covers were the most amazing thing in the world to me.
There is a falsified myth of sanctity about ‘originals’. Everyone in the world would like to believe that a band who writes their own songs is the greatest thing in the world, and no disrespect to those bands who are skilled song-smiths… but it’s a bit of bullshit. Songs are written, but then they become malleable, open to interpretation, and serve the needs of the user. Remember, back in the day, a song would be written, but few and far-between cared about the original songwriter and their enfeebled demos, preferring the ‘star’ and his dramatic reinterpretation. This is totally true in the right situation… No offense to Carole King fans, but if you’re trying to tell me the Tapestry version of “Will You Still Love Me, Tomorrow” trumps the original… Well, you’re dumb! Seriously though!
At the same time, you’re not. The whole point of the fact that these songs are malleable is that they are able to be reorganized in ways that maybe the listener DOES prefer the crusty acetate demos of legendary standards to the versions that people know and cherish. Maybe you actually think “Huh. Y’know, I like The Beatles’ version of “Hello, Mr. Postman” better than the original (The Carpenters version, for me personally, is the shit) or maybe you can actually get into beef with your parents and say that *insert newer apsiring band*’s cover of *insert long gone rock band of lore*’s *insert the song in question* is better. It doesn’t matter, no opinion’s wrong.
Covers, and all the mess involved served as a wonder for me, because there was so much to call into question. Was there some weird significance that both the aformentioned Beatles and Metallica had massive stockpiles of covers recorded, demonstrating just how far-fetched their influences reigned; (In the cases of The Beatles, their amazing understanding of the raw yet glistening pop of Early Motown. In Metallica, their almost encyclopedia-like documentation of obscure strains of British heavy metal that made even some of their peers look ignorant of their lineage)? Did simple vocal delivery or even intent send a song spiraling into a whole other direction (Keelhaul’s invitation of Matt Pike whilst covering The Melvins’ ‘Oven’, who’s stoner croon turned an already unusual burst of off-key metal into an even more deranged record. Or Nirvana taking both 70’s stoner rock and 80’s twee-pop and turning them into leaden arena rock jams)? And just how many versions of “Paint It Black” were too many?
Covers were excellent, in which they connected the dots and exposed me to so many bands I wouldn’t have ever investigated without their seemingly distant connections; German industrialists Einsturzende Neubauten changed Nancy Sinatra’s Lee Hazlewood duet “Sand” from kitsch 60’s stuff to sinister fantasies not unlike The Velvet Underground, and now full of accompanying horror noises to boot. Metalcore dorks turned space-rock dorks Cave-In made Black Sabbath’s “N.I.B.” take flight and become a Beach Boys styled prog opus, before diving back into it’s crunchy riff-stew. And Mike Patton’s fantomas turned the theme song from ‘Cape Fear’ into a more gaudily malignant version of an already creepy classic of cinema soundtracks.
The point is, covers are amazing, so long as they make you rethink about the songs you like/love/hate.
Anyone who tells me this isn’t Future’s best verse ever is a damn liar.
Fukk a Mike Will; this song involves Future intricately bemoaning the fact that he has a friend who can kill people for him at whim, and seems to actually fiend for the prospect of murder so much that Future pays him ‘an extra 5’ to make sure he gets shot in the head. Future is actually conflicted that he’s earned the loyalty of people who lack empathy for other people’s suffering, but knows he has to ‘keep it real’ and still remain loyal to his friend.
Earlier in this year’s XXL Freshmen 10 Roundtable, Future described an analogy of two friends, riding bicycles together as kids. That they would live different lives, and go different places as people, but they would invariably still remain the people who were once friends who rode bicycles together as kids. Compared to Iggy Azalea’s rambling about Cotton Candy, French Montana’s Pseudo-Biggie King Of New York posturing, and Macklemore not deserving any sort of recognition he’s ever gotten in his damn life, it was a rather odd splash of philosophy; Hardly surprising when considering the Dungeon Family background he shares, but not as well considered when you view Future as a prankster/troll/idiot of Trap Rap, depending on your ability to understand and appreciate him. Because yeah, “Tony Montana” and “Same Damn Time” are obvious jokes as well as brags. In fact, if anything, Future might be more in the vein of Dipset’s Weird Al-esque hood absurdist mentality than any Dipset fan in the last 5 years.
If anyone’s paid attention to Atlanta recently, you know that DTE is a scum-sucking cancer who looks good because of their ability to extort travelers and bully the shit out of the futuristic movement. Let’s consider the fact, however, that the futuristic movement is made of mostly teenagers from middle-class homes. Yes, they occasionally claim things in their raps that they don’t have any experience with whatsoever, and that’s not something I am particularly fond of. But save Yung L.A.’s brief last bi-polar career failings before DTE went and made a household name for themselves by stomping a teenager into a couch, this is a movement of teen boys making songs for other teens. I don’t get how anyone doesn’t see Trouble hanging around Rich Kidz making gang signs in videos, only for the camera to turn to the Rich Kidz, all looking in terror at the presence of the man who’d had his first music video involving enough guns to raise a small army, and feel some sort of… conflict.
To me, Future has walked the tightrope between these two parties with class and elegance. Yes, he makes street anthems based on experiences he may or may not have gone through, involving illicit activities. But sometimes, he makes simple pop-songs that reveal a great instinct (and forget about “Pluto”, this guy has been making pop-style ballads since his “True Story” mixtape.) only limited by the strength of his singing abilities. And sometimes, he can even combine all of these at once to dazzling effect. Because Navyvadius Cash is one of the few rappers who actually doesn’t belong with any of his peers. He is too mature to belong with the hyper-active brats of the futuristic movement, yet he’s too ‘human’ to belong with the mechanical urge to violence of the post-Flockavelli trap world.
Oh, also, this is probably the flashiest amount of technique Future’s ever displayed in such a limited amount of time. And prior to this song, all of his collabs with Gucci weren’t really good.
For the record, I don’t know what the point is of me having a writing blog if I can’t remember to post elegant posts like this on it. But that’s life Snoopy.
But having said all that, this isn’t about Deftones! This is about a Deftones-related post by One Week One Band author Maxwell Cavaseno that minimizes my friend Ian Love into the role of “guitarist for Walter Schriefels’ post-Quicksand project Rival Schools (and about the second or third greatest Tom Capone clone).” It’s a side note at best, I understand, but it’s also one of the most ill-informed lines of music writing that I have ever read — the symptomatic perception of a Quicksand fanboy gone horribly, horribly wrong.
So! During my run, I managed to pull a total faux-pas, and offend none other than Norman Brannon. For those who are unaware of his stature in music, please, consult internet research.
Mr. Brannon proceeded to intellectually son me, and school me on Mr. Love’s stature as a guitarist. Now, me myself, I am unfamiliar with his work; I would’ve liked to be more educated on him, and now I do get a bigger peer into his work, though at a very embarassing price.
However, I’m not at all mad at this, and in a weird way, proud. The fact that Mr. Brannon is actually one of the few people judging my work, and whether or not he finds it ‘up-to-snuff’ is incredibly rewarding, even if he finds my work sub-par, because it is a standard he is holding that serves me constructively in order to look up to. Also, in exposing my hideous flaw (that of which I am NOT proud of), he has been able to expose me (the idiot) and the viewers of One Week One Band to music I have yet to hear.
So this is not without a silver lining, and in a weird way, I am just TOTALLY happy to get this silver lining. The song is good (and now, I will be subsequently devoting a lot of time into learning more about Mr. Love’s career), the information is very fascinating, and yes, in a sycophantic, sick, sort of way, I am totally proud that NORMAN BRANNON thinks I did something dumb! It’s just as inspiring as knowing writers I like and/or dislike think that I’ve been doing a great job so far. Shit, even if random nobodies had been horribly offended by my deftones posts, I’d be head-over-heels.
And so, I am just leaving a link to this post right here. Both to remind me to always strive to do much better than I’ve done here, and also because I do believe Tumblr is just as important about discovery as well as say, exposure. So in this sort of response, Mr. Brannon has given me incredible gifts despite TOTALLY FUCKING UP.
ASAP ROCKY IS A CARRYING HOMOPHOBIC CHODE. ITS LIKE HES TAKEN THE SATC GAY HANDBAG MENTALITY AND MERGED IT WITH HIS ARTIFICIAL ‘NOSTALGIC’ BLACK MALE BRAGGADOCIO. THE CULT OF WORSHIP SURROUNDING HIM AND HIS LIKE-MINDED PEERS REEKS OF A WEIRD STRAIN OF WHITE GUILT WHEREBY MISOGYNY AND HOMOPHOBIA GO UNCHECKED B/C THE ARTIST IS A BLACK MALE. EVEN MORE TERRIFYING, I FEEL LIKE THE MORE HETERO-ORIENTED MALE POPULATION THAT WORSHIPS HIS MUSIC (AND THE QUEENS THAT VOLUNTARILY MINSTREL THEMSELVES IN SUPPORT) LIVE VICARIOUSLY THROUGH HIS EXPRESSION OF BLACK MASCULINITY, WHICH APPARENTLY IS ALLOWED TO VIOLATE THE SAME SOCIAL/POLITICAL NORMS (ESPECIALLY IN TERMS OF GENDER/SEXUAL POLITICS) THAT A MALE OF ANY OTHER RACE WOULD BE PUBLICLY SHAMED FOR. WEARING FUR, SMOKING WEED AND ADMITTING THAT YOU LET FAGGOTS STYLE YOU IS NOT PROGRESSIVE. IS YALL REALLY THAT DAMN THIRSTY? BOOP.
-JULIANA FUCKING HUXTABLE
No shots but… I cannot help but say yes, these are all critiques I have against Rocky and those guiding him.