I’m not racist: I love white people
In their song “Hahahaha jk,” Das Racist proclaims, “We’re not racist: We love white people!”
[Sorry, I wanted to find a video of a live performance, but YouTube is sometimes inadequate. At least you can listen the song?]
I love Das Racist. They are smart and clever and funny and their lyrics are just plain fantastic. But that one line, it sticks with me. Partially because it’s true, partially because it speaks to racial issues in a very pointed and problematic way.
Imagine if Eminem had a lyric like: I’m not racist, I love black people. How many people would be pissed? (Come on. It’s not like we don’t all know it’s true!) But because Das Racist has at their easy disposal the “race” card, it’s not only funny, it comes to embody a certain degree of truth.
As a woman of color, I can say: I’m not racist, I love white people. No one would call me racist, at least not to my face.
†Illuminati∞Thug∆Mafia‡
So tell me about the name of the new record, Illuminati Thug Mafia?
It’s kinda like the unseen terrible, you know what I mean. All these things have a negative mythology to them. At the same time these organizations, you know that none of us completely know, have their own culture individually. You hear Illuminati, you hear thug, you hear mafia you kind of dismissed it instantly, or at least a degree where you prepare what the the fuck you’re gonna hear. You already prepare yourself to already not believe it, take it with a grain of salt. In a way combine all three of those and it kind of like it’s some real super power, the ultimate fucking ridiculousness.
I went to the Getty recently, and saw an exhibit of illuminated manuscripts. READ MORE >
Doug Hream Blunt on tv
I don’t know what’s wrong with this guy.
Syd Barrett on acid
Interview by Meatball Fulton (1967)
Transcription by Mark Jones
SYD: Well I’ll, I’ll say… for example, painting at an art school. Or painting, say, in infant’s school. The initial desire to paint or initial suc-first successes at painting arised, I think, out of a very genuine basic, um, drive one way or another. So, an-and because of family and social set ups are channeled into success or otherwise and, er, er, through schools and such like and one gets different things. And I think un-and, course, one comes across teachers and people like that, teaching and, sort of, instruction and to talk to and there came, and I feel now that having left art school that there are a lot of things… um… that I could do. A lot of things I see now, a lot of things went in to me, into my head and thinking that these would, perhaps, changing and altering things. For instance I made a painting the other day… and… it’s, I could see and hear very clearly, sort of, different instructions and different criticisms going in to the picture which were in fact p-um-criticisms that I could relate back to art schools and teachers and various things that’d come at that time. So… maybe… this would be very valuable, this break. I don’t know… and, er, sort of, to… try painting again after a break of going in to pop music and going to… playing this sort of music… just might work out that, get more, sort of, basic freedom. I don’t know, it’s something to d-, just things like shape of the paper and, er… seem to be a lot of assumptions taken place. READ MORE >
Western speech is like badgers & birds: free.
The west has fiscalised its basic power relationships through a web of contracts, loans, shareholdings, bank holdings and so on. In such an environment it is easy for speech to be “free” because a change in political will rarely leads to any change in these basic instruments. Western speech, as something that rarely has any effect on power, is, like badgers and birds, free. In states like China, there is pervasive censorship, because speech still has power and power is scared of it. We should always look at censorship as an economic signal that reveals the potential power of speech in that jurisdiction. The attacks against us by the US point to a great hope, speech powerful enough to break the fiscal blockade. — Julian Assange
Tyler the Creator’s “Yonkers”
Shit’s spreading across the net like something else but too good not to post again here.
Prisecolinensinenciousol
From an interview between Joyce and Djuna Barnes at Les Deux Magots in Paris, printed in Vanity Fair (1922)
Men’s Truation
From Thou Art That by Joseph Campbell:
Picture a little Bushman boy being nursed by his mother, weaned very late, a little boy already, but still nursing on his mother. That little boy, unlike the little girl, will never become the life-body himself. He must learn to relate to that. The woman need not learn to relate to the man because that is not the problem. The problem concerns how the man relates to the woman. She is Life. He is a way of relating to Life.
So what happens with the boy? Nothing ever happens. READ MORE >