Motherfuckers I cut my teeth in the ’90s and I will be the first person to tell you that, other than perhaps Sassy Magazine and certain rap albums/racial consciousness and the women’s march on Washington/certain feminist advances, THAT SHIT FUCKING SUCKED.
all right, i wish i could somehow ask Dap this, but here it goes... isn't he a little embarrassed to be dating a fashionista like yourself? i mean, hipster blahblah whateverwhatever, you can deny it all you want, but it's clear that you fit in with the Noisey/Vice/RookieMag/various 90's-nostalgia-bullshitters crowd, and it just seems a little embarrassing. i mean, do you "blog"? and isn't your twitter a little ridiculous? just seems like a cool guy that kinda exists a little above it. maybe not
Haha. This actually amazing and I suppose in theory I should feel offended because… what kind of asshole asks something like this, like are you seriously asking me to justify my existence/TELL YOU, BRAVE ANONYMOUS, WHAT MY BOYFRIEND OF FOUR YEARS SEES IN ME?! But also it is so completely off base about who I am/what I do/where I come from that I read this aloud to Dap just now and we just laughed. Seriously, just Google me.
Nguzunguzu, comprised of two of the most uncompromising, creative producers out, and proudly repping #laraza, makes the crucial link between “mecha” (robots controlled by humans inside them) and MEChA (Movimiento Estudiantil Chicano de Aztlán). Cyborg feminism is cool, but I’m all about forging Cyborg Xicanisma (en la discoteca). LET’S GET IT.
ok, god damnit. First of all — these ‘stereogum takedowns’ are really stupid. Like, one of these happened to me when Visions first came out. Not only was it terrible…
Hi. I’m Julianne Escobedo Shepherd, the person who wrote “Deconstructing: Grimes,” and the person who Grimes accuses, in this Tumblr post, of “bas[ing] [my] criticism on attacking my refusal to sexualize myself which is so immensely fucked like”
So, as a lifelong feminist/Xicanista, I obviously take accusations of sexism incredibly seriously, and I would NEVER attack anyone for refusing to sexualize herself—that’s something to admire. I reread my piece, which I haven’t done in about a year and a half since it went up. I want to say honestly that was not my intent at all. This is the paragraph in question:
It’s not just that I feel the music is basically thin and charmless — there are sweet spots, as in the melody of single “Genesis,” or the rickety bass hits on “Be a Body” — but because it is also so infantilized. Grimes has a host of recent-vintage contemporaries who approach their music with a similar concept, like Lykke Li and Fever Ray and Bat For Lashes and even fellow blog star Charli XCX, all of whom do similarly conceptualized music but tap into their womanhood and sexuality as a source of power, some might say THE DARK ARTS OF WOMANNESS.
I was actually trying to lambaste the way that writers and bloggers—male writers in particular—were reacting to her, and writing about her as an infantilized person, therefore putting her on the type of pedestal that they were. (As evidenced by that last line, THE DARK ARTS OF WOMANNESS, which should actually read WOMANHOOD [post-facto grammar check]). At the time, Grimes was being written about as infantile, something I tried to lob home later in the piece with this sentence:
Of course, Grimes’ cyborg unicorn stance is an updated ideal on the continuum of the asexuality that a certain strain of indie rock values, up to and including twee.
Which was an indictment of the weird expectations of sexuality and asexuality in indie rock. I was actually trying to indict the criticism, not Grimes, for how she was being perceived and pedestalized in weird ways, which maybe one or two more sentences in the prior paragraph would have clarified, or maybe it got lost in my tepid feelings about the actual music. Either way, it was absolutely not my intent, and I’m very sorry to Grimes and anyone else who read it that way, and especially if it made Grimes feel uncomfortable in any personal and gendered way beyond the standard music-critical conversation. I honestly really admire that Grimes has refused to sacrifice her principles, and while I’m still not the biggest fan of her music, I’m glad that a woman like her is popular. I especially admire the fact that she apologized for wearing a bindi (something that I have written about)—it takes a lot of character to accept and own up to something you’ve done that was culturally insensitive. To that end, again, it was not my intent to lambaste Grimes for refusing to sexualize herself, but to lambaste the weird and ooky and gendered way people were talking about her at the time. Obviously as her popularity has grown it happens much less, but if you’ll recall in those early days of Grimes blogfanaticism, shit was dark.
Rachel Jeantel, the 19-year-old woman who was on the phone with Trayvon Martin when he was shot by George Zimmerman, took the witness stand on Wednesday and Thursday. She testified because she was the last person to speak to Martin before he died, but Zimmerman’s defense team treated Jeantel like she had committed a crime.
Hey. When is your radio show? And can I stream it online?
Hi! It’s every Saturday from 4-6 PM ET, and you can listen live and/or stream ALL the archives online right here at the Universópolis homepage on EVR.com. I recommend starting with the show on March 9, 2013: that was the Hugo Chávez themed show (RIP) and I dug up some gems for El Comandante. Thanks for caring!
You might remember that earlier I mentioned I clicked the link provided by Azealia Banks of her remix, only to find it had been taken down. Banks posted the remix on soundcloud, but Baauer and his labelmate Diplo demanded it be taken down because it was an un-authorized remix. Aside from the obvious rejoinder that the majority of soundcloud is unauthorized remixes, this episode reveals the difference of power that negotiates the “open” space of the internet. We have a white producer, who is accused of appropriating Harlem culture, attacking a black female rapper born in Harlem of improperly using his “intellectual property.” Black claims to propriety are met with crickets, while a white man’s claim is heard and acted upon to the detriment of Banks. Diplo took to twitter to begin the anti-Banks commentary, while Banks refused to back down. She made a music video and posted it to youtube, ensuring that her fans would still have access to the song. The spat continued on twitter though, with Banks inadvertently calling Baauer the “F-word.” This re-ignited a sleeping giant in Azealia Banks’ burgeoning career, which is her intramural relations with the LGBT civil rights apparatus, as well as gay male media figures, that simultaneously support and police her. This conversation is deep and necessary (for a much better handling of this topic, click here), yet for the purposes of this essay it is important to mention this because much of the coverage of this “twitter beef” was to categorize this as “yet another Azealia Banks beef.” There is an almost universal consensus that Banks starts and maintains beefs with producers, a storyline Baauer and Diplo cited and perpetuated to deflect attention away from their own fault. Baauer and Diplo’s story is that Banks recorded a remix and they asked her to not post it because they decided to go into a different direction. The different direction was to get Juicy J to record a remix and release that as the official remix. What this mystifies is what Banks brought up: the fact that they came to Banks asking her to remix it initially and then, at the last second, after she had worked, mixed, prepared a marketing strategy, aligned it with her own schedule, and shot a video, they decided they did not want her to go forward with it. So, Baauer and Diplo decided that Banks’ life and career should take a backseat because they wanted another, more famous, black artist to remix their song.
What is happening here is a politics of obliteration. That Banks is thought to be replaceable by Juicy J is emblematic of what so many black people in popular culture have attested to: the systemic belief in the interchangeability of black entertainers. The thought here is that a black female rapper from Harlem can be replaced by a black male rapper from Memphis, Tennessee. Baauer attempts to say that he thought Azealia Banks’ lyrics were only so-so and believed Juicy J could do better. If this is not an example of a white man talking out of his ass, I am not sure what is. I do not need to get into the technical aspects of rapping to say Azealia Banks could destroy any rapper who’s idea of a great song is, “Bands ‘a make her dance.” But this is not about Juicy J, this is about Baauer and the meaning of blackness to his ability to produce music. For him, black culture is not an other’s thing made in specific contexts, but instead are loose, unowned resources of “cool” to be stretched, interpolated, and sequenced into a dramatic product to produce his own name. Thus, the being of black culture (its claims to place and time) are obliterated so that he may write himself into existence over the cleared field. Saidiya Hartman writes, “The elasticity of blackness and its capacious affects enabled such flights and becomings… The fungibility of the commodity, specifically its abstractness and immateriality, enabled the black body to serve as the vehicle of self-exploration, renunciation, and enjoyment” (Hartman, 25). Thus, Baauer is not simply emblematic of an internet-age, post-genre music culture, but is instead an example par excellance of the white imagination using the black body as a vehicle for its own purposes. In other words, Baauer is not (only) a thief, he is a master.
Thus, Baauer is not simply emblematic of an internet-age, post-genre music culture, but is instead an example par excellance of the white imagination using the black body as a vehicle for its own purposes. In other words, Baauer is not (only) a thief, he is a master.
It's not Chingo Bling's song, its Lil Moco's, fam.
OOH SHIT, I stand corrected! For some reason I just assumed all was Chingo and Lil Moco, looking hella Drakely in the vid, was a stand-in. Plus Geko Jones sent me the Chingo freestyle from their Que Bajo/RBMA Soundclash thingie and I made AN ASSUMPTION. DEPT OF CORRECTIONS: Lil Moco f. Chingo Bling, “Started from the Border.” Now I will listen to Lil Moco’s catalogue because shit is genius.
“The SAT is a scam. It has been around for 50 years. It has never measured anything. And it continues to measure nothing. And the whole game is that everybody who does well on it, is so delighted by their good fortune that they don’t want to attack it. And they are the people in charge. Because of course, the way you get to be in charge is by having high test scores. So it’s this terrific kind of rolling scam that every so often, somebody sort of looks and says—well, you know, does it measure intelligence? No. Does it predict college grades? No. Does it tell you how much you learned in high school? No. Does it predict life happiness or life success in any measure? No. It’s measuring nothing.”—