Author Archives: ctrimis

About ctrimis

I am a student at the University of Washington, majoring in Percussion Performance and Music Education.

Individualism, Capitalism, and Whiteness: A Rhetorical Examination of Macklemore’s “Thrift Shop”

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The biggest song of this last year is a travesty. It manages to further establish the cultural hegemonies of individualism, capitalism, and whiteness through the cultural myths of rags to riches narrative, the notion that more things will make us happy, and the concept that competition makes humans perform their best. In doing so, the song normalizes behaviors and identities that exist to support the existing structures of power. The most egregious aspect of the song’s popularity is that it masquerades as a celebration of resistance, an anti-consumerist anthem for a generation grown weary of brands and corporate worship. And the masses have bought it. They have digested Macklemore’s privileged, capitalist message as a text that represents rebellion. “Thrift Shop”, Macklemore’s party anthem about the fashion available in second hand stores, has managed to capture the hearts of a legion of devoted fans who have in turn furthered some of the United States’ most established cultural hegemonies.

To understand “Thrift Shop’s” ramifications, it is necessary to examine Macklemore as an individual and as an artist. One of the rapper’s largest calling cards is his independence; Macklemore, along with his producer Ryan Lewis, operates unattached to a record label. He has promoted his music self-sufficiently, reaching the top of the Billboard Charts and iTunes Best Seller lists without assistance from a corporate entity. His hit album, The Heist, is centered on the concept that he and Lewis are performing a “heist” on the music industry by reaching the top of the charts through self-promotion and individuality, acting as a self-contained entity separate from corporate record labels. At face value, Macklemore presents himself as a hard working artist who has climbed the mountaintop that is the Billboard and iTunes charts in a rags to riches manner. He has emerged victorious, outperforming and out-competing his contemporaries to reach the pinnacle of his craft. Without delving into the content of “Thrift Shop”, Macklemore’s story can be viewed through the lens of Marxism as a narrative that enforces the hegemony of individualism. Macklemore is a capitalist; he is the sole owner of the means of production of his music and he is, through mediums that are not solely his own such as record stores and iTunes, someone who profits through the distribution of goods as determined by competition in the “free” market. When examining “Thrift Shop”, is important to understand that Macklemore is a capitalist and has benefited from capitalism and as such, the structure that allows him to profit has an influence on the content of his musical output.

One of the largest Billboard hits of the year is a song that presents itself as anti-capitalist. More than two minutes into “Thrift Shop”, Macklmore rhymes: “They be like, ‘Oh, that Gucci – that’s hella tight’/I’m like, ‘Yo – that’s fifty dollars for a T-shirt’/Limited edition, let’s do some simple addition/Fifty dollars for a T-shirt – that’s just some ignorant bitch (shit)/I call that getting swindled and pimped (shit)/I call that getting tricked by a business/That shirt’s hella dough”. Presented without context, these lines can be interpreted as a strong statement against the capitalist system that encourages consumption of expensive clothing. Presented with context, Macklemore can be seen as a capitalist who is using an anti-capitalist sentiment to sell records. When examining the lyrics of this blockbuster hit, it is important to note that this message comes near the end of the song. It comes unprompted, as prior to these lines Macklemore has not mentioned a word against the values of consumerism.  He has instead spent a majority of the song rapping about how his quirky clothing is giving him attention and compliments, making him feel superior to others who are not wearing clothing as unique. He says that he is “stuntin’”, rap terminology for being demonstrative and brandishing style. He even suggests re-selling his cheap items when he raps: “I could take some Pro Wings, make them cool, sell those”. This is not consistent with an attitude of sticking it to corporate entities by purchasing previously owned items. This is consistent with a view of Macklemore as a capitalist attempting to profit and gain through his individuality.

One event in particular serves to underscore Macklemore’s inconsistencies as a capitalist who claims an anti-consumerism outlook.  “Thrift Shop” is not the only song from The Heist to spout a message at odds with consumerism; “Wings”, a tale about Nike sneakers, is a song that more explicitly clamors against its dangers and perceived ills. It should come as a surprise then, that Macklemore allowed the National Basketball Association to use “Wings” for a commercial advertising the league’s All-Star Game. The league used an edited version of the song that did not include the anti-corporate message, instead choosing to selectively frame the song as about just basketball and sneakers. A compromise of artistic integrity to this significant a degree does not happen without profit as the main incentive. When scrutinized, Macklemore wrote a blog post on his website that did not recognize the irony ensconced in his actions. He masks himself as an anti-capitalist renegade but does not do so convincingly enough for the image to hold under further scrutiny. The fact that masses of individuals have bought into his thinly veiled attempt at garnering support from anti-capitalist listeners is astounding and egregious.

This examination into what makes “Thrift Shop”s message a popular one causes us to look at the audience that has devoured the song so voraciously. Macklemore’s target audience is the privileged class that can afford to go to Goodwill or the Salvation Army to purchase items for fashion rather than using secondhand stores out of necessity. Racial assumptions be damned, it is impossible to dismiss this class as not having to do with the prevalent white ideology in the United States. While it may not be fair to call into question Macklemore’s race, in this instance his skin color is impossible to ignore, especially considering his role as one of the only white artists in the field of mainstream hip hop. Several elements of the video for “Thrift Shop” invite us to delve into racial elements that are at play. The video shows a mix of races, but it highlights African Americans. One such man is seen saying “Damn, that’s a cold ass honkey” when Macklemore walks into the club. The character’s use of a phrase complimenting Macklemore’s style, suggesting that the rapper’s attire is cool despite his race (as the use of the word “honky” implies), invites the audience to cast a discerning eye on the video’s inclusion of other African Americans. It sets a tone that is maintained for the remainder of the video in which Macklemore is seen attempting to gain the approval of a black audience who presumptively has a greater eye for style. This creates a distinction between white and black rather than blurring the lines of race. It heightens Macklemore’s sense of whiteness. Keeping in mind the song’s target audience of the upper class who can use thrift shops for stylistic purposes, the video seems to suggest to a white audience that thrift shopping is cool because the black kids agree. Using his whiteness as contrast to the black extras in the video, Macklemore sells himself as cooler and stylistically superior, effectively selling white as cool and reinforcing a dominant ideology.

 Macklemore presents himself as an incredibly genuine artist in a genre that often suffers from disingenuous personalities. He presents himself as a rebel at odds with corporate control and capitalist interest. He presents himself in a racially distinguished manner that serves to emphasize and celebrate his whiteness. That he has time and again demonstrated contradictions within his actions and words, capitalist leanings, and an unhealthy appeal to race should be surprising when given the image portrayed to the public by the rapper. When diving below the surface of Macklemore’s public portrayal through the lens of the “Thrift Shop” music video, it becomes readily apparent that he is not the radical artist taking the industry by storm that he believes himself to be; he is instead a musician that enforces cultural hegemonies through the use of time-worn ideologies. 


My Favorite Albums of 2012

I’m not going to pretend like I’m a professional critic who gets the opportunity to pore over every piece of music released in any given week, month, or year. Listening to music and playing music are both crucial parts of my life, hell that is my life, and that’s why I’m here. That doesn’t mean that I’m qualified to tell you “THIS IS THE BEST THING OF 2012, UNQUESTIONABLY”. When I was posting on LifeAfterNirvana regularly, I had gotten into a habit of dressing my articles as something they were not. I took on the persona of a journalist, someone with qualified and trained writing background who was dropping little bombs of musical knowledge on the heads of the uninformed. I’m dropping that pretense now. I’m going to write to you guys more personally. I’m going to write from the perspective of a student of music who enjoys communicating ideas, because that’s what I am and that’s what I do. I spend most of my time playing an instrument that I’m never going to play in the real world, rehearsing with people who may or may not find me compelling and worthwhile, reading about sports, and playing xbox. I’ve decided that if I want to write on LAN regularly again, it’s gonna be fun god dammit. If I try to make it some sort of career builder or trainer like I had originally, contribution just won’t happen any more. So here we go, I’m jumping back into the fold and I’m sharing with you, my friends or random internet stragglers, what I personally enjoyed in music this year. 

My 15 Favorite Albums of 2012 –

1. Celebration Rock – Japandroids

Brian King and David Prowse have created an album that restores my faith in rock n’ roll. The genre’s energy, pulse, and unwavering yearn are pushed so heavily to the forefront, strapped to the backs of the 11th hour horsemen come from the north to spread the word of youthful longing, eagerness, and revelation from a pair of dudes pushing 30: hang on to your twenties. 

2. good kid, m.A.A.d city – Kendrick Lamar

Kendrick’s album plays like a Spike Lee film. His city throws so much bile at an earnest kid trying to get along, a demon corrupting an otherwise decent person, attempting to mold him into something that resembles the harsh reality of its streets. Instead, Kendrick plays hero and tries to influence change on his oppressor. 

3. There’s No Leaving Now – The Tallest Man on Earth

A songwriter cut from the mold of Dylan and Simon, the Tallest Man is a wizard at the helm of his wooden tool constructing elaborate lines of melodic bliss. 

4. Shields – Grizzly Bear

No band has the command of texture that Grizzly Bear does. Their compositions are elaborate, sophisticated, nuanced, beautiful. 

5. Valtari – Sigur Ros

Where Grizzly Bear hits with restraint, Sigur Ros pounds with ethereal bombast. 

6. No Love, Deep Web – Death Grips

Rap’s punk rock saviors, MC Ride and Zach Hill have welcomed us to the new frontier of electro-percussive expression. An album tailor made for 2012. 

7. Attack on Memory – Cloud Nothings

Hooks meet sludge. It’s 90’s emo for a new generation. The new pallbearers of angst. 

8. Until the Quiet Comes – Flying Lotus

Jazz for the technologically savvy. An introspective look at electronic sound as art. A musician with a laptop. 

9. Hope in Dirt City – Cadence Weapon

This is one of my favorites for its eccentricities – Weapon is a rapper with a poet’s grace and a musician’s fanaticism. His production is an eclectic mix of retro soul, AM radio, and modern glisten. 

10. Bossalona – Fresh Espresso

Seattle’s best hip hop release of 2012. P Smoov’s production and flow has never been better. Rik Rude is Kemp to Smoov’s Payton. 

11. Lord of the Fly – Nacho Picasso 

The king of oddball raps, Nacho’s smoked out lines are a scrapbook of 5th grade desk scrawl and inner city fear. Blue Sky Black Death’s production is top notch. 

12. Channel Orange – Frank Ocean

A crooner with indelible pipes. The notes he hits and the place from which he writes are worthy of the Grammy nominations, widespread critical acclaim, and fan adoration that Ocean has received.  

13. Oshin – Diiv

A band exploring what a traditional lineup can do without the expression of clear lyricism. The music is paramount. It’s chillwave with guitars, but not shitty. 

14. On The Impossible Past – The Menzingers

Another solid punk rock album. I like that these existed this year. 

15. Detroit Revolution(s) – Clear Soul Forces

Carrying the torch of “conscious” rap, CSF spit like the classic groups of the 80’s and 90’s, but with Rugrats references. 

 

 


Live Review – Sigur Ros in Portland

I, along with two friends, made the trek down to Portland to see one of my favorite bands. As one would expect, McMenamin’s Edgefield Theater was transformed into a hipster Disneyland. The venue, a beautiful outdoor estate waxed by 80 degree temperatures and the hue of the setting sun, was splashed with a variety of plaid unseen since Seattle in the early 1990’s. In the merch line, I listened to people conversing about the trips that they made to see their favorite band. Two men up from Los Angeles. Another from Missouri. The excitement was tangible. The grounds were marked by sun bathers on blankets, PBR’s tipped back, basking in what was akin to a slice of heaven. The music only enhanced this mood.

Sigur Ros started playing at 7:30, with the sun still beating but beginning to retreat. The group’s hymns of hope and love emanated with emotion, feeling and touch. Jonsi’s reverb laden croon spoke clearly. I closed my eyes and listened, falling into and out of total absorption,  losing myself and finding my consciousness again. I listened to hear what makes Sigur Ros’ music beautiful. The band often centers around the tonic, the melodic and harmonic center of the key that they are in, and twists and winds themselves around it. There are layers – the bass and drums hold down the center and rhythm, they are the core. Ambient noise from Jonsi’s bowed guitar and from keyboards and electronics provide a floating texture. The orchestra, three strings and three brass instruments, along with the keyboard instruments, guitar, and Jonsi’s voice, bends and expounds around the tonic. One voice submerges while another rises, a counterpoint that expands and swells. Then climax. A meeting point. A new direction.

Sigur Ros’ music is subtle. It lends itself to repeated listens. While some have dismissed the band for being too bland, not rough enough, “white” in the words of one Seattle critic, I question whether those people have taken their time to delve into the band’s catalog. Once there, once immersed, I have found a depth of emotional exploration. They are affecting. They are polished, but maintain an edge that some critics have said they lack.

The encore. Fifteen minutes of “Untitled 8”, the closer from their () album. The best fifteen minutes of live music that I’ve ever experienced. The band’s sound grew and grew, reaching for the heavens and building an anticipation that ended in an explosion of pure bliss. If the trip wasn’t worth it before the encore (it was), then these fifteen minutes cemented the value of a day spent in pursuit of an unrivaled musical experience. I’m lucky and blessed.


NEW GRIZZLY BEAR – “Yet Again”

 

The second track from their upcoming record, Shields, to drop on Warp Records on September 18th, was released today via BBC Radio 1. The masters of texture are at it again, confirming my belief that this will be one of the best releases of the year. Screw that, of course it will be. It’s Grizzly Bear. They’re coming into their own. They bring something to indie that few others are able to – the sensibilities of touch, color, and restraint. They consistently explore new territory while not ignoring melody. Thank god for Grizzly Bear.


You Got Here How?

The latest YGHH features two like minded souls in search of one another, though they don’t know it yet. Somewhere, a boy and a girl are each looking for that person with whom they will spend the remainder of their life. A quiet existence. A modern existence. A low-key existence. Each cog in this match made at a Wavves concert is lonesome and deserving, yearning for a like-minded couch ridden companion. I feel that it is my duty to match these two together.

Step forward, that boy longing for “sexy lazy girls” , and step forward, that girl looking for “tumblr boys weed”; a life composed of stoned late night viewings of Malibu’s Most Wanted awaits.


Iska Daaf Rescinds Demos

A couple of days ago I published an article (https://lifeafternirvana.wordpress.com/2012/07/17/introducing-iska-daaf/) about Iska Daaf, a new Seattle group composed of Mad Rad’s Buffalo Madonna and Mt. St. Helens Vietnam Band’s Benjamin Verdoes. I passed along a link to the duo’s SoundCloud, a page that featured demos for two songs, “Happiness” and “Rumi”. Apparently, so did The Stranger (http://lineout.thestranger.com/lineout/archives/2012/07/17/iska-daaf). Two days later, and the demos have been removed. Are us bloggers to be blamed? Most definitely. Did I scoop these guys before The Stranger? I believe I did. Hire me.


Where Japandroids Are Placed in the Company of The Beatles, The Beach Boys, Al Green, and Public Enemy

http://www.rollingstone.com/music/lists/the-10-coolest-summer-albums-of-all-time-20120718/japandroids-celebration-rock-2012-19691231

Clocking in at number 10 on Rolling Stone’s list of the “10 Coolest Summer Albums of All Time”, a list that includes the Beatles, Beastie Boys, Beach Boys, and others, is a little record called Celebration Rock from a couple of Vancouver boys done good. Yes, the world’s best known music magazine has recognized Japandroids and placed them in hyper-elite company. Legendary company. Timeless, classic company. From the Stone:

Loud guitar, demented drums, urgent brain-smash riffs, dumb funny slogans about girls and youth chanted over and over again – rock & roll, what a concept. These two Vancouver punk dudes play hooks you might have already heard a million times, except they make them weep and moan and burn like never before. The moral of the story: “Don’t we have anything to live for? Of course we do!” And whenever this album comes on, it’s a reminder that it’s never too late to play air guitar like your summer has just begun.

How pumped am I to see my favorite band get this sort of acclaim? Ridiculously pumped. In a year that has seen some great releases and has more scheduled to come, Celebration Rock is the year’s best. This is not just coming from a JPNDRD’s fanboy, but from publications and critics around the music world. Good on ya, gentlemen. Congratulations.