Just down the road from me, Georgia State professor Scott Heath doing work that needs to be done.
“He’s aware of the criticism and the critiques that come his way, and he then critiques those critiques. This is a guy who gives interviews where the entire interview is about another interview that he gave earlier,” says Heath, pointing to conversations with Jimmy Kimmel and Ricky Smiley as examples. “That, to me, is very keenly discursive.”
“He’s having to process or deal with other people’s interpretation of what he’s saying and who he happens to be,” says Heath, alluding to Du Bois’ assessment that black people in America are tasked with the emotionally arduous task of filtering their own identities through the lens of dominant white culture. “An exciting moment for me was the students reading Du Bois and the lightbulb going off and them making the connection to Kanye.”
Filed under: Kanye West.
A Professor Explains Why He’s Teaching College Kids About Kanye
“When you pop champagne, man, a guy holding a 40 can’t stand next to you. Our whole shit was, We drinking champagne because we deserve this shit.”
Killer Mike Explains Champagne in the South | First We Feast
Atlanta to Atlantis: An OutKast Retrospective | Pitchfork. Essential reading.
The poet and the player was the tagline; the truth is that you never knew who was who.
Tyler and the Clancys’ 4 Strike management group recently started a new creative agency called Camp Flog Gnaw, which aims to lend Tyler’s brain to companies that want to engage the youth demographic. The first fruit of the new enterprise is a partnership with Mountain Dew, for whom Tyler has directed four left-of-center TV commercials starring a talking goat named Felicia. “The agency is a way to stay true to Tyler and not do endorsements, but to allow companies to use his creative energy,” Clancy says. “There’s a demographic out there that corporate America has lost, but Tyler has managed to build a brand around it.”
This strikes me as a bit more savvy and way more interesting than becoming creative director of Blackberry or Intel or something…
Tyler, the Creator Talks Directing Movies, Being Rejected by Justin Bieber | Billboard
Rappers are very much analogous to bloggers in that both groups sort of do what they do because they want to do it, but they also know there’s not really any worth to what they’re doing – except sometimes one of their cohort gets scooped up by some faceless place with money, so there’s always a little halo of maybe-money attached to what they do. Maybe that halo’s worth more than actually making a piddly amount of money.
B Michael Tumblr: Just Free Stuff
I discovered Phantogram’s music by chance, on a popup ad on the computer. I’m closing out of a ‘You have just won a prize’ screen and “Mouth Full of Diamonds” came on and I Shazamed it, bought the song, then invited them to Stankonia.
Easy as that.
Interview: Big Boi « The FADER
Consider this proposition in reverse to see how absurd it is: For my graduate thesis, I am going to give Calvin Trillin a bunch of half-assed instrumentals and have DJ Drama help him put together a Gangta Grillz mixtape, and then we’ll evaluate him alongside Gucci Mane and Cam’ron, and other rappers who have made Gangsta Grillz mixtapes. That would be awesome, but it would not provide any more insight into the how and why Calvin Trillin does what he does. It would simply provide me the opportunity to take someone else’s work, put it in a different context, and call it something different.
Why We Shouldn’t Treat Rap As Poetry | The Awl
Hustle & Flow. I was expecting a more formulaic rags-to-riches story, but got several wonderful surprises and setbacks in how this one played out. The main characters here are so, so, so well-done. Terrence Howard is great as he works through what’s basically a mid-life crisis. Damp, dumpy Memphis is the perfect backdrop and it’s just a generally nice change of scenery from most movies. Ludacris has a decent turn here as Skinny Black, but Big Boi’s menacing Marcus in ATL puts it to shame. Also, this one has Isaac Hayes.
We’ve all spent years talking about taste in the age of the mp3, and how listeners can shuffle happily from Hank Williams to Too $hort to Katy Perry. Minaj might force some people to accept that a musician might have more than one inclination as well — that she might, unsurprisingly, be interested in steely rapping and sugar-rush pop at the same time.
Abebe: Nicki Minaj, Hot 97, and the Fight Over ‘Real Hip-Hop’ — Vulture