Not the digital artist in England. Or the magician in England. I'm a Charlottesville-based writer. No, I'm not moving to England.
You can contact me at coshea22[at]gmail[dot]com. I can also be found on Twitter. Thanks for stopping by.
This is Good
Bigfoot is — by far — the best gauge of Americans’ welfare.
As long as people keep claiming they have evidence that proves the hairy guys exist, we’re doing fine. As long as news outlets keep covering those proclamations, everything’s good. Bigfoot stories show that we all still have time to think about inane crap that will never, ever, happen.
If a few years go by and there are no Bigfoot sightings, no Sasquatch videos; America is officially fucked. Because that means something so serious has happened that we can no longer dedicate any brain power to a real life version of Harry and The Hendersons.
The Bigfoot legend might seem ridiculous, but in the end it’s helpful. And it’s certainly not abominable.
Macklemore: The Great White Hope
I’ve never been a fan of Eminem. I respect his talent, but the constant Yell Rapping thing that he does is almost more irritating than Nicki Minaj’s baby voice. Almost. Aside from his style, my main criticism of Em is that he’s overrated, and that if he was black, he’d be just another MC. I said this when The Slim Shady LP debuted, and I’ll keep saying it until Em drops the mic for good. The fact that he’s helped out by his skin tone isn’t his fault, but it’s the truth. That inherent advantage is where Macklemore comes in.
In a Rolling Stone piece, Macklemore admitted that being white has a lot to do with his success:
"If you’re going to be a white dude and do this shit, I think you have to take some level of accountability. You have to acknowledge where the art came from, where it is today, how you’re benefiting from it. At the very least, just bringing up those points and acknowledging that, yes, I understand my privilege, I understand how it works for me in society, and how it works for me in 2013 with the success that The Heist has had.
We made a great album, but I do think we have benefited from being white and the media grabbing on to something. A song like ‘Thrift Shop’ was safe enough for the kids. It was like, ‘This is music that my mom likes and that I can like as a teenager,’ and even though I’m cussing my ass off in the song, the fact that I’m a white guy, parents feel safe. They let their six-year-olds listen to it. I mean it’s just…it’s different. And would that success have been the same if I would have been a black dude? I think the answer is no.”
I’m also not a fan of Macklemore, but after reading this, I like him a lot more. I don’t think that every white MC has to acknowledge their privilege, but it’s certainly refreshing to hear one finally do it.
New Curren$y - “Audio Dope 4.” Beat by Harry Fraud.
The Album: Burned Out, Faded Away
[I wrote this in March, but for reasons out of my control, it didn’t get published by the outlet I pitched it to. However, it was a lot of work and interviewing Questlove was amazing. I didn’t want it to sit in my drafts folder forever, so I’m swallowing a bit of my pride and posting it here. I hope you enjoy reading it as much as I did writing it.]
The album is dead. Authorities claim it was last seen in a light blue 2002 Nissan Sentra. The album was believed to be in the vehicle’s Alpine car stereo (with removable face), but after so many years, the search has been called off. There are no funeral services planned.
Inside a tiny studio in the Clive Davis Institute of Recorded Music, I broke this news to Questlove, the iconic member of The Roots and Musical Director for “Late Night with Jimmy Fallon,” and Harry Weinger, a multi-grammy winning reissue producer and vice president of A&R for Universal Music Enterprises. I figured that Questlove and Weinger would be interested in hearing about the death of the album because the musical savants had been teaching an NYU class titled “Classic Albums” each Friday for the past few weeks.
When I approached the duo, they had just finished a lesson explaining why they considered Michael Jackson’s Off The Wall to be a classic. Questlove and Weinger both alternated between flooding the classroom with their vast knowledge about the record — Quincy Jones hated “Billie Jean” but Jackson fought for it; “Boogie Nights” by Heatwave was the template for “Don’t Stop Til’ You Get Enough,” etc. — and sitting back and letting the music be the teacher. Now that that class had ended, I explained my theory: The album as an art form has perished.
"It’s a singles marketplace, but there are acts that I feel like can still take you on a journey," Questlove began. "Actually, I’m starting the My Bloody Valentine album now, and I’m curious to see if an act whose last album — 22 years ago — was considered a masterpiece, can make a follow-up. This might be the comeback of the ages. But yeah, albums that deserve to be listened to all the way through are far and few between."
Just realized my last two posts are about Action Bronson. I will do my best to make the next post different.
Like, maybe something on Charles Bronson.