I launch the new video by Young Thug and Rich Homie Quan and the first image is . . . Birdman?
A month a go, Birdman splashed out in an effort to sign Young Thug. While you are being courted by Birdman and Young Money why not shoot a video with a few of the symbols of conspicuous consumption?
Birdman, Birdman Birdman. It is astounding how much space he takes up in this video. Father figure, founder of the feast, center of the party, exceptionally wealthy and entitled. The symbols are all there. Lighting up a cigar in the middle of a boutique sneaker store, bored yacht face, neck yoke of control over attractive women, mansion hallway vignette with Young Money/Cash Money plaques, comforting stacks of cash to sooth weary fingers . . .
(What would it cost to create this video out of rented artifice? Not actually that much real money . . . rent a mansion, boat, cars, shoot the plane scene with a landed dummy plane . . . )
Birdman doesn’t rhyme in the video — he just stars in it. (He does give the exiting dialogue — a shout out to his deceased mother Miss Gladys). I guess Birdman is the price you pay for entry into Young Thug and Rich Homie Quan’s video.
I appreciate that this opening verse gives Thug a chance to rhyme what to him is a kind of normal accelerated pace. His lyrics are distorted by his own voice and he plays with the sounds in a pretty creative way. I don’t know why I like the natural caterwauling squawks that emit from Young Thug more than the digital ones, but I do.
Quan always has a quality flow, and I like his subtly shifting styles through this verse. His deep voice growling does good riding the bass line. It seems like his references and similes could step up a notch . . . but he certainly sounds good.
What to make of the brief scene where Young Thug gives a stack of money to an old woman? Young thug is arguing in the song that he does all this to bring money home to his family — a little consciousness break in a snowstorm of sexism and consumption. Hold on, Quan suggests that his motivation is his mom and dad. And Birdman concludes the video with a sponsored vodka shout out and tribute to his deceased mom.
One of the early critical arguments about hip hop was that the representations of hip hop quickly became images constituted by the artists in order to sell an image to an audience. That hip hop involved performers going to work and creating something intended to meet an audiences expectations (usually male and privileged). One way to read hip hop was to imagine what kind of audience might enjoy and buy this kind of performance. (I’ll note the writings of Eric Watts, Tricia Rose and Robin D. G. Kelley have mostly influenced my perspective on this subject).
To a degree this crass consumerism vs. I’m-just-doing-this-to-feed-my-family debate is played out in the video. I would say that the dominant visual narrative of consumption clashes with any other message. In some ways the class consciousness (dropping off a couple of stacks for mom) is part of the representation of excessive wealth. (Gza: “Who promised his mom a mansion with mad rooms /She died, he still put a hundred grand in her tomb” Gold).