Friday, August 29, 2014

dancing in the dark.

a video.

starring luke james. 

fight or flight.

a remix.

starring lil herb, common, & chance the rapper.


take u there.

a live take.

from diplo, skrillex, & kiesza.



PITCHFORK: Diplo, Skrillex, and Kiesza Debut "Take U There" Live

he got money.

a video.

starring rico love & future.


king of the fall.

a video.

starring the weeknd. 



Thursday, August 28, 2014

why.

 with stephen colbert.




church & state.

an ongoing discussion/moment of clairty.

words. 

"The thing about Ferguson is it doesn't need messaging or intermediaries. You can understand everything that's happening even by staring at a muted TV—sometimes especially so, if Don Lemon's busy giving a lecture to black kids about saying "ma'am" with their pants on tighter, or whatever his job is. All you need is a functional long-term cultural memory. An unarmed black teenager is dead, shot multiple times by a white cop from a disproportionately white PD in an overwhelmingly black community. You know everything that that means.

All the usual dismissals fall impotently away. You can't dismiss these people as bored, privileged interlopers when you see an economically depressed local community responding to its own structure. The message is a centuries-long refrain about legal force used as an instrument of terror by an economic and racial overclass, and the moment you might dismiss that as the airy evocation of some college revolutionary, it is instantly reinforced by rubber bullets, by snipers on rooftops, by the brutal color binaries of white faces and long black guns firing clouds of white gas at black men and women who stand palms upraised. Journalists will exit the craft table area for that.

...The citizens of Ferguson are speaking to the instrument they democratically and economically empower, and in the process have been maligned by every element indebted to modern security theater—the conservative crowd that pushes law-and-order both as a governing plank and a handgun sales pitch. (Not to mention networks that just love gee-whiz military stuff on the teevee.) Beyond the bestializing of blacks as part of a centuries-long narrative of dehumanization, the ease—almost necessity—with which the right addresses Ferguson citizens' publicly impeaching the legitimacy of the state as "animals" speaks to the desire to see them caged. Someone can be paid to build that cage, so long as the right people are elected to fund it. The most seductive aspects of modern U.S. prison culture are temporary walls you can move to wherever they're necessary.

...it's easy to read the terrifying police response to Ferguson, as so many have, as not a local government responding to the voices of the community but rather an occupying force addressing an insurgency of the ineluctable other that needs to be subdued. It's an attitude made more immediate and more horrible by the spontaneity of Ferguson citizens' outrage at Mike Brown's shooting and by the legacy of racial repression in America. But it's an attitude we have accepted elsewhere because it's been expressed more telegenically about less sympathetic groups amid better planned repressive theater.

It's very easy for a wing of the American political population to say that the residents of Ferguson belong in a cage and that events in that town over the last few weeks have confirmed that. It's easy, because they're falling back on the same screaming leitmotif running through 400 years of African-American history. But it's only gotten easier in the last 15 years, because they've been egalitarian enough to throw the rest of us in with it, and for the most part, we've gone quietly."

ROLLING STONE: Insecurity State: The Politics Behind the Drama in Ferguson

rap city.

words.

Pitchfork: There certainly can be a disconnect between fans and artists in terms of backgrounds and being able to take something as seriously as it might be in real life.

Vince Staples: Listeners don’t take a lot of rappers seriously because rappers don’t take themselves seriously. And, to be honest, the majority of these dudes are lying. It’s not even that they’re just lying—because you can lie all day in your music and tell a story—they’re assholes who walk around like they don’t have any connection with the people. A lot of music comes from a selfish place, but there’s no sense of self within it. With rap, everyone’s fit in the same mold. And that’s one thing that you have to know about these people: They’re trying to portray this image because they’ve seen the prototype, they’ve seen what everybody thinks that community is, even though they’ve probably never been in it. So they feel like they can’t be themselves, when in reality those environments are made up of every single kind of person. I got homies whose parents have money that live two streets over. They did everything that we did. They don’t have to act like they don’t have anything, and they never will. Are they to be taken lightly? Hell no. They don’t have to pretend. There’s too much pretending within this music, and that’s why we get treated the way that we do.

PITCHFORK: Rising: Vince Staples

don't shoot.

 for your consideration...



PITCHFORK: The Game Enlists 2 Chainz, Rick Ross, Diddy, Curren$y for "Don't Shoot", a Tribute to Michael Brown

"#tbt".




with diddy & the smashing pumpkins.

STEREOGUM: Hear Diddy’s 16-Year-Old Remix Of Smashing Pumpkins’ “Ava Adore”

dangerous days.

a video.

starring zola jesus.



PITCHFORK: Zola Jesus Shares "Dangerous Days" Video

control.

a video.

starring broken bells. 


Wednesday, August 27, 2014

untitled.

 with hudson mohawke & action bronson.


dancin' in the street.

starring janelle monae & the drumadics. 


drug dealers dream.

a video.

starring rick ross.


go.

a video.

starring grimes.


mature themes.

an ongoing discussion/moment of clarity.


words. 

"In the days after 9/11, it was common to hear people say that it was the first time Americans had really experienced terrorism on their own soil. Those sentiments were historically wrong, and willfully put aside acts that were organized on a large scale, had a political goal, and were committed with the specific intention of being nightmarishly memorable. The death cult that was lynching furnished this country with such spectacles for a half century. (The tallies vary, but, by some estimates, there were thirty-three hundred lynchings in the decades between the end of Reconstruction and the civil-rights era.) We know intuitively, not abstractly, about terrorism’s theatrical intent. The sight of Michael Brown, sprawled on Canfield Drive for four hours in the August sun, dead at the hands of an officer who was unnamed for a week, recalled that memory. It had the effect of reminding that crowd of spontaneous mourners of their own refuted humanity. A single death can be understood as a collective threat. The media didn’t whip up these concerns among the black population; history did that.

 ...I was once a linebacker-sized eighteen-year-old, too. What I knew then, what black people have been required to know, is that there are few things more dangerous than the perception that one is a danger. I’m embarrassed to recall that my adolescent love of words doubled as a strategy to assuage those fears; it was both a pitiable desire for acceptance and a practical necessity for survival. I know, to this day, the element of inadvertent intimidation that colors the most innocuous interactions, particularly with white people. There are protocols for this. I sometimes let slip that I’m a professor or that I’m scarcely even familiar with the rules of football, minor biographical facts that stand in for a broader, unspoken statement of reassurance: there is no danger here. And the result is civil small talk and feeble smiles and a sense of having compromised. Other times, in an elevator or crossing a darkened parking lot, when I am six feet away but the world remains between us, I remain silent and simply let whatever miasma of stereotype or fear might be there fill the void.

Fuck you, I think. If I don’t get to feel safe here, why should you?"

THE NEW YORKER: Between the World and Ferguson

she came to give it to you.

a video.

starring usher & nicki minaj. 


the daily show.

 an ongoing discussion/moment of clarity.

“Race is there and it is a constant. You’re tired of hearing about it? Imagine how fucking exhausting it is living it.” - Jon Stewart



 ALTERNET: Jon Stewart Eviscerates Fox Pundits In a Searing Monologue on Ferguson

Tuesday, August 26, 2014

i can't give you anything but love.

a video.

starring tony bennett & lady gaga.



ROLLING STONE: See Lady Gaga and Tony Bennett's Chemistry at Work in the Duo's New Video

meanwhile with a$ap rocky...



NOISEY: IN PART FOUR OF SVDDXNLY, ROCKY SMOKES WITH SNOOP AND MEETS KATHY GRIFFIN

"who will survive in america?"

words. 

"More and more I’m convinced that America right now isn’t a country dealing with a mere dip in its mood and might. It’s a country surrendering to a new identity and era, in which optimism is quaint and the frontier anything but endless.

There’s a feeling of helplessness that makes the political horizon, including the coming midterm elections, especially unpredictable. Conventional wisdom has seldom been so useless, because pessimism in this country isn’t usually this durable or profound.

Americans are apprehensive about where they are and even more so about where they’re going. But they don’t see anything or anyone to lead them into the light. They’re sour on the president, on the Democratic Party and on Republicans most of all. They’re hungry for hope but don’t spot it on the menu. Where that tension leaves us is anybody’s guess.

...“People are mad at Democrats,” John Hickenlooper, the Democratic governor of Colorado, told me. “But they’re certainly not happy with Republicans. They’re mad at everything.”

And it suggests that this isn’t just about the economy. It’s about fear. It’s about impotence. We can’t calm the world in the way we’d like to, can’t find common ground and peace at home, can’t pass needed laws, can’t build necessary infrastructure, can’t, can’t, can’t."

THE NEW YORK TIMES: Lost in America

spike tv.





ROLLING STONE: See a Raw, Edgy Spike Lee Comic From 'Hip Hop Family Tree' Box Set

a kiss goodbye.

 starring emile hayne, charlotte gainsbourg, dev hynes, & sampha.



STEREOGUM: Emile Hayne – “A Kiss Goodbye” (Feat. Charlotte Gainsbourg, Devonté Hynes, & Sampha)

the beautiful ones.

words.

for your consideration...

"...cherry-picked details of his life may not matter for the inquest into his shooting. But that doesn’t make his character irrelevant. His character definitely matters. It matters to the black people who are still alive, those of us who have to continue to muster the resolve to participate in and contribute to a country in which Brown was shot and left to languish, uncovered, for hours on the pavement.

...The black community is fond of the idea of the Good Ones, not because it’s logical or reasonable, but because it gives people agency. It allows black people to believe the notion that effort breeds success — that, through preparation, diligence and sacrifice, we can build lives that can’t be taken away on a whim. It allows black parents to operate under the delusion afforded to all parents that keeping their children safe and ensuring their success is entirely within their sphere of control. It allows resilience in the face of indignity.

Yes, in the passionate debate around Brown’s shooting, casting him in glowing terms — college-bound, funny, gentle — risks eliciting ad hominem attacks against him and promulgating the idea that black people have to do a certain thing or be a certain way to earn their right to live. But talking around Brown’s character further dilutes his basic rights and validates the underlying premise of a terroristic act. It suggests that speaking kindly of a dead child is more trouble than it’s worth. It requires accepting that not much has changed for black parents since they were conceiving kids during slavery, when they couldn’t even expect their children to be treated as if they belong to someone."

THE WASHINGTON POST: Actually, it does matter that Michael Brown was going to college

black & blue.

an ongoing discussion/moment of clarity.


words.

"To be young, male and black in America means not being allowed to make mistakes. Forgetting this, as we’ve seen so many times, can be fatal.

 ...When Officer Darren Wilson stopped him, did Brown respond with puffed-up attitude? For a young black man, that is a transgression punishable by death.

Fatal encounters such as the one between Brown and Wilson understandably draw the nation’s attention. But such tragedies are just the visible manifestation of a much larger reality. Most, if not all, young men go through a period between adolescence and adulthood when they are likely to engage in risky behavior of various kinds without fully grasping the consequences of their actions. If they are white — well, boys will be boys. But if they are black, they are treated as men and assumed to have malicious intent.

 ...Michael Brown had no police record. By all accounts, he had no history of violence. He had finished high school and was going to continue his education. All of this was hidden, apparently, by the color of his skin."

THE WASHINGTON POST: When youthful mistakes turn deadly

el pintor.



an album stream.

starring interpol. 

stream here.

believe me.

 starring usher & mike will made it.



SPIN: Hear Usher's Mike WiLL Made-It Moment, 'Believe Me'

hey qt.

starring qt.



PITCHFORK: SOPHIE and A.G. Cook Produce QT Single "Hey QT"

1984.

an album stream.

starring ryan adams.