Comments from kerda

At first blush, it confused me that a guy who began his career with a Vanilla Ice hightop and naked aspirations to be the Midwest version of 3rd Bass or House of Pain has gone so hard with the "Red State" Natty Lite pandering in his middle age. But really, his approach is probably more authentically hip-hop now than it was in his youth. Kid Rock of 2015 is selling a stylized, megaphone version of rural whiteness, the same way that most rappers of the past two decades have sold an exaggerated version of urban blackness. The people who identify with Rock and said Anglo artifice do so for the same reasons that people connect with black rappers: outsiders find it exotic, sexy and/or funny, and culturally marginalized insiders appreciate having some semblance of their lives cast as heroic on a grand stage. Even if the vision of rural whiteness Rock peddles may not be nuanced enough to capture the truth of an insider's life, its exaggeration helps it to pass the uncanny valley. By leaping over reality into the realm of the fantastic, it manages to in some ways feel more authentic than a staid, grounded, fucking depressing reflection on these communities defined by crime, poverty and a sense of abandonment. So, am I defending Rock, and some of the knucleheaded shit he says? Yeah, I guess I am to a degree. I can look to my right and see a "Heavy Rotation" recommended mixtape by Juicy J, a contemporary of Rock who's around the same age and still extolling the virtues of good pussy, fast money and strong drugs. I doubt that a deep dive interview with Juicy would reveal a guy of any greater sensitivity or progressivism than Rock, and it would be hypocritical of me to accept his exaggerated urban blackness while shitting on Rock's exaggerated rural whiteness. Both guys are indestructible vets who sell a very particular image that resonates very deeply with a certain audience (probably a lot of the same people, in truth), so more power to them both.
+12 |
February 27, 2015 on Kid Rock Doesn’t Get Beyoncé: Where’s Her “Sweet Home Alabama”?
I think Killer Mike said it best: "You really made it or just became a prisoner of privilege?" There's something profoundly terrifying about the idea that a guy as successful as Wayne, who's been rapping professionally for the last 20 years and has been a gargantuan, world-conquering household name superstar for the last 10, could be so jammed up and beholden to the whims of god knows how many bad actors and scumbags that he has to beg for career help via Twitter. I mean, WTF? Weezy is about as successful as a post-mp3 English language musician could be, rap or otherwise, so imagine how monumentally fucked all of the Schoolboy Qs and A$AP Fergs of the world are.
+6 |
December 4, 2014 on Lil Wayne Calls Himself A “Prisoner” On Cash Money, Says Birdman Won’t Release The Carter V
For her own sake, I hope Meredith is never exposed to rap music. I think she would have a seizure at the sheer volume of hyper-aggressive, oft times violent imagery that's been a hallmark of the genre since its inception. Even worse, most of that music has come from the sorts of long marginalized voices that she seems to be hanging her utopian hopes for the future on. Human beings are assholes. Artists, in particular, are assholes. Being an asshole isn't a trait unique to those who are old, or white, or male or "rockist". I promise you there are plenty of young, black, queer, female artists out there who are raging douchebags with inferiority complexes (see: Azealia Banks). Artists do and always have fought amongst each other, independent of medium, independent of race, independent of time and place. It's monumentally silly to try to spin this one wholly unexceptional example of a guy being a prick into an epitaph on white male privilege. I also don't see how Mark Kozeleck telling a band to "suck his cock" is in some way more "problematic" than Perpetual Think Piece Generating Device Beyonce screaming "Bow down, bitches".
+39 |
October 8, 2014 on Meredith Graves Condemns Mark Kozelek’s Diss Track And The Language Of Abuse
Wow.... I don't shock easy, but this is one of the most skull-numbingly fucked up things I've probably ever read. For the most part, I don't subscribe to notions of certain people being abjectly "evil", as I believe pretty much everyone is capable of immense cruelty and barbarism, and "evil" is more a product (of circumstance, of culture, of too much power and too few boundaries) than it is a state of being. However, stuff like plotting how to get children addicted to meth so you can train them as sex slaves, or filming yourself fucking a baby, crosses a line that I can't really rationalize. I don't know what circumstance or mindset you could find yourself in where these things seemed reasonable or justifiable. This is just indulging in depravity because you can, because you're intoxicated by the idea of subverting fundamental notions of humanity. This is the embrace of "evil" as a fully-consuming state of being.
+17 |
November 26, 2013 on Lostprophets Singer Pleads Guilty To Indescribable Sex Crimes
In today's rap scene, a mixtape is largely just a free album. In the 90s, hip-hop mixtapes were more like actual, traditinal mixtapes, in that you had a DJ creating a mix of current hits, upcoming, unreleased singles by both label and underground artists, and freestyles. This was technically illegal, since they were selling copyrighted music, but labels put up with it since it was effectively free promotion. Mixtapes were the original music blogs, and were the fastest, most effective ways to break new songs and artists. This changed somewhat in the early 2000s, as you had an influx of single artist/crew mixtapes from collectives like G-Unit and Dipset that were less about the DJ and more akin to slapdash albums playing loose with copyright law. There was an entire era of (largely failed) "mixtape rappers" who had released hundreds of songs and freestyles before ever releasing major label debuts (Joe Budden, Papoose, Saigon, Uncle Murda, etc.). It was actually Budden's 2006 Mood Muzik 2 that really began the trend of mixtapes featuring mostly if not exclusively original production and fully formed, hook-laden, radio ready songs. Mixtapes became a way for rappers to release music in an era where the label business was imploding, finished albums were sitting on the shelf for years and traditional big budget marketing and promotion only existed for the Jays and Ems of the world. Mixtapes in the "blog rap" era have just taken that to the extreme. On the whole, major labels don't fuck with rap anymore, and if you're a new artist trying to make a name, without a marketing machine behind you, you can't realistically expect people to come to your Bandcamp page and put down money for a 7 song EP. So, you release that shit free, and if you're lucky, some blogs pick it up, and you can go on a small tour, and maybe a street clothing brand or a liquor company will want to co-opt your coolness by paying you to make a video, or even sponsor a new mixtape, at which point the cycle begins again. There are a not insignificant number of rappers who've never released commercial albums but tour the world just off of succesful mixtapes. So basically, a modern mixtape is what would've been referred to in the past as a demo, except it's publicly available, and you have to keep making them to stay relevant in the endless churn of the blogosphere. Being a rapper circa-2013 is like being a professional amateur musician.
+2 |
November 6, 2013 on Mixtape Of The Week: Action Bronson & Party Supplies Blue Chips 2
I very much agree with this. Also, while nobody would deny that Eminem is one of the all time great rap technicians, I've always felt that he gets elevated a bit beyond his accomplishments due to the fact that he's many older people's only real exposure to serious, verbose, dexterous rap music. The original MMLP was very much a product of late 90s/early 2000s hip-hop album construction: overlong, brilliant in spots, droning in others, and a prime example of the singles legitimately being the best songs on the album. I think there are a lot of 30s/40s "rock dad" types for whom Em is still the first and last word on artistry in rap music, and I think you'll see that reflected in the reviews. Youth music outlets are going to skewer it for being out of touch, tonedeaf dreck, but establishment papers and mags are going to cheer the return of their beloved enfant terrible, the guy who scrubs hip-hop music of all of the groove and dangerous, unhinged sexuality that makes it so threatening, and replaces it with good old-fashioned all-'Merican ultraviolence. The fact that pre-orders for this have topped the iTunes charts all week, while Danny Brown never even cracked the top 10, makes me deeply sad.
+5 |
November 1, 2013 on Premature Evaluation: Eminem The Marshall Mathers LP 2
Man...people are kind of dicks about women's bodies. It's not like this is a particularly erotic photograph. Doesn't it seem strange that a woman can't display her naked torso without the image being decried as pornography? Doesn't that embody the unhealthy degree to which we fetishize and claim public ownership over women's bodies? It's creepy and patronizing to construe a woman's decision to present her body as intrinsically exploitative, as though clothing is the only means by which women can maintain agency over their art. Also, saying "she's just desperate for attention" ignores the fact that ALL artists are desperate for attention. A desperate need to be validated by others is sort of the default prerequisite for dedicating your life to a creative pursuit. People who are "well adjusted" and satisfied by the love and respect of close friends and family aren't typically inclined to throw themselves naked and raw to a cruel, disinterested public, to present the bloodiest, most wounded slabs of their person up for consumption.
+27 |
October 10, 2013 on Sky Ferreira Is Topless In NSFW Night Time, My Time Cover
Why are there so few (any?) black writers working at the major youth music sites/magazines? As this article attests to, there's probably never been a point in American music history with less overt segregation of consumption than right now, so while it's both reasonable and positive that formerly indie-dominated media would begin covering traditionally "black" music in earnest, it's a shame that we haven't seen a similar sense of diversity creep into the ranks of the people actually writing the coverage. "What’s not up for debate is that any privileged person who is interested in behaving benevolently needs to focus less on their rights and more on how they affect less-privileged people. That’s a conversation whose terms the less-privileged ought to dictate." Good point, but sort of hollow when said people of "less-privilege" aren't really being invited to join the discussion, let alone dictate it. That being said, Stereogum and every other site are going to hire writers capable of translating a vast world of diverse music down to a language and sensibility that connects with their readership, a readership that I'm going to guess skews heavily towards the young, white and educated. I get it, but it makes articles like this come across as disingenuous and self-serving, where the point isn't to dig at a challenging nugget of cultural politics, to get messy and pose hard questions to your audience, but to assuage their conscience and politely brush aside misgivings while waving the neon flag of "poptimism". I guess my point is that you can't have it both ways. Either you make an effort to have an active dialogue with a diverse coterie of writers about a diverse selection of music, or you accept your role as an anthropologist, translating outsider culture for consumption by the insiders.
+4 |
September 12, 2013 on Deconstructing: Big Sean, 2 Chainz, And The Racial Politics Of Punchline Rap
It must suck to be an Asian girl. You've got a constant stream of THE creepiest white dudes coming up to you and thinking that you're the embodiment of their submissive schoolgirl fantasy. Really, I don't know that any demographic in this country are as overtly, perversely fetishized as women of east Asian descent. Clever marketing gimmick, though.
0 |
September 4, 2013 on The Weeknd Is Taking Fan Phone Calls Now
1) This song is horrible. 2) It's like Em has devolved into a late 90s self-parody of "white rap". I feel like I should be playing cornhole and getting buzzed off of Natty Light while listening to this. 3) That being said, has Eminem ever released a first single that wasn't borderline unlistenable? "My Name Is" was sort of a fun novelty record, but everything since has been roughly equivalent to the idiocy of "Berzerk", so there's still hope that the rest of the album will be more palatable. But I'm not holding my breath. I'll always contend that Eminem is one of the most technically gifted rappers in history, but has never released a true, honest to god classic album. MMLP sold a lot of copies and introduced large swaths of white America to virtuosic "lyrical" rap, but it's a bloated mess.
+9 |
August 27, 2013 on Eminem – “Berzerk”
I'm forever baffled by the notion that music fandom forces you to be IN OPPOSITION TO!!!! something. There's a lot of music that I don't listen to, simply because it doesn't appeal to me, but I don't then automatically assume that my distaste for it is an indicator of that music being worthless/for morons/made by untalented hacks etc., because I don't work from the assumption that I'm the arbiter of objective taste. If there's one thing I've learned in life, it's that everything has hidden levels of complexity. Everything. I'm not saying that you aren't allowed to have your tastes or predilections, because we all do, but have at least a modicum of perspective that your tastes aren't born of unbiased, dispassionate analysis. You like the things you like because you are who you are. People who like things different than you do aren't inherently charlatans or liars or simpletons. They may just not be you.
+8 |
August 6, 2013 on Deconstructing: The O.C. And Indie Rock Gentrification
I don't think people ever stop to really think about how young the canon of Western "pop music" really is. We're talking about 50/60 years worth of music here, and during a timespan that's seen radical technological changes that forever altered the way music is made, the way it sounds, the way it's sold, the way it's distributed etc. Articles like this always work from the assumption that there was an immovable, sharply defined foundation of "authentic" or "hip" music deeply lodged into the zeitgeist, and any changes to that perception were inevitably the result of drastic, tectonic shifts in the crust of pop culture. Really, I don't think that rock music is dead by any means, but I do think kids making music today, who grew up in the 80s and 90s, are dramatically less fascinated by Bob Dylan and The Beatles and The Stones than kids who grew up in the 60s and 70s were, which is entirely logical. The "pop music" that those 60s/70s babies made sounded like the radio music they grew up listening to, so it's only logical that kids who grew up on Michael Jackson and Madonna and Tupac and R Kelly are going to make music that reflects that. What's weird isn't that kids who grew up on Janet Jackson love Beyonce, but that a lot of music critics assumed that said kids would just automatically adopt the same aesthetics and notions of "authenticity" as people 20 years their senior. I'm of the opinion that baby boomers came very close to ruining music, due to their creating this notion of there being an immortal, sacrosanct canon of pop music royalty that all must pay homage to and that none can ever surpass. The downturn in rock's popularity amongst the youth-music intelligentsia is simply a reaction to that, a need to cleanse the palette and break away from the suffocating grip of the Rock Gods!!! In 10 or 20 years, once the boomers are dead and kids want nothing more than to eradicate the omnipresent synth pop their parents listen to, they'll pick guitars back up and start doing weird, fun things with the genre to give it brand new life.
+11 |
August 6, 2013 on Deconstructing: The O.C. And Indie Rock Gentrification
I would agree. The album has actually grown on me substantially since I first listened to it on Thursday (to note: I was listening while nursing a brutal hangover and playing Animal Crossing, so it had less than my full attention). It actually reminds me to some degree of Reasonable Doubt. It's nowhere near RD quality, quite obviously, but it shuffles along at an unhurried gait, content in its own being, in a way that Jay-Z of the Def Jam and beyond era was never really comfortable with. Outside of that insta-skip Beyonce duet, nothing on the album feels particularly "single"-y. Even "Holy Grail" is too long and too awkwardly structured to really fit comfortably into the "hook - verse - hook - verse - hook" structure of rap radio. "La Familia" is probably the breeziest, least hurried Jay-Z song since "Feelin' It" or "Cashmere Thoughts". And I was ready, EAGER to hate this album. I'm infatuated with Yeezus, and I was EAGER to hoist up MCHG as comparatively bankrupt, artistically, musically, intellectually. But I can't. It's not an album that asks much of anything from me, or that thrills me, or that's home to many if any songs that will find their way to the career-spanning greatest hits retrospective, but it's an expensive sounding, beautifully mastered album that knocks incredibly hard when it wants to, helmed by a guy who's past his prime but still one hell of a rapper. Look past the gross Samsung affiliation and it's hard to hate if you genuinely enjoy meat and potatoes hip-hop music. Also, as a side note, it really bothers me that so many critics are having bitch fits about his commodification of the "high art" world. As somebody with a dusty studio art BFA sitting on his proverbial shelf, I feel at least moderately qualified to say that vacuos image and shameless commodification have long been a part of the modern art scene. Jay-Z cheapens the art world in the same way that NWA created the word "nigger", or how Snoop Doggy Dog was the inventor of referring to women as "bitches". The lesson to be learned by the backlash to MCHG is that you can spend 16 years bragging about selling drugs to your community and be a critical darling, but start appropriating fine art imagery and OH MY GOD THAT MONSTER NEEDS TO BE STOPPED!!! Priorities, people, priorities.
0 |
July 10, 2013 on Premature Evaluation: Jay-Z Magna Carta Holy Grail
While nothing on this list is as egregious as choosing Vol 3 as the best Jay-Z album (a choice that bent the notion of art's subjectivity to its breaking point), creating a list of the best MF DOOM albums and not topping it with either Madvillainy or Operation: Doomsday is still kind of baffling. Really, these album ranking lists are pretty damn genius. Not because they produce compelling, thoughtful music journalism (which they don't), but because they provide an endless stream of easy, antagonistc content guaranteed to generate lots of pageviews and indulge in that classic rock critic conceit of flying in the face of stodgy, old-guard consensus and championing unlikely, overlooked, perhaps even maligned albums as some form of punk rock contrarianism. Mind you, I'm commenting, so I'm by no means above the cheap thrill of getting into pointless arguments about pop culture ephemera, and flinging the faux-outrage like it's going out of style, but I at least have the decency to be ashamed of it.
+7 |
December 13, 2012 on MF Doom Albums From Worst To Best
In fairness, using a boner to draw attention IS a lot edgier than going the traditional route of tits, ass, or a potent amalgam of the two. But seriously, I don't think the Death Grips ethos is "Shock/Disgust With Meaning", it's just "Shock/Disgust". That's not even a critique, but just saying that they exist (at least in their minds) as some sort of flailing dervish of "fuck you" energy meant to strike at anything smooth and shiny. I actually kind of appreciate their willingness to just be antagonistic for the sake of being antagonistic. They aren't "clever", and I think there's some value to acts that just rage to rage, and demand that you pick a side in the eternal struggle between order and chaos. The fact that most of us are going to fall on the side of order doesn't mean that being forced to make the choice wasn't valuable as a form of self-accounting.
+6 |
November 1, 2012 on Death Grips Dropped By Epic
I think there's a definite bias for female pop, which is why most of the big budget pop artists you see get major love on indie sites (Swift, Beyonce, Rihanna, Nicki Minaj, Lady Gaga, even Perry to some extent) are ladyfolk. Not to be too much "That Guy", but I think there still exists to some degree a sense that women's music is intrinsically vapid/superfluous, so a female musician pumping out an unapologetic stream of high fructose corn syrup is unlikely to be seen as a detriment, and in some ways more honest. The irony is that most defenses of this kind of music tend to paint critics as themselves sexist, since they have an issue with "girly" music, the notion being that shallow, unthinking perspectives on relationships are inherently the domain of young women. There's more of an expectation placed upon young men to come with depth and substance, that there's a deep pop music legacy for men to live up to, regardless of their genre. So when you have somebody like Flo Rida, or Chris Brown, who make music that's functionally identical to their more respected female counterparts, they're shunned relentlessly. I mean, hell, look at the two albums in this article that are being used to exemplify the return of "good music" to the pop charts. You have Kendrick, who has created an ALBUM (caps intended), something that demands repeat listening, that fans have banded together to deconstruct and analyze and digest, because it's such a rich piece of narrative that drips with specificities of time and place and circumstance. On the other hand, you have Swift, and the debate more or less peters out at "How many hit singles do you think the album has?". While a lot of critics love (or at least have a respectful tolerance of) Lady Gaga, the notion of her possibly sullying the Kendrick album has repeatedly been a point of admitted concern in most reviews of GCMC. We recoil at the notion of that superfluos girliness creeping into our "art". And the point isn't that all music critics are raging sexists, but there are certains gender roles that are just hard-coded into our perception of pop music, without us even really recognizing them most of the time. The solution isn't for all of the beardy music dudes to have a big masturbatory forum and discuss gender roles in music criticism, but just start hiring more women for these sites, who are obviously going to want/appreciated different things from their music than guys do. It's the same way the whole "rockist" discussion in the early-aughts didn't result in a greater diversity of voices writing for the sites/magazines, but the same 20/30-something middle class white dudes making believe they really connected with the new Jill Scott album. So, yeah. That's my long-winded, kind of inflammatory answer to your question.
+8 |
November 1, 2012 on Deconstructing: Taylor Swift, Kendrick Lamar, Soundscan & The Future Of The Album
Death Grips is a group that has absolutely, positively zero commercial/pop prospects, so it's not as though this was a band that was "finding its voice", with MC Ride showing up as a judge on The Voice a few years from now. They were never going to soundtrack an iPad commercial, they were never going to perform on Fallon, they were never going to do anything more than be a niche group that some people loved to death for their uncompromising punk/noise/pseudo-anarchic nature, and other people just found shrill and obnoxious. Now, though, they've afforded themselves a huge dollop of anti-establishment "cred", and will spend the next year making decent money traveling the world and playing alternative shows/festivals, further shoring up that diehard fanbase that they're going to need if they have any hopes of making this project a long-term career choice. This literally couldn't have worked out better for Death Grips. Also, a major label tut-tutting "marketing and publicity stunts" is 1) epic LOLZ, and 2) a great example of why major labels are dying/dead. We're in a weird era where artists have become more ruthless/savvy at knowing how to market and exploit their image than the labels are. The idea that you're going to take a 17 year old and groom them into a pop star is so painfully antiquated, when that 17 year old has been studying Grimes and Lil B and The Weeknd and has already crafted their own dense mythology and attracted a substantial social media following. To be an effective "music first" company, you need an ecosystem of "music first" musicians to seek out and develop, of which there are none in 2012.
+15 |
November 1, 2012 on Death Grips Dropped By Epic
This is dramatically superior to 99.78% of the awkward indie pop/southern rap collaborations that have been immaculately conceived in the last year or so, even if just because it's an actual song and not just some lazy rapping atop an overproduced synth track. Plus, Little Dragon were already making music that would fit pretty comfortably under the Dungeon Family umbrella. For as much as people talk about hip-hop becoming a more expansive, experimental genre, I think more of the credit goes to alternative/college/indie rock gravitating heavily towards the sounds and rhythms of rap. It's crazy how, in just under 10 years, the sound of traditional guitar rock has become antiquated to the point of evoking nostalgia when it does show up. I mean hell, Questlove, a DRUMMER for a RAP GROUP, is probably the most well-known, revered instrumentalist in modern music, which is awesome and mind blowing for so many reasons.
+2 |
August 9, 2012 on Watch Big Boi & Little Dragon Debut “Mama Told Me”
This is a genuinely fascinating piece of news. My guess at to the cause of this shift: 1) As people have already mentioned, music sales are predominantly the realm nowadays of older folks, who aren't familiar with torrents or streaming services. It's why artists who are legends (Bruce Springsteen) or who emulate the style/sound of legends (Adele) absolutely dominate the charts, even though they may get only a fraction of the press that hipper, more progressive acts get. 2) Modern music is frequently created, marketed and fawned over specifically because of its transient, disposable nature. People are less concerned with building music libraries and more interested in just keeping up with the near-biblical deluge of new stuff that gets thrust upon them on a daily basis. Remaining "part of the conversation" is fundamentally incompatible with engaging music on a deeper (read: slower) level. Music has always been about identity politics, but today it doesn't have time to be anything BUT identity politics, which strips away any real archival purpose or value. 3) Simply put, the last few 5 or 6 decades have produced a shitton of music. It's always asked "Who DOESN'T already own _______", but the answer is "The vast majority of people". Aside from the fact that we're still sifting through music made before any of us were even born, even the most "pop standard" records are still unheard/owned by the vast majority of people, especially the youth. There are always going to be new generations of 13 year olds looking to engage more intimately with the world and turning to The Ramones, or Bob Marley, or Run DMC to do it. There are always going to be parents looking to introduce their kids to "real" music via The Beatles, or Dylan, or Earth Wind & Fire. In a way, I would love for there to be just a "Year Without Media", where no new music/movies/television/books/comics/video games etc. were produced, and all people could do is take a breath and begin sifting through the impossible backlog of stuff our culture has piled up in the last half century. Give all the professional artists a modest salary to just take the year off, let them recharge their own batteries, get off of the grind of working without respite just to keep the lights on. I promise you that we would come out of it a calmer, more sane, more thoughtful society, even if just for a bit.
+2 |
July 19, 2012 on Old Albums Outselling New Albums For The First Time Ever
For me, the frustration stems from the sense that there seems to be no real place for qualitative judgement within hip-hop nowadays. It's annoying when it feels as though rap is the one genre where you're not allowed to call people out for simply not being very good at it. Maybe it's "old-fashioned", but I'm very firmly of the belief that there's a genuine skill to performing a rap vocal. That's not to say that there's one singular "right" way to do it, or that virtuosic technical chops should be the singular judge of a rapper's quality, but it's a skill, and it's something that few people can do well, and very, very few people can do great. However, rap music as a genuine art form, a valid form of musical expression, has been increasingly on the decline over the last few decades, and that devaluation has peaked in the last 5 or so years. Rappers give away mountains of music for free, successful producers are essentially just great marketers, manufacturing a simple, easily replicable style that they can pump out fast and cheap for whoever comes calling, and the idea of taking pride in your craft is treated as luddite, by both artists and (most depressingly) critics. The actual musical output of a rapper is entirely secondary to what they represent, and how think piece friendly they are to bloggers starved for content (see: Lil B, Kitty Pride, Riff Raff, Chief Keef etc.). The truth is, I have no problem with kids who just want to dick around and craft some goofy throwaway rap to entertain themselves and their friends, but it bothers me when this stuff is hoisted up as "very important" by people who should know better, and due to their platform, have the power to shape the conversation about this musical genre. Call it elitist if you want, but for me it's about still holding onto the belief that hip-hop music actually means something, and that for a lot of "older" listeners (I'm 29), was a real, substantive influence on the most malleable years of their adolescence. It saddens me that a lot of younger listeners will never understand hip-hop as anything but throwaway music, or as just a sounding board for antisocial behavior. I don't want for people to not have fun, or for kids to not be able to shape the music to better reflect the wants and needs of their own generation, but I simply want people to care, and to do it with passion and love, and not just as ironic blog-bait or half-assed tumblr filler. Why is it so wrong to want rappers to rap good?
+3 |
July 14, 2012 on Turntable Interview: Kitty Pryde