![]() The principle of the concept calls to mind a suggestion by free-jazzer Fred Frith, namely that “kids learn that they are musical by the fact of being able to make stuff up,” and that “when their talent is recognized, they are taught to do what they’re told and follow a rather specific set of rules.” Ideologically, it purports a premise of artistic integrity that contradicts the bureaucratic conception of artistry as something rational. This was explicit on 2012’s two-volume STUDY OF THE HYPOTHESIZED REMOVABLE AND / OR EXPANDABLE NATURE OF HUMAN CAPABILITY AND LIMITATIONS PRIMARILY REGARDING INTRODUCTORY EXPERIENCES WITH NEW AND EXCITING TECHNOLOGIES BY WAY OF MOTIVATIONAL INCENTIVE, a compilation of first attempts at making music by entrusted neophytes and fans. For the most part, Ugly Mane deals in primordial forms. While I’ve never been extremely engaged in hip-hop, other than various fleeting obsessions with select protrusions, there’s something about Lil Ugly Mane that never fails to grip me, something that’s rubbing against the genre’s core but relatively AWOL outside of Ugly Mane’s awry insanity. ![]()
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