Rap

My Last Post About Women Ever, Part III: Faded Pictures and Old Playlists

Is it weird I still think about them? What about the fact they routinely pop up in my head in the form of wistful nostalgia? How about the fact I still have pictures of them in my phone, even though some of them were two or three cells ago? Would you judge me if I told you I still pull up those pictures from time to time? Or that I stare at them longingly, wishing I could somehow relive some of the moments that continue to play on in my dreams? And the damn songs. Those songs all of them ruined because they send those complex emotions rushing back to me and make me relive the memories so often. Sometimes I sift through those pictures and replay those songs in my mind silently, some more somber than others…

“As she turned through the pages, a tear rolled down her face/I could see her reminiscing…why her life had to be this way…”

I was in love with her at 12. By then, she lived 688 miles away in a city I had just left but loved just as much. I grew up with her and fell for her temper. We fought so damn fiercely, I knew that passion would eventually be channeled into something mature and timeless. I just KNEW it would. The song doesn’t really speak to what I felt and what I wanted her to feel; she just used to sing it off-key on the couch when I visited her. That picture of her smiling at me while an Ebony Magazine sits open in her lap always conjures up the love I have for the summer of ‘99…

This one loved the song “Like You” by Bow Wow and Ciara. I sit and look at my phone, amazed that somebody so pretty then could become more beautiful years after that youthfully ignorant pose that smiles back at me. I remember that song because it blared from her phone and I knew that someone she was more interested in was calling. The bridge is a run-on sentence that ended with what my heart screamed silently at her: IAin’tNeverHadNobodyShowMeAllTheThingsThatYouDoneShowedMeAndTheSpecialWayIFeelWhenYouHoldMeWeGon’AlwaysBeTogetherBabyThat’sWhatYouToldMe- and I believe it- cuz I ain’t never had nobody do me like you….

I still hate the man on the other end of those calls, even though I never formally met him. The fact my feelings were embodied in a song reserved for another dude pissed me off. Despite it (or because of it), that drove me harder to live out those lyrics during our aimless drives in my Ford Explorer…

Love can be either a continuous melody or a painful bookend, which is why Ms. “Like You” will forever be remembered by a Ghostface Killah song, too. Not even a song, actually; the instrumental to said song…I had some SHIT to say. Is love really being up late writing angry lyrics over a Ghostface track? If you’re angry enough…it makes sense to you, trust me. The “Back Like That” beat played in some shitty iPod headphones while I scribbled a message I desperately wanted to shout in her face…

Jay-Z’s “Dear Summer” made me a stalker. The copied-and-pasted Facebook pictures of her posing in her dorm room made me weird to the people that didn’t understand what love really is. If they knew, then they had to know why I wanted to stalk her. With that song playing over and over from an iPhone 3 perched in the bushes situated below her kitchen window. She would never notice my actual presence…but she would absolutely feel a certain discomfort at the amount of weird things happening around her. Simple things like me gluing the hair in her combs to her bathroom mirror in vague messages. Or weird, square-shaped patches missing from her beige pillow covers. Or her Twitter account being followed by @ImUp_IAmAlwaysUP_AndWatching_You. Thank God that’s not a long song, my Dear [Redacted]…

The next image is hard to look at; it’s harder to describe the impact such a passing moment continues to have. She stood in front of a fountain- one I walked by daily to a building that had professors that changed my life and women that made life hard and a department that dared me to be great- and held me like she was in love with it all without her really knowing so. My Little One. The single mother that was both thirsty for knowledge and unaware of her immaturity. When somebody so young is the anchor of her entire family, her saying her ringtone for you is “No Better Love” is special. I couldn’t even come up with a decent quip for it; it’s awesome, period. I hear that song and just imagine she still smiles whenever it gets played. It’s my only bridge to a past that easily could have been my forever. Maybe it’s my ego whispering to me that I will always matter within those three or four minutes. Maybe I just like the damn song and misremember how special it really was to her. Whatever. I don’t miss her. Nope. I’m not trying to convince myself at all…

Man, she stole MY song and made it OURS. That motherfucker. That humble, pretty, stacked motherfucker. I played a song I loved and she loved the song and now we love the song. “Time of Your Life” went from being something that elevated my mood and made me smile at the ridiculous nature of day-to-day life to becoming a burgeoning couples’ mood music. Her pictures are explicit so I won’t describe them (but I damn sure will keep on looking) but what the hell…?

This last picture is always hard because I never know how to feel. She deserved better from both him and I. I never knew what she was telling him when she laid in his apartment and I’m sure he never knew about our conversations. The only picture is one I snuck while she was looking at the video to our song, too drunk to even notice the flash. Did she play our song for him? Did she introduce him to the music video with her head so perfectly nestled under his chin like she did with me on my couch? She was never mine; she was either under me or him and the influence. I wonder what that kind of tugging did to her psyche, but I never asked. I just kind of waited for her to blurt it out in her weaker moments…

“8 doobies to the face…fuck dat/12 bottles in a case…nigga, fuck dat/2 pills and a half-weight…nigga, fuck dat/Got a high tolerance when your age don’t exist…”

My Beautiful Mistake makes those words seem so surreal. Who gives a shit about growing old when living in the now is so much more pleasurable? She had no concern to even know she would forever be suspended in that nonchalant pose. I wonder so many things when I stare at it. It feels ominous and dark; it’s also telling and intimate…

“Got a high tolerance when your age don’t exist…”

Timeless photos…

A.J. Armstrong listens to a lot of Drake late at night and tends to reminisce hard; this post was supposed to come out two days earlier. He is also the creator of The Fly Hobo and His World of Oddities

Hip-Hop and the White Critic

If you haven’t yet read Amiri Baraka’s seminal piece on jazz, please read it here.

“Most jazz critics have been white Americans, but most important jazz musicians have not been.”

-Amiri Baraka, 1960

54 years later, our critics are still primarily white, our art is still being viewed through eyes that do not quite resonate, and jazz is dead. This has become a reality in the years since, an acknowledgement that what we create is open to critique by those not able to fully comprehend the context of which it was created. In 1960, it was the conception of jazz being appreciated and yet not quite understood by those white critics. Today, hip-hop has been swiped from our collective bassinets.

“As one Howard University professor said to me…’It’s fantastic how much bad taste the blues contain!’”

It’s all noise now. A garbled collection of expletives set to deep basslines. It’s not spoken truth over hypnotic backdrops- it never was to a certain generation, regardless- it’s just hyperbolic boasts in sync with noise. Or it’s noise that has stolen elements of funk, gospel, rhythm and blues, and, yes, jazz in the name of youthful ignorance. It’s why those middle-class Black Americans locked jazz away in closets of shame, and it’s why hip-hop, of any era, remains undefended during times of attack, ridicule, and outrage. It’s fantastic yet unclaimed by those that “matter”.

“…The major flaw in this approach to Negro music is that it strips the music too ingenuously of its social and cultural intent. It seeks to define jazz as an art (or a folk art) that has come out of no intelligent body of sociocultural philosophy.”

They (read: WE) focus on what you “shouldn’t” say. They (read: WE) don’t investigate. “Fuck Tha Police” is too violent, “Fight the Power” is too militant, and “Brenda’s Got a Baby” is too divisive. It’s always too…something, and therein lies the problem. It can’t ever be a reflection; they (read: WE) have to place these songs as depictions. Depictions of what’s wrong with us and not the system or environment in which they (read: WE) escaped in a different fashion. They (read: WE) hear a message but they (read: WE) don’t quite heed it. It’s just an angry noise that- at this point- only emanates from their (read: OUR) children’s bedrooms.

“Most jazz critics began as hobbyists or boyishly brash members of the American petite bourgeoisie, whose only claim to any understanding about the music was that they knew it was different; or else they had once been brave enough to make a trip into a Negro slum to hear their favorite instrumentalist defame Western musical tradition.”

They (read: THEY) knew Doggystyle was unlike anything they’ve ever heard before. They knew Harlem World had a lot of samples from songs they grew up critiquing. Tha Carter III made them love OUR thing. But they didn’t walk into Roscoe’s House of Chicken and Waffles on East Broadway before then. They didn’t venture to Uptown Manhattan until Clinton quelled their fears. They still haven’t walked the streets of Hollygrove; they just knew Wayne’s 16 songs both eschewed the “norm” and placed them in the midst of his chaos. They can analyze and review, but they can’t be us. However, the sad part of this is: they seem to appreciate it much more than we do.

54 years ago, “Jazz and the White Critic” seemed to hint at a defining piece of Black culture slowly being taken from us. Has that occurred with our newest creation? Not fully, but there are ominous signs. Wu-Tang Clan paraphernalia is a Hot Topic “Hot Topic”, Tupac resurrected at Coachella, and Macklemore just Macklemore’d the Grammys (even he was surprised, apparently). Is there anything wrong with any of this? Of course not; they (read: THEY) are remembering and channeling some of the best we have had to offer and that’s awesome. It’s only slipping from our grasp because we don’t cherish our creation. We can give it to whomever but can’t we still bob our collective heads to it? It’s not enough to paint a masterpiece; every once in a while we should stand back and admire what we created.

Rest in paradise, Amiri Baraka. A.J. Armstrong is the humbled creator of The Fly Hobo and His World of Oddities

The Dissolution of Jay-Z

Thank God Nasir never made hundreds of millions of dollars. I’m happy Marshall still cares. I’m talking, of course, about Eminem and Nas. They are arguably two of the most influential and recognizable rap artists ever. Along with Jay-Z, these three represent an era of rap music that I really didn’t think was possible when I was younger: aging rappers still every bit as viable as their younger counterparts. They are all over 40 and selling just as well- if not better- than any other current rapper. Nas’ 2012 release, Life is Good, earned him another Grammy nod. Eminem is releasing The Marshall Mathers LP 2 on November 5. Both of these artists are still rapping at incredibly high levels. Why then, can’t the same be said for Jay-Z?

I might as well preface everything by stating firmly I have never been- nor will I ever be- a huge fan of Jay-Z. I have his entire catalog but I don’t CHERISH most of it. For every classic (Reasonable Doubt), there’s a total clunker (Vol. 3…The Life and Times of S. Carter, anybody?). With that being said, I’d be a delusional hater if I didn’t acknowledge that the great musical moments far outweigh the less stellar. The dude has been around this long for a reason. After listening to his latest release, Magna Carta…Holy Grail, I’m not so sure that’s a good thing.

I’ll keep my review of Magna Carta… brief: I hate it. I hate his super simplistic lyrics. I hate his endless references to his opulent lifestyle. I hate that 16 STELLAR instrumentals were wasted on this effort. However, what I hate the most is his willingness to bow and conform his flow to what’s “hot” today. It wouldn’t be as offensive if Mr. Carter hadn’t been so insistent about being the leading trendsetter in Hip-Hop. Clearly that isn’t the case anymore if he’s out here rapping like Young (insert name) from the South.

Magna Carta…, to me, confirms what I had suspected for a few years now. Jay-Z doesn’t care anymore. And why would or should he? The man is worth millions upon millions of dollars. Jay has been known to phone in whole albums at times (Vol. 2: Hard Knock Life was a literal sleepwalk for him), but this feels different. What I heard the three times I ran the album (because I just couldn’t take it after a certain point) was a man just done with trying to make art. Tom Ford reference here, Givenchy name-drop there…we get it, dude. You have a lot of money. And I also get that this has been Jay’s thing since day one but the difference here is that there’s no creativity to it. “Imaginary Player” was dipped in sumptuousness too; he just made it sound so INTERESTING.

So has Jay-Z fallen off lyrically? Yes, but only because of his lack of interest. If Shawn Carter wanted to craft another Blueprint-like masterpiece, Shawn Carter could craft another Blueprint-like masterpiece. But why would a man that has everything care to put forth that kind of effort? What kind of fool still actually CARES about making good music at this point? The people are going to buy it, regardless. How dare he make an effort to make the purchase worth it, right? I even have a name for it: The Kevin Hart Syndrome. You made the people listen to you and now that you have their ear, fuck what you babble into it.

I don’t hate Jay-Z. I just want him to quit and never rap again, that’s all. Yeah, it’s stupid that I still care about the art at this point, what with 2 Chainz and Future…doing whatever it is they call themselves doing, but I do. Jay-Z is rap’s Michael Jordan (and not in the sense that he was the greatest ever, so you Jay Stans stop. Just stop); we admired his dominance for so long that we have effectively convinced ourselves that his stint with the Washington Wizards HAD to be a success as well. It wasn’t. I live in D.C. Trust me, it wasn’t at all.

Shawn, your mark on the culture is indelible. You had fans from Delaware to Idaho wearing Yankee caps, unaware of how much I hate them (because it’s clearly about me at this point). You were why I wore a button-up on my first date in college. You’re why Rick Ross has completely ran with this whole Maybach theme. That’s kind of hyperbolic…Rick Ross clearly hasn’t run with anything EVER. You get my point, though. We owe you for keeping the culture going. Let us buy you a cake and a gold watch and exchange your microphone for a brochure for some beautiful Miami condos. Now if you’ll excuse me, I think Marshall has something to say. Ok…bye.

A.J. Armstrong is the rap fanatic debating your top ten at your houseparty and the creator of The Fly Hobo and His World of Oddities