Making things is important. I believe strongly in Do-it-yourself and love creating things. My own hands on skills are improving every day and I feel like it is a conscious effort to be part of creating and repairing things in a throw-away society.
We are encouraged to throw away broken things and buy the replacement. We are taught to accept the constant cycle of consumer capitalism which teaches that we all lack and that buying things is the only way forward – and that those things are likely to break and we’ll have to repeat the cycle.
Most people I know aren’t pure vegan monks who make their own gruel by growing grain in their yard. Most people know that the system is rigged and have very legitimate primary emergencies for consuming. Inconsistency in this case is evidence of the ever-present nature of the problem – that there is no space free of consumer capitalism. Knowing that we are fucked isn’t all that helpful.
Enter Van Neistat who has successfully kickstarted a sort of autobiography of a self-styled repair man (conscious choice of Neistat). The first video I saw was about his stint as the repair person for a large museum installation that takes a more personal turn when the installation is moved to Berlin. Shout out to my homie JMORG who hipped me to this series.
There are other threads to be pursued in the area of repair as existential location to critique capitalism. (You could debate whether Van Neistat is doing this – I certainly am). Thomas Twaites work to create a toaster from scratch operates in similar terrain.
Both are theatrical ways to make visible just how far most people are away from repairing their own stuff. They also point out what it makes to construct or repair anything.
The downside of both projects is that they sort of idealize those brave (usually male) nostalgic figures who against-all-odds learn how to repair or build things. They make the work seem next-to impossible and don’t really invite other people to actually get their hands dirty. I also loathe the single dude genius trope. I rather like the idea of feminist and anti-racist maker spaces where young people learn by doing with a few old folks brought along.
In my current period learning about audio and electronics I’ve come to really appreciate those folks who came before me. Usually I like people who seem humble and invite you to experiment because they make it seem easy. One way is that they will usually joke about their own failings or seem accessible.
Alienation is the trick to subvert our powers of self expression and creativity. Combatting the overwhelming invitation to despair is hard some days. Learning to create, repair and make things can be a part of finding your own power.
Into Another are a New York City based post-hardcore band. I’ve seen them perform at least a dozen times and consider the band to be a light-year progression in American music. Here is why.
The NYC hardcore years and east coast hardcore were really fertile times. There was something proud about this organized movement of young musicians that were embodying a disruption to the musical genres that had previously constrained it. Hardcore was faster than punk at times, but could slow down to metallic chug-chug levels of thrash. Hardcore musicians were represented as bald, young and passionately creative. The politics were DIY, politically aware, working-class priced and relentelessly political. Youth of Today, Minor Threat, Bold and a couple hundred tiny bands that popped up inspired by this moment.
I came of age at the right time. I was blessed to be surrounded by music at all times and have a forgiving mom that didn’t mind me playing music and discovering my own music. I could play the Dead Kennedy’s in my room and the only boundary was the request that my Butthole Surfers sticker stay on my side of my bedroom door. The foundations had been laid by the time I discovered 7-Seconds at age 14 – there was a whole world of people my age who were making music and getting things done. Honestly, the DIY awareness that you could just do things and figure it out through force of will was a lesson that stuck with me to this day.
As fast as the new hardcore movement was opening up a chance for kids to find their voices and for people to get organized and make a difference, there were also threads that were discouraging. Sexism (particularly the exclusionary assumption that all of the music was written for, created by and performed to boys only), racism and white supremacy and some purity/hipster problems also plagued the hardcore movements. Straightedge, Krishna-influence and animal liberation were also early ideas that came along with the great music I was discovering. There was very limited internet in these days, conduits of knowledge are actually limited (you could miss stuff) – you had to mail order a punk rock band’s dubbed cassette from the back of Maximum RocknRoll.
Everything moved very fast. While I was in high school Minor Threat ceased to exist and Fugazi came to be. Youth of Today ended, and Judge, Underdog and eventually Shelter emerged. You could discover a band and they would break up and you’d never know until you saw an interview or the new project. Knowledge of music became really important. I started to seek out every record that certain labels released (notably Dischord and Revelation). Being broke didn’t deter my musical fiending. I worked part time jobs, borrowed money, traded, sold and got patient in hunting out music.
Into Another were on my radar screen before I saw them live. Any of the players who touched Youth of Today were absolute gold standard. My first year in college at UVM I had worked hard to get the privilege to DJ in the middle of the night on WRUV the independent college radio station. I beat out several other folks because I was focused on playing punk and hardcore music.
Sidenote: when you have to fill two hours of radio time, songs that are 30 seconds long are a disaster. My first night DJing on the radio I had a complete breakdown after playing every 45 I owned and becoming paralyzed on air with nothing to play after 24 minutes. My debate partner Lisa came down to the radio station and helped me out. My arrogance had been the assumption that I would just play what I already knew about – the wonders of a literal library of music (there was a whole room of jazz records lovingly curated by a crew of people at WRUV). I got my head around the radio station as an extension of my knowledge network (skimming the new releases, coming in and previewing new records in the production booth or just taking freestyle risks on air and playing something that looks cool – these were great joys I was just discovering).
I can see the first Revelation Into Another CD at WRUV. The front cover with the 11-pointed star has the white sticker that is covered with comments. The date scrawled in the corner and the review noting that members of Youth of Today and Bold are in the band. Then someone wrote that the record sucked and was pseudo-metal. Another defender wrote that the record was genius in terrible scrawl. The arguments on the CD label between radio station DJs was so heated that the plastic CD cover was cracked down the middle.
I played Into Another blind that night and I wasn’t that impressed. I was going to defend it because it was kind of good, but it wasn’t what I was expecting or used to from the genre. I had not yet understood just how pleasureable that was going to be. I remember thinking that I’d tape a copy of the radio station CD, but that the record didn’t warrent buying my own copy of the tape (I didn’t own a CD player until I was a sophomore in college).
That dubbed Into Another cassette travelled with me everywhere and grew on me. In the back of debate vans while everyone was sleeping I would listen to “Robot Whales” or “For Lack of a Better World” and think about the complexity of the world to a soundtrack that seemed one dimensional, but was starting to get tinged with reggae, jazz, blues, hip hop, metal and international music.
When I was a sophomore I made a cassette tape with Into Another‘s “Powered” and a couple of Underdog‘s “A lot to learn” at the front. I would get ridiculously over-amped for debate rounds listening to these songs in the hallway outside the rounds. When we won the Marist tournament, my debate partner Scud listened to one headphone of both songs before we won the final round.
Even when you knew that Underdog had the metal energy to get you adrenalized, there was a kind of humanity and complexity in the music. Underdog‘s lyrics were about loyalty, friendship, solidarity and sacrifice. But honstly, I had vague ideas of what Into Another were singing about most of the time. Not to mention the musicians were edging past the hardcore comfort zone with reggae and metal, consider Underdog‘s “Without Fear” a staple of my life in the 1990s.
When Into Another was coming to town to play at 242 Main Street, a few of us gathered together to see the band. I was sort of taken aback at how friendly they were. The first band member I met was Tony – a jolly friendly long hair who was sitting on the stoop of 242. We introduced ourselves, assuming he was a local that we didn’t know and we talked about the band for a while. We were really excited to meet some musical heroes and Tony was just as excited to meet fans who knew about his band.
Tony took us around back to meet Peter, Richie and Drew. Richie was really friendly and quick to talk about veganism, philosophy, and had a funny story about everybody. Drew looked like a rock star and was quiet – it wasn’t until he hit the stage that he really turned on. Richie committed to an interview for my little zine at the time and then the show started. I don’t remember who played with Into Another that night, but I don’t think it would matter.
The crowd at 242 became life-long Into Another fans that night. The band was an organic whole performing world-shifting rock and roll for a crowd of 25 people. Richie was funny and personable between songs and then would transition into serious singing (that was one of the knocks on Into Another for decades – was that the lead singer sang). But live, it was the crystalization of a humungous juggernaut machine behind that capable lead singer. Peter Moses brought this exceptional guitar tone and restraint. He plays a lot of stop-start polyrhythms on guitar, but also a lot of viscious metal riffs. Drew’s drumming is snare and tom-forward and complex. Perhaps one of the best martial breakdown drummers ever to play, he and Peter worked in concert to bludgeon audiences. Tony was the artist, grooving along with bass lines and fills that just worked to keep your head nodding. The ensemble could not be beat, and you had the sense that this band was at a higher level.
And they were the opposite of assholes. After the show, every person got a conversation and the sincere sense that they were leaving with new friends who happened to be the best band you’ve ever seen.
The next time the band was in town, the crowd was in the hundreds and the talent was next level. They played several tunes from the Creepy Eepy and destroyed the club. Despite being legit hardcore champions that night they found themselves crashing in our dorm rooms and eating pasta and broccoli I cooked in the communal kitchen with Richie and Drew helping. Tony crashed with my friend Rhymestyle Bob who made a life-long friend over vodka, Russian literature and metal guitar riffs. There was a kind of weird juxtaposition that this band looked, sounded and seemed like stars, but you had the sense that they were earnest DIY folks who crashed with grandmothers and college kids across the nation to make this band happen.
Bonding over veganism and hardcore, a lot of the conversations with Richie influenced my eventual Ph.D. dissertation about punk rock music and animal liberation. But you got conversations with Richie that happened while I was cooking green beans or while trying to get a tape recorder to work for an interview on the back of a loading dock. Richie is a solid intellectual who has forgrounded ethics – he also is just a funny dude who didn’t talk down to people.
There isn’t a great ending arc to this essay. Into Another struggled and despite releasing consistently top notch art and rocking shows world wide, they broke up after label difficulities. Beloved bass player Tony Bono died in the early 2000s and the world’s capacity for rocking shifted back a few notches. They have played a few reunion shows this decade and sound excellent albeit the absence of Tony.
If there was one thread that was consistent with Into Another was complexity. The band’s lyrics were complex, the music was complicated and the band was not a transparent youth-crew handcore legacy project. The band extended the ideas present and made something really quite new – the fact that people didn’t have the ears to appreciate what was recorded doesn’t diminish was was contributed. The band offer up a catalog of rocking riff-laden monsters, mental-health lamentation ballads, psych-rock trip-a-thons, tributes to lost friends, and daydreams of apocalyptic surveillance and control.
It is worth supporting the band with a bandcamp purchase – I recommend the whole catalog, but don’t sleep on the relatively recent “Omens” album.
We need spirit of fertile creativity embodied by Into Another now more than any time. The kind of oppressive bland culture which created the youth-crew positivity would be welcome right now. But so would the dissidents – the kids who can see something more and are willing to risk the mockery of their peers to make great art.
On January 6, supporters of the sitting president of the United States attacked the United States capitol and rioted inside the building. The stories, images and fallout are all visible and well documented. Here is how I understand that we got here:
In the 80s, republican operatives, mapping demographic changes and voting assumptions began to see rising numbers of people of color as a threat to the electoral power that they had held. Billionare conservatives started funding very specific media sources (Breitbart, Fox News, Daily Caller) to make money from a new market – white people who could be made angry about changes for justice in order to create an enthusastic white supremacist voting block to keep republicans in power.
In their mind, there were just a few short decades to go until the showdown, so they strategized in a couple of very focused ways to ensure that conservative business leaders could resist.
They funded, fostered, nurtured white anger against people of color at every opportunity. Using the axis of race, right wing journalists could re-articulate crushing poverty as the fault of the gains of people of color. It was the Southern Strategy on steroids.
They invested heavily in controlling the courts. Federalist society, nurturing young conservatives, scholarships, mentorship, and guidance to create targeted young right wing ideologues ready to carry the white supremacist mission long after they are dead.
They worked hard to win state legislatures, and use gerrymandering to minimize the power of voters that didn’t vote republican.
They succeeded in establishing a relationships to politicize videogame players and an emerging online troll culture to embrace the symbols of white supremacy with ease and comfort.
They absorbed / hijacked the Republican party in the 2010s and reassured the traditional elements of that coalition that the gains in power would be worth the harm to the nation. Corporate donors, philanthropists, government agencies, and many others became complicit in a full-fledged white supremacist government structure working under the Trump administration to do active harm to people of color at almost every turn.
Here is where we often get it twisted. The justifications and explanations for each of these activist strategies are fairly well documented. The key question is how do a small number of very privileged republican organizers spin this strategy? What do they specifically say and to who – these questions can be part of the educational work to innoculate future fascist moments. In this case, the narrative of white supremacy was the only communiciation strong enough to push working class white people to harm people of color and it was buoyed by hatred of women and an anger at lack of white solidarity.
There are a lot of issues of accountability that will be navigated in the next few weeks. Criminal charges for those who killed a cop, resignations from those leaders who are identifed as responsible (or those who are scapegoated). And this rupture will open the space for new policies that will often have profoundly negative implications for people of color, poor people, women and disadvantaged folks (increased surveillance, new anti-terrorism laws, policing in communities of color etc). To rush into policy-making without reflection is a terrible path forward.
We should take stock of the recuperation efforts. Examine those who played a role, or had been connected to the violence and some-how are attempting to detatch themselves. We should be asking how the invitation was framed such that it made sense to so many people. But finding access points is important.
My first off note about this was Strava – the bike riding app told me that it didn’t support the insurrection against the US government and weren’t cop killers in an announcement at the top of the app. Well yeah . . . you are supposed to be an app that tracks my cycling miles, I hadn’t honestly assumed that you were in favor of a violent overthrow of the government by Nazis and their allies.
“What we saw in the US Capitol this week was the antithesis of what Strava stands for,” the letter read. “It was internal terrorism and we denounced it. Whatever the limits or flaws our democracy may have, we believe that we must protect it. ”
“This is not about politics. These are fundamental principles in which we deeply believe: treat ALL people with decency, respect and fairness ”. says the letter. “When you joined Strava, you joined a global community of athletes who are in line with our community standards: respect each other, respect the rules, and be inclusive and anti-racist.” (Sidenote: it looks like Strava disappeared this note almost as soon as it was made. The only reference I can find to this quote is from a weird fitness webpage that is giving me fascist vibes . . .)
We can probably distinguish those corporations who took a serious loss from their de-platforming of Donald Trump from those who chose the moment to try to forward their brand. In this case, we are talking about a corporation that commented on the attacks either for their own gain or to protect themselves from public relations losses.
Axe Body Spray for instance.
Axe Body spray is the worst. Not only in aroma, but in the toxic sexist rape culture advertising that has been marked, mocked and mapped. I’m not surprised that Axe body spray had to respond – they must know that the bogus entitlement to sex because you sprayed yourself down with duck urine is tied to the entitlement of those who tried to murder Nancy Pelosi.
“We’d rather be lonely” is the most minimizing and trivializing read on the events of January 6. To understand that Axe would go without their body spray rather than be affiliated with the murderous nazis and that they still have time to indicate that it would make them lonely is grotesque. They still want you to know that if you don’t wear Axe Body Spray you won’t get laid . . . Axe sells entitlement and in this case, a multinational corporation’s PR team put it clearly that this one was too far (but all the other normal entitled crap will continue).
I think that whoever run’s Axe’s twitter handle might not get the depth of this moment. But then again neither did the men who came to DC to murder uppity women. For instance Cleveland Grover Meredith Jr. The investigating report indicates that he voluntarily showed Federal agents text messages planning to kill Speaker Pelosi.
Misogynistic slurs have been uncovered and amplified in the quotes of those who drove to the capital heavily armed with a desire to do harm. The centrality of violence against women is really tied to the logic of the transgression of violating the capitol. The goal was similar to the early 1900s strategies of faux-assasination communications attentat – to illustrate the potential for somene to be harmed. To illustrate that a president or a king can be reached and to strike fear.
We could also examine this from the perspective of the domestic violence literature. Understanding the power and control wheel and the transgression of safe spaces to induce terror. Abusers will communicate in many small ways that the abused is not safe – including by invading previously safe space to communicate disempowerment.
There was no way to understand the photos of the dude with his feet up on the desk outside Speaker Pelosi’s office and his initial encounters with the press documenting his take on the event. Barnett is his name and we can match the entitlement and joy in transgressing with is deep hatred of a powerful woman.
Donald Trump has articulated the hurt done to white men in several divisive ways, but the deeply sexist and racist framings he has presented seem to have tracked well with the people who showed up to do harm on January 6.
Challenging white supremacy means contesting the common-sense nature of the dialogue. Fragmented social media (where people can bury themselves in media which affirms their point of view) has reached a point of insulation – where it can protect harmful ideas from critique. This means that unpacking white supremacist (ill)logic means navigating the ways that sexism and racism co-create this moment of deep entitlement and violence.
But the annual return to the emblematic and lyrically gifted emcee is a good chance to think about Ghostface Killah in the current moment. It seems as though the hip hop of Wu-Tang golden era through the 2000s offered creativity and unlimited opporunities for growth. If you were talented, relentless and willing to match the moment then the world was your oyster. Cue the Wu Wear documentary.
Artists could make a living by spitting aggressive disrespectful bars spotlighted in videos of New York backstreets and bodegas made by friends, cousins and sycophants. I watched the RZA centered Wu-Tang: An American Saga which offers up the early years of the Wu-Tang conglomorate in glacial formation. The series has ended with the crew on the verge of what we know is industry-wide revolution.
In this series the Ghostface character comes across as heartfelt and desperate. A debonaire loyal friend with the need to earn money to support disabled siblings and a drunk mom. For those of us who spent years trying to decode Wu-Tang slang by rewinding the CD, the show was a revelation – background characters and stories come into visibility through memorized Wu-Tang lyrics. And then it all stops.
Amazing emcees with historic catalog of genre-defining tunes who get the veteran musician documentary treatment can still disappear (Ghostface Killah’s most recent album Ghostface Killahs charted at 25 on Billboard top 100, this video has a little more than 100,000 views).
I think that this experience of being squeezed out has guided Ghostface Killah to a more conservative discourse. The rhymes are crisp with clever inventive word choice (“My moms never knew she was nursin’ a wolf/And I wrote this on 9/11 covered in soot”) and the now-pattented rhymeflow that can only be Ghostface Killah (or Action Bronson).
But the subject matter is old. Guns, home invasions, objectification of women, liquor brands, fashion label, and the relentless juxtaposition of upper class symbiology brought to lower class contexts. I loved this from Ghostface Killah in the 1990s, but today it seems nostalgic and out-of-date. The fact that Ghostface created some of the most significant home-invasion fables of all hip hop history probably leads him to lean on this genre when it comes to 2019 recordings, but I find myself longing for a little more from Ghostface.
The other part that seems old is the use of the anti-gay slur “faggot” in a 2019 record. The last 30 years have been a significant period of culture change in hip hop. Hateful language and insulting slurs were the norm in hip hop and over the course of a few decades things have changed. The genre itself has opened, and the artists who record hip hop music select from a wider genre of symbols and narratives. There are quite a few hip hop artists who present a kind of repudiation of the traditional masculinity of hip hop (Lil Yaghty, Future, Young Thug).
The battle for the soul of hip hop can be understood as attempts of gender policing (Sean Price’s anger at emcees wearing tight pants). The small symbols and language of inclusion (and lessening of hateful language) should be understood as a genre discussing teaching, evolving and learning from itself. Careful observers of hip hop can map lyrical choices of emcees to understand how the discourse of the genre evolves over time.
Conservative hip hop vocalists might veer back into the gender policing of men in hip hop in order to dip into the well of hip hop authenticity. This is a tactic to identify who is real and who isn’t. But the cost is too great – the community of those who are comfortable with hateful slurs isn’t real hip hop – it is casual gate-keeping to create an artifical community that nurtures bigotry.
To understand the multiplicity of Ghostface Killer discourse should be a semester-long university course. The contributions of an artist who should be honored and critiqued in equal measure. Which is how we move forward into Ghostfacemas this year – critical, optimistic and savvy about the possibility that the next year might disappoint.
The article looks at five settlements that have been paid to women who have alleged and often documented harassment from the Fox News star. Two of the settlements were known, but three were uncovered by Steel and Schmidt.
The article is phenomenal journalism and highlights the pattern of toxic behavior and the costly efforts to retaliate against those who have complained. This is a good opportunity to examine some of the patterns of retaliation that were visible in this article.
Most of the women who complained were threatened with professional harm when they didn’t comply with threats or when they came forward. Andrea Mackris filed a sexual harassment suit against O’Reilly in 2004. The New York Times article describes the retaliatory threats:
“Two years later, allegations about Mr. O’Reilly entered the public arena in lurid fashion when a producer on his show, Andrea Mackris, then 33, filed a sexual harassment lawsuit against him. In the suit, she said he had told her to buy a vibrator, called her at times when it sounded as if he was masturbating and described sexual fantasies involving her. Ms. Mackris had recorded some of the conversations, people familiar with the case said.
Ms. Mackris also said in the suit that Mr. O’Reilly, who was married at the time (he and his wife divorced in 2011), threatened her, saying he would make any woman who complained about his behavior “pay so dearly that she’ll wish she’d never been born.”
Fox News and Mr. O’Reilly adopted an aggressive strategy that served as a stark warning of what could happen to women if they came forward with complaints, current and former employees told The Times. Before Ms. Mackris even filed suit, Fox News and Mr. O’Reilly surprised her with a pre-emptive suit of their own, asserting she was seeking to extort $60 million in return for not going public with “scandalous and scurrilous” claims about Mr. O’Reilly.
“This is the single most evil thing I have ever experienced, and I have seen a lot,” he said on his show the day both suits were filed. “But these people picked the wrong guy.”
A public relations firm was hired to help shape the narrative in Mr. O’Reilly’s favor, and the private investigator Bo Dietl was retained to dig up information on Ms. Mackris. The goal was to depict her as a promiscuous woman, deeply in debt, who was trying to shake down Mr. O’Reilly, according to people briefed on the strategy. Several unflattering stories about her appeared in the tabloids.
After two weeks of sensational headlines, the two sides settled, and Mr. O’Reilly agreed to pay Ms. Mackris about $9 million, according to people briefed on the agreement. The parties agreed to issue a public statement that “no wrongdoing whatsoever” had occurred.”
It is worth noting the techniques used to attack the victim. The perpetrator attacks the survivor personally, the company defends the perpetrator with a heavy-handed lawsuit, and the company hires a PR firm and private investigators to destroy the survivors reputation.
And then they settle. That means that all the personal attacks and reputation smearing that ruin someone’s life were essentially pressure to beat someone down so they will take less money for their silence. I can imagine the meeting where someone at 21st Century Fox has to run the numbers on how much they could save in destroying the lives of sexual harassment survivors.
The cost-benefit-analysis strategies of corporations who decide to try to ruin the reputations of employees who come forward to complain about sexual harassment may undervalue the public relations costs of being associated with a serial rapist or a serial harasser.
Which means that large corporations who are in the business of making money are going to have to factor in what explicit boycotts and affiliated bad PR will cost them when they defend a prominent figure like Bill O’Reilly and Roger Ailles.
It seems grotesque that an institution would protect a serial predator because they make the business a lot of money. Steel and Schmidt’s expose does a good job documenting how much advertising revenue O’Reilly’s show pulls in ($446 million from 2014-2016). So what would a boycott have to cost the parent company to dump O’Reilly? A couple of hundred million dollars?
More importantly, I wonder how little effort it would take for people on social media to destroy the 21st Century brand. A dozen volunteers could watch O’Reilly’s show, note advertisers and then illustrate businesses which give money to support victim-blaming. Simply posting the New York Times article in the publicity threads for each new 20th Century Fox blockbuster movie would convince me to spend my movie money elsewhere. Artists who might record soundtrack music for Fox Music can be gently reminded through fan pages or tweets about the retaliatory behavior of the parent company.
Steel and Schmidt’s article is a good piece of investigative journalism that makes visible the retaliatory behavior of one of the largest companies in the world. It also exposes how much the company has to lose if they mishandle the public relations associated with their brand being tainted by O’Reilly’s harassment lawsuits.
I grew up with the notion that hip hop was opposition to mainstream culture. Regardless of lyrical content, hip hop (and hip hop fans) were deeply mocked and policed for years. Rappers might have been saying mundane things but if you rhymed over beats, you carried the weight of the genre.
You could get in trouble for playing hip hop lyrics. Radio stations would proudly broadcast that they played everything “except rap.” There was a kind of stigma that stuck with hip hop artists and fans. Hip hop concerts weren’t booked at Madison Square Garden until Jay-Z broke through with the Black Album.
It seems so clearly racist from my current perspective.
We might add in capitalism. The nineties saw a rush to absorb, market and exploit hip hop culture by advertisers. The stereotypes and old discourse lingered as hip hop became mainstream culture.
It doesn’t surprise me that the choice of hip hop as a medium stigmatizes the participant. (It saddens me).
Taylor Bell, a thoughtful high school senior was informed that two PE coaches were commenting and touching female students, Bell wrote a rap song. Instead of praising this whistle blower, Bell was kicked out of school and had to go to an alternative school for his senior year.
His eventual lawsuit hinges on the ability of a high school student to express their political views outside of school. This seems like a first amendment no-brainer to me . . . so of course it is before the Supreme Court.
Killer Mike (Michael Render), Erik Nielson, Travis Gosa and Charis E. Kubrin submitted an supporting brief to the court. Here are my favorite parts:
It is actually the bad words that disturb administrators, not the report of sexual harassment.
Following a lengthy decision-making process, Bell was suspended and sent to an “alternative school” by the school’s Disciplinary Committee. A Committee member suggested that Bell’s use of profanity in the song was the reason for his suspension: “Censor that stuff. Don’t put all those bad words in it . . . The bad words ain’t making it better.”
Hip hop—a cultural movement comprised of performance arts such as MCing (“rapping”), DJing (“spinning”), breakdancing (“b-boying”), and graffiti (“writing”)—began as a response to these dire conditions. Pioneers like Afrika Bambaataa (once a gang leader himself) used spiritual and political consciousness (“knowledge of self”) to develop hip hop as a tool for ending gang violence by providing an outlet that transformed the inherent competitiveness and territoriality of gang life into something artistic and productive. Dance competitions, rap battles, and other competitive performances replaced actual fighting , and rap in particular eventually became an alternative, legal source of income for blacks and Latinos otherwise cut off from labor market opportunities. Travis L. Gosa, The Fifth Element: Knowledge , in T HE CAMBRIDGE COMPANION TO H IP -H OP 56, 58-61 (Justin A. Williams ed., 2015).
3. Bell was intending to spread the word via hop hop.
Like Tupac Shakur, Taylor Bell was using his music to effect changes . In the final portion of the video for his song PSK da Truth , Bell says that in rapping about sexual misconduct at his high school, he is trying to raise awareness about similar injustices around the world: “It’s something that’s been going on, you know, worldwide for a long time that I just felt like, you kn ow, I needed to address.”
4. Threatening gun metaphors are widely used in hip hop.
When Bell raps, “fucking with the wrong one gon’ get a pistol down your mouth (Boww!),” he is channeling well-worn phrases used by popular and established artists like Lil Wayne (“Pistol in your mouth, I can not make out what you tryin’ to say”), Gucci Mane (“Put the pistol in ya mouth like dentures”), Waka Flocka Flame (“Niggas know I got a pistol in his mouth”), E-40 (“Put the pistol in his mouth and make it hurt, ooh”), and Scarface (“Put a pistol in his mouth, and blow his fucking brains out”). L IL WAYNE , Bill Gates, on I A M NOT A HUMAN BEING (Young Money, Cash Money & Universal Motown 2010); GUCCI MANE , Texas Margarita, on BRICK FACTORY : VOLUME I (available for download from http://www.livemixtapes.com 2014); WAKA FLOCKA FLAME , Where It At, on DU FLOCKA RANT : HALF -TIME S HOW (available for download on http://www.livemixtapes.com 2013); SCARFACE , Diary of a Madman, on M R . SCARFACE IS BACK (Rap-A-Lot Records 1991); E-40, It’s On, On Sight, on T HE ELEMENT OF SURPRISE (Jive & Sick Wid It Records 1998).
5. Discourse influences stereotypes about hip hop: experimental studies
A handful of studies have examined the direct impact of these stereotypes. In these studies, people who are given identical sets of lyrics—but who are told these lyrics come from different musical genres—are asked about their perceptions of the lyrics. One study, for example, presented respondents with sexually explicit rap lyrics or sexually explicit non-rap lyrics. Importantly, the researchers discovered that the sexually explicit music was considered more offensive and less artistic when it was rap compared to when it was non-rap. Dixon & Linz, supra , at 234-35.
In a related study, participants read a set of lyrics from folk group Kingston Trio’s 1960 song, Bad Man’s Blunder , and were told that the lyrics were either from a rap or country music song. After reading the lyrics, participants evaluated them and responded to questions about the offensiveness of the song, the threatening nature of the song, the need for regulation of the song, and if the song would incite violence. The responses were significantly more negative when the lyrics were represented as 24 rap, revealing that the same lyrical passage viewed as acceptable in a country song is considered dangerous and offensive when identified as a rap song. Carrie B. Fried, Who’s Afraid of Rap: Differential Reactions to Music Lyrics , 29 J. A PPLIED SOC . PSYCH . 705, 711 (1999).
All of this research reveals that stereotypical assumptions play a far greater role in our decision- making than we may realize. And some of this stereotyping may account for what happened in this case. If we don’t work to acknowledge and, when necessary, combat these stereotypes, the consequences can be serious and life altering— particularly for a young man like Taylor Bell.
I think this brief is a strong set of arguments. It also makes several key arguments about hip hop and metaphoric violence that need further discussion. Good opportunity for amplification and discussion.
I have the faint sense that the Drake / Meek Mill ‘beef’ is a pre-planned public relations stunt. Meek is dating Nikki Minaj a long time collaborator of Drake (via Young Money / Cash Money). Both rappers have gained massive media attention and tons of new social media followers. But I don’t know, it’s possible it started as a funny joke and then turned into a fight. It’s also possible that this is a real scrap.
Given that the daily beef updates are worldwide news (CNN, New York Times, and dozens of ‘serious’ news outlets grabbed the story and have been breathlessly posting gossip and re-posting tweets). It is worth checking out some of the themes that make this scrap significant.
Everyone sort of expected Meek Mill to do better against Drake. It’s no secret that Drake is respected among hip hop folks, but seen as a johnny-come-lately former actor who sings his hooks. He is a pop rapper, with the sales numbers and teenage fans to prove it. This isn’t to take anything away from Drake, because in that formula has been a world dominating path to rap success. In some ways beating Meek has been vital for his image. His previous meme struggles had been the unerring connections of his rap career with his acting career. Witness the Degrassi memes which swim around online Drake discussions.
2. The key argument which seems to have ‘won’ Drake the battle against Meek Mill was just sexism. Witness the lines from “Back to back:”
Is that a world tour or your girl’s tour?/ I know that you gotta be a thug for her/ This ain’t what she meant when she told you to open up more/ Yeah, trigger fingers turn to twitter fingers/ Yeah, you gettin’ bodied by a singin’ nigga/ I’m not the type of nigga that’ll type to niggas/ And shout-out to all my boss bitches wifin’ niggas/ Make sure you hit him with the prenup
Cheap sexism — the idea that opening up for Nikki Minaj’s Pink print tour is too feminine to be legit for a real tough guy rapper. Add in the suggestion in “Charged up” that Drake had sex (or never could) with Nikki Minaj and you’ve got perhaps the most over-used trope in rap.
I also think it is a clear insult to Nikki Minaj who is a phenomenal rapper and a stunning internet strategist. That her success is an insult to Meek is also sexist. The result was some ugly photo shop work to create images like this:
To mark the bodies as distinctly female and male with roles associated. It is gender policing to suggest that any violation of these roles is unmanly or unfeminine.
3. For some pitiful corporate social media coordinators, this beef has been an opportunity to interject their product. Crappy corporate fast food chains have posted snarky jokes about beef and attempted to connect their brand to something current and edgy. It seems trite to me, but the re-posts by passionate fans suggest that this branding strategy of riding the coattails has some significance.
I would call it trolling. Corporations mock either Drake (usually Meek Mill) in a semi-related tweet hoping that fans will respond. But that isn’t that far away from the origins of this beef — Meek attacking a target that seemed vulnerable at the time.
Much of the enthusiasm for the beef might come from the comeuppance of traditionalist rap sources (MMG, tough-guy rappers, Funk Master Flex (who has failed to emerge with much promoted Meek Mill responses) in favor of the new power in hip hop (pop media, savvy social media stars and mockery memes). In some ways the internet makes this an accessible fight — one that encourages a certain amount of piling on.
But it gets you thinking about how a human being like Texas officer Brian Encinia becomes so brutally callous as to cry “good” when the suspect he is slamming to the ground declares that she has epilepsy.
Or how a young activist headed to a new job in a new place might run afoul of the police system she had critiqued.
Edited video, officer suspended, suspicious death in the jail. These things should enrage you and be motivation for culture change which is deeply necessary. Watch the traffic stop video if you can:
One of the most productive commentators about so-called gamergate is Katherine Cross. Her recent post on Feministing is so on point that it deserves some archival / expansion work.
1. There is an autoblocking program for twitter that removes most of the posts from gamergate trolls. For anyone out there interested in civil space, this is a big improvement. Cross describes it this way:
What offends GamerGaters about the autoblocker, aside from the fact that a woman found a technical solution to a social problem, is that it denies them the ability to impose themselves on targets. The idea that the women, people of colour, and queer folk who’ve comprised the majority of GG’s targets might be able to curate their online spaces and have certain discussions only with those of their choosing is repugnant to many GamerGaters. In the absence of genuine legal recourse, the worst thing you can do to a bully, harasser, or troll is ignore them after all.
2. Underscoring much of the gamergate vitriol is a toxic anti-trans politics. Much of the visibility of the violence seems to have a direction. Again Katherine Cross gathers enough targeted tweets and message board quotes to rile me up. For those who are trans-inclusive, trans-positive, or simply kind human beings, it is worth marking gamergate as a particularly anti-trans moment in time.
3. Katherine Cross introduces me to the idea of “sealioning” — a refined bullying tactic. Cross explains:
“Polite” GGers, defined as those who do not explicitly swear or use slurs, nevertheless harry the people they target because they do not take no for an answer and come in packs. The phenomenon of “sealioning”– barraging a target with politely worded but interrogating questions asked in bad faith– gained a name under GamerGate because of how common the tactic was.
There are a lot of smart insights in this Bluestockings interview with Mimi Thi Nguyen. Feministing shared the link and gave me the heads up that there was some discussion of guilt and professional expectations in the essay. Nguyen seems persuasive to this punk professor when she writes:
The disjuncture then comes when I consider how we are encouraged to carry ourselves in the academy. I feel a lot of pressure to professionalize, and the prescriptions for professionalization often run counter to my way of being in the world. I also struggle with the directive that I am supposed to professionalize my students. I don’t hold with the idea that I should train students to be better workers, because the content of “better” — more obedient, more efficient, whatever — runs counter to what I want to teach. In my feminist theories courses, I say, “Yeah, I just gave you assignments with deadlines! But I also want to say to you, what’s so great about work? Why do we believe work is supposed to be edifying? Should we always have to be productive? Why do we imagine work as something that gives us dignity? What if it’s just wearing us down?” My history in punk totally informs these attempts to practice other ways of being in a classroom, and other ways of being a professor.
Like Nguyen I was a reader of Maximum Rock and Roll since my teens. I was deeply informed by the DIY spirit and raw love of music and counterculture that ran through MRR. Along with that inspiring freedom were some toxic interview discussions and columns that also were a big part of MRR. I remember a particularly racist / sexist sex column, perhaps from Mykel Board? Nguyen as a young punk writes MRR and challenges the columnist for MRR and gets a hateful column in reply. The scrap with MRR inspires her to create her own zine Race Riot.
The impetus for Race Riot came when a columnist at Maximum Rockandroll wrote about his Asian fetish, suggesting that Asian women’s eyelids look like vulva, and that their vulva might be also horizontal. It is an old imperial joke — there are all kinds of imperial jokes about how racial, colonial women’s bodies are so inhuman that their genitalia might reflect this alien state. I wrote a letter to Maximum, cussing and citing postcolonial feminist theory. He then wrote a lengthy column in response about how though I’m Asian, because I’m an ugly feminist, he wouldn’t want to fuck me anyway. There was a discussion at the magazine about whether or not to publish this column because the magazine had a policy — no racism, no sexism, no homophobia. But the coordinator and founder of the magazine decided that this column qualified as satire, and so it was acceptable.
It was really infuriating for me to be 19 years old, totally invested in punk and politics, to be attacked under the guise of racist cool in the punk magazine. I was like, “Fuck it, I’m quitting punk.” But I figured I should do something, to leave something behind as a practice and as a document, to reach other punks of color who might feel as isolated as I did in the aftermath.
I know a lot of punks who saw the academy as a reasonable place to continue thinking about punk praxis. Or more particularly, many of us go to an academic job and are reasonably punk in that and other parts of our lives. Many of the punks I knew are still working with intentional collectives, creating media, hosting shows, playing music, creating alternative spaces and doing-it-themselves. I’ll give a shout out to my friend Zack Furness and his book Punkademics. I think you can read the whole book at Minor Compositions.
I’ll note my appreciation and agreement with Nguyen’s analysis of internet communications and the need for pauses for reflection. She argues:
New technologies have produced expectations that we now have more democratic access to more knowledge, and that we must accommodate ourselves to an accelerated sense of time. But I am wary of this internalization of capital’s rhythms for continuous consumption and open-ended production. I hate feeling obliged to produce a post or tweet on a timetable. It makes me anxious. There is value in being about to respond quickly to an object or event, of course, but I also want to hold out for other forms of temporal consciousness, including untimeliness and contemplation of deep structures, sitting with an object over time to consider how it changes you, how the encounter with it changes the nature of your inquiry.
This website is intended for educational purposes. We attempt to make sure that all external artifacts, including article quotes, photos, graphics, and music correctly attribute the creators and sources.
If you are the owner of any of the media on this website and you would like it taken down, please contact us and we will be glad to respect your wishes.