RIP Paul Horn

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Birdman, consumption and representation

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).

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Janelle Monae & 500th post

This is the 500th post on life of refinement.  I’m proud of the non-linear series of artifacts gathered here that point toward new understandings.  I use this web site to archive interesting things.  Meaningful things.  This is a curation of the rambling series of artifacts and patterns of representation I find significant enough to be marked and analyzed in a free open public space.  This is as close to learning as we’ll ever get.

Thanks to all who read the website.

***

 

I knew of Janelle Monae and appreciated her music but only had singles in my library.  Inspired by a Wax Poetics write up, I bought a copy of “The Electric Lady” last night.  With two full listens into the album (barely enough to comprehend what is going on) I’m sold.

This project is wonderful dance music and a really good concept album (or an extension of a concept album to multiple projects — Monae plays an alter ego pretty consistently).   The record is an extended riff on technology, cyborg/human interactions, civil rights and living life with dual identities.  Given that “The Electric Lady” could be a Phillip K. Dick novel, the smooth inviting production and musicianship is what carries the project.

This albums sounds VERY eighties to me.  From the sonic structure and choices of beats/samples to the rock opera lyricism of the concepts.  At points I was reminded of my nostalgic childhood filled with Styx, Heart, Bon Jovi and Run DMC.    The strings sound eighties.  The drums sound eighties.  Even the vocal harmonies remind me of eighties hits.   But the eighties were a point of technological jump off and the slight broadening of pop music.

I like the futuristic world that Monae is painting.  And the willingness to build futuristic pop music out of the sonic blocks of the past.  Astute Monae names tracks after inspiring pioneers: “Sally Ride” (astronaut) and “Dorothy Dandridge Eye’s” (first black woman to be nominated for an Academy Award).

In the context of the blog, I’ll quote the end of the “Dance Apocalyptic” when Janelle Monae says: “I really really want to thank you for dancing to the end.”   Thanks for reading and dancing ’til the end.

 

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Filed under art, communication, funk & soul, hip hop, human rights, music, representation, resistance, rock and roll, technology

E-40 Bamboo

Salute to E-40!  Nice dance-heavy video to get things going for the day, but the song is great.  The beat has that Bay area clap, snap and slap sound while 40 Water’s flow just disrespects the beat.

Anyone know who made this beat?

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Electoral politics in Iceland: anarchist performance art

I appreciated Constantin Seibt’s article on the anarchists playing with the Icelandic electoral system.  The Best party had a wonderful list of campaign promises:

A glance at the most important campaign promises of the Best Party is more than enough to highlight the audacity of Reykjavik’s voters. They were promised free towels at swimming pools, a polar bear for the zoo, the import of Jews, «so that someone who understands something about economics finally comes to Iceland», a drug-free parliament by 2020, inaction «we’ve worked hard all our lives and want to take a well-paid four-year break now», Disneyland with free weekly passes for the unemployed «where they can have themselves photographed with Goofy», greater understanding for the rural population «every Icelandic farmer should be able to take a sheep to a hotel for free», free bus tickets. And all this with the caveat: «We can promise more than any other party because we will break every campaign promise.»The Best Party emerged from an idea for a sketch show.

via More punk, less hell! – News Ausland: Europa – tagesanzeiger.ch.

You know how it goes, they win the election, form a coalition government, fix the budget, and suggest that humorous performance art may be more effective than traditional governance.

An assessment of four years of anarchist rule yields a rather surprising conclusion: the punks put the city’s financial house in order. They can also look back on some very successful speeches, a few dozen kilometers of bike paths, a zoning plan, a new school organization that no one complains about any more and a relaxed, booming city – tourism is growing by 20% a year and some say that is the new bubble. In speeches, president Grímsson no longer praises Icelanders’ killer instinct, but their creativity. Real estate prices are again on the rise and the Range Rovers are back too. In polls last October, the Best Party hit its high-water mark of 38%. Shortly thereafter, Gnarr announced he would retire and dissolve the Best Party. His reason: «I’m a comedian, not a politician.» He added: «I was a cab driver for four years, a really good one even, and I quit doing that as well.»«My question was always: ‹How do we fuck the system?›» says Örn. «And the answer was, we show that non-politicians can do the job as well. But quitting with a certain election victory within reach, that’s truly fucking the system!»

via More punk, less hell! – News Ausland: Europa – tagesanzeiger.ch.

Thanks to longreads for the suggestion.

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Dave Chappelle and detournement

Jimmy Fallon interviews Chappelle and he let’s loose a number of wonderful funny gems.  Salute to Fallon, The Roots Prince and Dave Chappelle.  A few key moments worth observing:

2:00 “the lost Root” and racial stereotyping.

2: 30 Chappelle’s explanation of the Roots and all their musical buddies in “shelves” at Electric Ladyland is beautiful.

3:10 Prince and detournement (to turn around against itself).  “That is a Prince Judo move right there.” “That’s checkmate right there!”  To use the humorous image of Dave Chappelle as Prince to sell records — situationist genius.  Here is the cover from Prince’s actual song: breakfast can wait.”  Thanks to Okayplayer

Thanks to Okayplayer for the image

I actually went and bought the song.  You can go to 3rdeyegirl and spend eighty-eight cents to buy a snare and slap-bass Prince tune about . . . well helium-inclusive erotic love.  Perhaps another level of detournement is making a great song about a decade-old Chappelle skit.

4:30 Jay-Z, the Black Album and Kanye’s confident rewind. I also love Chappelle’s imitation of Common’s face when he hears the Common-referential lyric.

5:40 Kanye and the punchline: “my life is dope and I do dope shit!” while getting a sneak peak at not-yet-released Chappelle Show skits. 110%.

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Gendered tropes in video games: Anita Sarkeesian

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No Malice & Pusha T on CNN

Several casual observations:

– Bill Weir, CNN reporter seems manipulative, disrespectful and really entitled.

– Both spend some time trying to not incriminate themselves.  It is Pusha who makes the most blatantly inconsistent statement when he refuses acknowledge drug profits in part 2.  “No, I’m a really good rapper.”

Probably worth juxtaposing with “King Push” first track from his most recent album:

– I have a little more clarity about the difficulties of No Malice.  I think he makes some of the most explicit justifications for why he refuses to perform violent drug rap music any more.  I appreciate that he gives up obvious financial gain to be real to his family and his beliefs.

– Pusha T’s segments are basically Pusha T advertisements.   The exchange where he tells Weir how much publicity he’ll get from being on CNN is awesome.  Pusha is phenomenally media savvy and makes it clear that he wouldn’t be on CNN if it didn’t benefit him.

– No Malice’s argument about white consumption of violent black-performed drug rap is pretty compelling.

– When asked by Weir why he doesn’t take the money to perform Clipse songs, No Malice gives the best exchange of the series:

“Brother, that money, that money at one time, was out for my life.  They can’t invent a dollar amount to get me out there to tell . . . look at what’s at stake? I can’t tell anybody about selling drugs any more, I can’t even make it look cool anymore.  There are people that are dying, look at what is going on in Chicago.   And I like I said earlier, your race can enjoy it!  And laugh and joke and enjoy it . . . and then get back to business.  I have a message and I have to share it.  Then I have to let you do what you want with it.  You know, you do what you want with it.  But, I’ve got enough blood on my hands.  Enough.”

– No Malice, CNN.

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Tech N9ne and Murs: Hard

Tech N9ne showcases a lot of different styles in those verses. Murs is going to do good things with Strange music.  I like that he shows up and gives respect to the other members of the team.  I’m in favor of any music video that requires a warning label that it might harm you.

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Inspired by ‘Who gets to graduate’

Paul Tough has a very strong essay in the New York Times called “Who gets to graduate.”  It is a snapshot of the strategies used by caring teachers and administrators at the University of Texas at Austin to help students succeed.  I appreciated the emphasis on successful strategies.  Here are a few of my favorite points.   Chemistry professor David Laude gets props for his initial approach:

In 1999, at the beginning of the fall semester, Laude combed through the records of every student in his freshman chemistry class and identified about 50 who possessed at least two of the “adversity indicators” common among students who failed the course in the past: low SATs, low family income, less-educated parents. He invited them all to apply to a new program, which he would later give the august-sounding name the Texas Interdisciplinary Plan, or TIP. Students in TIP were placed in their own, smaller section of Chemistry 301, taught by Laude. But rather than dumb down the curriculum for them, Laude insisted that they master exactly the same challenging material as the students in his larger section. In fact, he scheduled his two sections back to back. “I taught my 500-student chemistry class, and then I walked upstairs and I taught this 50-student chemistry class,” Laude explained. “Identical material, identical lectures, identical tests — but a 200-point difference in average SAT scores between the two sections.”

Laude was hopeful that the small classes would make a difference, but he recognized that small classes alone wouldn’t overcome that 200-point SAT gap. “We weren’t naïve enough to think they were just going to show up and start getting A’s, unless we overwhelmed them with the kind of support that would make it possible for them to be successful,” he said. So he supplemented his lectures with a variety of strategies: He offered TIP students two hours each week of extra instruction; he assigned them advisers who kept in close contact with them and intervened if the students ran into trouble or fell behind; he found upperclassmen to work with the TIP students one on one, as peer mentors. And he did everything he could, both in his lectures and outside the classroom, to convey to the TIP students a new sense of identity: They weren’t subpar students who needed help; they were part of a community of high-achieving scholars.

via Who Gets to Graduate? – NYTimes.com.

Laude’s interventions have been successful with many students.  Inspired by Laude, UT has developed a research tool which helps them discover which incoming first year students are likely to need some help.

I have a pang of concern about privacy and labeling.  There is something terrible about telling a student from a poor family who has worked really hard that they are “unlikely to succeed” because of some algorithm. This notion of a computer assessing students seems particularly soul crushing.   I appreciate that the folks at UT have something similar in mind in their communication strategy about their interventions.  Paul Tough again:

Perhaps the most striking fact about the success programs is that the selection criteria are never disclosed to students. “From a numbers perspective, the students in these programs are all in the bottom quartile,” Laude explained. “But here’s the key — none of them know that they’re in the bottom quartile.” The first rule of the Dashboard, in other words, is that you never talk about the Dashboard. Laude says he assumes that most U.L.N. students understand on some level that they were chosen in part because of their financial need, but he says it is important for the university to play down that fact when dealing directly with students. It is an extension of the basic psychological strategy that he has used ever since that first TIP program: Select the students who are least likely to do well, but in all your communications with them, convey the idea that you have selected them for this special program not because you fear they will fail, but because you are confident they can succeed.

via Who Gets to Graduate? – NYTimes.com.

UT has turned to psychologists to help figure out how to best communicate to at-risk incoming students that they belong.  How do you best re-articulate the fears and doubts to make them manageable?  Here is Paul Tough explaining UT professor David Yeager and his insights about persuasion and argument:

Yeager began working with a professor of social psychology named Greg Walton, who had identified principles that seemed to govern which messages, and which methods of delivering those messages, were most persuasive to students. For instance, messages worked better if they appealed to social norms; when college students are informed that most students don’t take part in binge drinking, they’re less likely to binge-drink themselves. Messages were also more effective if they were delivered in a way that allowed the recipients a sense of autonomy. If you march all the high-school juniors into the auditorium and force them to watch a play about tolerance and inclusion, they’re less likely to take the message to heart than if they feel as if they are independently seeking it out. And positive messages are more effectively absorbed when they are experienced through what Walton called “self-persuasion”: if students watch a video or read an essay with a particular message and then write their own essay or make their own video to persuade future students, they internalize the message more deeply.

In one experiment after another, Yeager and Walton’s methods produced remarkable results. At an elite Northeastern college, Walton, along with another Stanford researcher named Geoffrey Cohen, conducted an experiment in which first-year students read brief essays by upperclassmen recalling their own experiences as freshmen. The upperclassmen conveyed in their own words a simple message about belonging: “When I got here, I thought I was the only one who felt left out. But then I found out that everyone feels that way at first, and everyone gets over it. I got over it, too.” After reading the essays, the students in the experiment then wrote their own essays and made videos for future students, echoing the same message. The whole intervention took no more than an hour. It had no apparent effect on the white students who took part in the experiment. But it had a transformative effect on the college careers of the African-American students in the study: Compared with a control group, the experiment tripled the percentage of black students who earned G.P.A.s in the top quarter of their class, and it cut in half the black-white achievement gap in G.P.A. It even had an impact on the students’ health — the black students who received the belonging message had significantly fewer doctor visits three years after the intervention.

via Who Gets to Graduate? – NYTimes.com.

As a communication professor I’d like to claim some particular insight into these persuasive pathways.  Communication and Rhetoric teachers tend to think about exactly this kind of strategic approach to making messages, but it is also kind of common sense.   I bet English, Ethnic Studies Women’s Studies and Social Work professors all recognized some of our core principles in our fields in these insights.

I don’t think it is about credit.  There is certainly work to go around.  Part of the story is the structural support of administrators and the other part of the story are the good teachers primed  to implement these ideas.   You’d need administrators and informed teachers working in cooperation for a while to get results.   And you’d need all those teachers from all those fields who already know this to implement change successfully at a university.

Much of the ‘ah-ha’ arguments of the article are about a communication practice known as inoculation — that you pre-warn someone about a coming moment of persuasion in order to steer the person’s understanding of that moment when it happens.

Often used by political candidates to warn about an argument about to be spoken by an opponent in a debate, the tactic works equally well when thinking about education.   Here is Paul Tough analyzing UT’s online messaging module which helps to intellectually-inoculate first year students about belonging and doubt:

Our first instinct, when we read about these experiments, is that what the interventions must be doing is changing students’ minds — replacing one deeply held belief with another. And it is hard to imagine that reading words on a computer screen for 25 minutes could possibly do that. People just aren’t that easy to persuade. But Yeager believes that the interventions are not in fact changing students’ minds — they are simply keeping them from overinterpreting discouraging events that might happen in the future. “We don’t prevent you from experiencing those bad things,” Yeager explains. “Instead, we try to change the meaning of them, so that they don’t mean to you that things are never going to get better.”

via Who Gets to Graduate? – NYTimes.com.

Nice essay and more to think about as we do the important work of hustling to make change.

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