ESSAY// VIEWS: Album of the Year Edition

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“But unlike his earlier solo efforts, Sign “O” the Times wasn’t a record by an ambitious kid trying to make impression. At 28, Prince had already made himself into a pop superstar  (and movie star too), and he easily sold out arenas. In one sense, he had nothing to prove. Yet Sign “O” the Times is the most varied, accomplished record of his prime 1980s period, a testament to the range of his gifts and the bold artistic ambition that gave his music shape.” ~ Pitchfork

Previously.

The reason why it’s not STARBOY is because Drake isn’t sounding like Michael Jackson in the future, he’s sounding like Drake in the future. The reason why it’s not The Life of Pablo is because Views is easier to listen to. The reason why it’s not LEMONADE is because Views is easier to listen to. Drake is, if you want to listen to it that way, furious throughout for sure. Just like Pablo and Bey, Drake is terrified and at the end of his rope and fighting for his fucking life and the lives of his family and friends.

But he never screams his heart out or has a multi-part breakdown. He and his collaborators stay ice cold~ even the warmest, most bounciest beats have a grim determination undergirding them. There’s an unshakeable momentum to the music, a timely airtight-ness. VIEWS is the album that got humanity through this year, it’s the sound of the biggest star in the world on the eve of revolution.

The reason why it’s not Coloring Book is Drake doesn’t sound like Kanye anymore. I mean, everybody sounds like Kanye but Chance the Rapper REALLY sounds like Kanye; he sanded the edges off Graduation and brought it to the present. However, candy-coated Christianity can only take one so far in the real world and Lord knows it’s taken us far enough, thank you but please no thank you! Drake keeps it real. Chance’s “Blessings” aren’t actually coming for you: you’re not as handsome as he is and your dad isn’t friends with Obama. You’re not going to blow up without a record deal! But you might be able to get your ex back if you can grit your teeth for long enough through all of life’s beat changes and let da riddim guide you through the God-less, gunshotted summer. Better yet, you might even find someone new. Imagine that.

The reason why it’s not Solange is because that album is too slow. The reason why it’s not Blonde is because that album is too sad! The reason why it’s not your album is because your album isn’t this sexy or well-produced and it doesn’t have “Hotline Bling” as a bonus track.

More Life is on the way.

a life of meaning vol. 2 is now available

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THE SICK MUSE is a semi-monthly zine featuring lyrics, paintings, poetry, and musings from the underground scene in Chicago. Find them in stock at Quimby’s Bookstore, Permanent Records, Bucket O’Blood Records, Saki Records, Reckless Records, ECO, and a (not) DIY show near you!!

This is +’s essay from The Sick Muse vol. 5, released this week, accompanying a revolutionary sticker collection, part of +’s ongoing a life of meaning multimedia project.

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U.S. Presidents have said a lot of nice things about art over the years~ perhaps most famous is John F. Kennedy’s speech at Amherst College in 1963, a partial eulogy for the poet Robert Frost, where Kennedy says “I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist.” In 2014, current president Barack Obama stated that “the arts are central to who we are as a people.” And a few years ago, Democratic presidential nominee Hillary Clinton wrote to Vanity Fair:

“In my line of work, we often talk about the art of diplomacy as we try to make people’s lives a little better around the world. But, in fact, art is also a tool of diplomacy. It reaches beyond governments, past the conference rooms and presidential palaces, to help us connect with more people in more places. It is a universal language in our search for common ground, an expression of our shared humanity.”

She’s kind of talking about art as “soft power”: a persuasive approach to international relations, typically involving the use of economic or cultural influence. However, I’ve been fascinated lately with thinking of what art might be like as “hard” power. What if we could, to paraphrase singer Frank Ocean, actually draw on fantasy to make things hyperreal? When I watched Hillary’s husband, former president Bill Clinton, talk about her political career during a speech at the 2016 Democratic National Convention, a major theme was her existence as a Change Maker. She would pick up a phone or go to someone’s office building or sign off on a bill and suddenly thousands of parents would be able to take their child to preschool or a hundred clinics would stay open. It made me think of how I can’t do that; no matter what I put in a song, my words are just words that you’ll soon forget.

The purpose of a life of meaning is to empower a new connection between real life and popular art ~*~*~*

There’s an imaginary land of freedom and peace that music often refers to- think John Lennon’s “Imagine,” or The Staple Singers’ “I’ll Take You There.” I believe that place exists as a physical reality right on the other side of the political condition that we live in. The Staples family can’t actually take you through that looking glass the way a politician can but placing these stickers on plants, walls, on bedroom doors and bathroom stalls works to realize the potential of our greatest art and our purest selves.

In past writing, I’ve defined love as “a state of mutual vulnerability.” I meant it both emotionally and as a political definition. That’s how it appears, too, in Beyoncé’s new visual album LEMONADE as the personal reconciliation of Bey x Jay gives way to images of mothers of young black men killed by law enforcement. Beyoncé’s happy ending for these mothers – their “Freedom” – portrays black women growing food together in a boundary-less community. Here, class isn’t a factor: literally everyone has a seat at the table. There are no prisons. I feel like it’s my responsibility to state without ambiguity that there is only one political concept that encompasses LEMONADE’s perfect reality. It’s already championed by millions of people all over the world and it’s called Anarchism.

ESSAY// #LEMONADE is Anarchist

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“Justice is what love looks like in public,” – Cornell West

In past writing, I’ve defined love as “a state of mutual vulnerability.” I meant it both emotionally and as a political definition. That’s how it appears, too, in Beyoncé’s new album LEMONADE as the personal reconciliation of Bey x Jay gives way to images of mothers of young black men killed by law enforcement.  Beyoncé’s happy ending for these mothers – their “Freedom” – portrays black women growing food together in a boundary-less community. Here, class isn’t a factor: literally everyone has a seat at the table. There are no prisons. I feel like it’s my responsibility to state without ambiguity that there is only one political concept that encompasses LEMONADE’s perfect reality. It’s already championed by millions of people all over the world and it’s called Anarchism.

Beyoncé’s self-titled album from 2013 is not an anarchist work. It’s feminist, yes, as Bey examines unfair gender expectations and fights to express her full spectrum of emotions.  However, the Beyoncé of that album also brags from penthouses (“Jealous”) and limousines (“Partition”) while staging many of her videos in lavish isolation (“Haunted,” “Drunk in Love”). It was a milestone, but compared to this year’s LEMONADE it feels selfish, unsophisticated, wanting for (any) acknowledgement of economic inequality’s impact on women in the real world. I believe the same way Bey affirmed the risky term “feminist” leading up to that project (solidifying the movement’s entrance back into the mainstream), it is even more essential for her more recent work to be explicitly named.  Until Bey claims her radical politics, the dream of LEMONADE will remained unfulfilled.  

Beyoncé (and Kendrick Lamar and any of all of their powerful peers) have to say “I am a prison abolitionist, I do not support borders; I advocate classless communities where people of all backgrounds and abilities can find housing, education, and be as gay as they want to be.” She has to conceptually reject the system of money ruling her artistry in “6 Inch” to get to the relaxed truth of “All Night Long.” This is an election year, after all, when influential people argue 24/7 over their plans to continue in this broken history whilst unable to conceive the revolutionary vision of community & love that  BeyoncĂ© Knowles-Carter suggests throughout LEMONADE. Enough with the metaphors, Bey: we’re with you.  Hurry up, get brave, and save the world!