Saturday, January 26, 2008

Listening Party Photos!

Wow. Easily the most fun i've had since i moved to Minneapolis. This past Friday, we had the EL GUANTE'S HAUNTED STUDIO APARTMENT listening party in conjunction with Superheros of Sound in conjunction with Freakin' Fridays in conjunction with a b-girl's birthday. Those things, all put together, made for one hell of a show. Big shout to Chicago's Gilead7 and DJ Itch13, both of whom killed it. Poetic Assassins opened the night. See More Perspective hosted, I performed over some random DJ beats, and the night was headlined by Posnosys, a ridiculously hot band. And since it was the listening party for the album, the DJ played a bunch of tracks, all of which sounded great-- people dancing to "Harry Potter" and "Bring Out Your Dead" was really something to see. A few other things to see (all photos courtesy of the tremendously talented M.Lo!):

Me, listening... at the party:
This cipher went all night:
...and it included some of the states very best b-boys and b-girls:
here's Posnosys, who brought down the house:
and it just keeps going:every Friday at the Blue Nile in Minneapolis:
For those who don't know, we're having the album release party back at the Blue Nile on Friday, March 14th. If it's half as hype as the listening party (and i have to assume it'll be TWICE as hype), it's going to be a damn good time.

It's great to be a part of an indie-hip hop show (series of shows now, really) where people are dancing the whole time, the crowd is diverse and energetic and visibly happy (not to mention BIG), the sound is perfect, the DJ is amazing, all that; it's refreshing. I love grimy headnodding backpacker shows as much as the next guy, but this is just a different kind of energy. We're going to keep building at the Blue Nile-- something good will be happening every Friday there. Be sure to come through.

Tuesday, January 22, 2008


...old people not unlike myself, since i turned 25 today. A few life lessons to remember:

1. You could get hit by a bus no matter how old you are.

2. I guess that's the only one i can think of right now. But it's a good one.

something strange:

Monday, January 21, 2008

Sexism in Indie-Hip Hop

When people hear the words "sexism" and "hip hop," the conversation usually starts and often ends with lyrical content. Rappers are disrespectful to women, they use the b-word too much, they objectify women, etc. This is a natural impulse; these days, sexism, racism and homophobia are almost always defined as "a bad person saying something bad."

Which is, of course, an unfortunate oversimplification. Sexism, racism and homophobia are huge, complex systems embedded in every facet of our lives. It's also one reason why indie and underground hip hop often escapes the criticism that's leveled at mainstream hip hop-- because indie rappers are more likely to rap about politics and wack MCs than pimping hoes, and are more likely to have videos set in abandoned warehouses than strip clubs. Their sexism isn't as in-your-face.

But sexism in hip hop is a lot bigger than rap videos and misogynistic lyrics. It's the old-boy's network that keeps women's voices marginalized. It's the fact that so ridiculously few up-and-coming MCs, DJs, producers and industry/label people are female. It's a system that keeps men and men's perspectives front-and-center in every aspect of the game. It's an extension of the sexism that permeates the rest of society. And it's definitely not just the mainstream's problem.

Just to be clear, my use of the terms "indie-rap" and "underground rap" isn't a dictionary definition one; I'm not talking about all hip hop that is released independently or every artist out there who isn't on the radio. That would represent a huge range of styles and would be another discussion entirely. I'm talking about "indie-hip hop" as a specific subculture-- the backpackers, the "conscious" rap heads, the community who listens to acts and crews like Rhymesayers, Def Jux, Quannum, Doomtree, Living Legends, Blackstar and Sage Francis.

And this is an important point to make, because I don't think this conversation should be entirely focused on criticizing the artists themselves; this isn't about censorship. It's about examining broader cultural trends that affect and are affected by everyone--the artists, the promoters, the fans and the consumers. Too often we forget that "hip hop" isn't just rappers and their wacky adventures. It's a culture, an ecosystem that includes all of us, and we all have different roles to play.

As I mentioned above, sexism in hip hop really goes beyond rappers saying stupid things. However, rappers (even underground rappers) do sometimes say stupid things, and we may as well start there.

One particularly relevant example of how indie-rappers perpetuate sexism is the casual use of the word "bitch." In contrast to the mainstream's explicitly misogynistic use of the word, underground MCs more often use it toward other men as an insult, as a challenge to some imaginary wack MC’s or critic's manhood.

But when used by a man in this fashion, that word is inherently sexist, no matter what context it's used in and no matter what the individual rapper's intention is. Even when used as a simple expletive at the end of a particularly vicious punchline, even when directed at no one in particular, "bitch" is inherently feminine AND inherently negative. There's really no way around that. A man calling another male MC a "bitch" is, whether he knows it or not, saying "you're woman-like and that's really bad."

And this is, of course, something a LOT of indie rappers are guilty of, myself included (though not anymore). Even so-called "conscious" rappers and artists who consider themselves feminists do this, convincing themselves that the word is really just an all-purpose insult along the lines of "fool," a word that has nothing to do with women as long as they're not directing it AT women. But you can't separate the eggs once they're already baked into the cake.

The point of all this is that the impact of the word is more important than the intention of the speaker. It may be a subtle thing, but even subtle things can be dangerous when they're so universally normalized, as the use of that word is in indie hip hop culture.

And it's not just about specific words. With underground hip hop lyrics, sexism manifests in even more subtle ways. How many songs about women feature realistic representations of those women? In her essay on sexism in emo music (a similarly deluded subculture when it comes to sexism), Jessica Hopper had this to say:

"...there were songs about women, but they were girls with names, with details to their lives, girls who weren’t exclusively defined by their absence or lensed through romantic-spectres… women had leverage, had life, had animus and agency to them. Sometimes they were friends, or a sister, not always girls to be bedded or pursued or dumped by. They were accurate, and touched by reality.

"And then something broke—And it wasn’t Bob Nanna’s or Mr. Dashboard’s sensitive hearts. Records by a legion of done-wrong boys lined the record store shelves. Every record was a concept album about a breakup, damning the girl on the other side. Emo’s contentious monologue—its balled fist Peter Pan mash-note dilemmas—its album length letters from pussy-jail—its cathedral building in ode to man-pain and Robert-Bly-isms—its woman-induced misery has gone from being descriptive to being prescriptive. Emo was just another forum where women were locked in a stasis of outside observation, observing ourselves through the eyes of others..."

Read the whole thing if you can find it (I couldn't, so no link). Anyways, while indie hip hop songs about women aren't always heartbroken diary entries, a lot of the above still applies. Quite often, you also get a layer of self-deprecation that further clouds the sexism, as if the fact that the perfect, voiceless and inanimate pedestal woman made the loser anti-hero feel bad somehow makes up for her hollow characterization. Women are very rarely characterized at all-- in melodramatic breakup raps they're defined solely by their absence, and in feel-good, "positive" sex jams they're perfect and beautiful and thoroughly inhuman.

For people who are used to criticizing Nelly for swiping a credit card through a woman's ass, this might all seem like pretty harmless stuff. When you compare the subtle sexism of indie hip hop to the rampant, explicit sexism of mainstream hip hop, it becomes easy to forgive some of the artists who are at least trying to not be complete chauvinists.

That may be true, but I think it's doubly important to talk about sexism in indie hip hop because no one's doing it. Everyone knows 50 Cent is sexist; fewer people are willing to examine the sexism of their "conscious" heroes, a more realistic and prevalent sexism that mirrors the way sexism often plays out in our own lives. This is sexism that often comes wrapped in a big box of good-intentions, sexism that's so huge and interwoven into the very fabric of the culture that it can be hard to even see. But we need to start seeing it; that's the first step.

We can talk about song content all day, but I'd argue that the bigger issue here is lack of representation. Much respect to Jean Grae, Invincible, the Anomolies crew, Desdamona, Ang13, Dessa, Psalm One, Maria Isa, Bahamadia and the other great female rappers out there, but they're drops in the bucket when it comes to indie hip hop as a whole, which is solidly and overwhelmingly male-dominated.

Why is this? I'd have to assume that at least part of the reason is the above-mentioned sexism (subtle or not) in the lyrical content of a lot of indie-rap. Who'd want to dive into a culture where you're disrespected? Also, an interest in underground hip hop often grows out of an interest in mainstream hip hop (i.e. kids like MC Hammer, then later discover Mos Def, then later start rapping), which is so often explicitly sexist; not to mention the lack of female role models for young, aspiring female MCs. Finally, I'd point to the physical way in which most rappers get started: you find some like-minded souls (statistically, probably men) to build with, you book some shows through promoters or venue booking people (again, often men), you network with other artists (who are usually men); it's a community experience. With women so often on the outside-looking-in to begin with, it can be hard to build that initial community (UPDATE: here's a piece I wrote all about this idea).

I won't go too far into why women are underrepresented in indie-hip hop. I think there are many reasons. I'm more interested in what we, as a community, can do about it.

And this isn't about tokenism. I don't think we should throw some wack female rapper on every bill to fulfill some kind of quota. That only compounds the problem. This is about starting at the roots and really building a community that can be truly representative, cultivating the talent that's definitely out there and breaking down the barriers that stand in the way. A few ideas:

1. More attention given to young women in hip hop afterschool programs and youth hip hop clubs. If you're a facilitator, don't assume every girl wants to sing the hook. Focus recruitment and seek out girls who want to rap (or DJ or produce); they're out there.

2. Actively seek out and support (with your money, when possible) good female artists. I mentioned a bunch of great ones a few paragraphs ago, and there are more out there. And don't do it out of the goodness of your bleeding heart; this isn't a handout to the poor, scrappy girl-rappers. Do it because they're dope and deserve more attention than they get from the male-dominated hip hop media.

3. There's always someone who says: "You don't like sexist hip hop? Then make some that isn't sexist!" I think this is a cop-out response to this topic (after all, not everyone who doesn't like sexist music is a musician themselves), but it's not horrible advice in and of itself. As artists, we can confront sexism head on, or at the very least be conscious of how it plays out in our work. Challenge yourself, especially if you identify as a man; it's not just on the women to fight this battle-- we have roles to play too.

4. If you're a promoter, event-organizer or label person, try to put together more representative bills. Again, not through tokenism, but through the hard work of getting to know everyone in your scene, doing research on fresh female artists and not being content to just bring the same ol' artists in for every event. And let’s not forget—there’s profit in this too; it’s not all altruism. Representative bills can draw new and bigger audiences—everybody wins.

5. Organize larger-scale events that celebrate women in hip hop. The Twin Cities has "B-Girl Be," Madison had “Femme Fresh,” NY hosted the Womanhood Passage Fundraiser (a “special evening acknowledging the strength, beauty, leadership, challenges, and successes of women in Hip-Hop”), and there are more across the country. These events can inspire future artists, can create opportunities for current ones, and can recognize the important (and oft-overlooked) contributions of past ones.

And those are just a few ideas. I'm sure there's a lot more we can do too.

To some, hip hop is a boy's club and that's just not worth even attempting to change. It always has been male-dominated and it always will be. It's just the fundamental nature of the culture.

But I think this is a defeatist attitude. If hip hop is sexist, it's because we made it that way and continue to make it that way, and we can definitely do something about it.

And this isn't altruism; I don't care about fighting sexism in hip hop because I'm a wonderful, enlightened person. I care about it because by marginalizing and silencing women's voices, we're missing out on a lot of incredible art that either isn't getting heard or isn't getting made to begin with. That's a shame. Indie hip hop shouldn't be just a bunch of straight 20-something males in black hoodies nodding their heads in some grimy club; it should reflect the diversity of its roots and influences. By recognizing the sexism (and racism, and homophobia, etc.) that's there-- even when it's there in some of our favorite music-- we can begin to move toward a truly representative community.

Friday, January 18, 2008

the essence of complaint

Bear with me:

1. Some things aren't worth complaining about because they're either too small ("this is white bread and i wanted wheat bread!") or uncontrollable ("Fuck you, clouds!").

2. Some things ARE worth complaining about because you can physically benefit from the act of complaining ("Hey help me I'm on fire!") or because by complaining you're educating others and making some kind of important point ("The two-party system is dumb!")

3. Some things aren't worth complaining about because they're so bad that everyone else is already going to be complaining about it; adding your voice to the cacophony will only be redundant ("The Simpsons isn't as good as it used to be!" "MTV doesn't play videos anymore!")

But SOME things are so bad, that even though #3 applies, you still really have to say something, if only to VENT, to keep from exploding/imploding in fury and disbelief. A few examples:

~"Meet the Spartans" is going to be unspeakably stupid. Anyone who pays money to see it, or even sneaks in for free, is dead to me. DEAD TO ME. I talked more about it in a previous post, but they're starting to play previews now. Please don't go, even if you're a silly teenager. Even if you're an idiot. There are no excuses. This is the worst film ever made. Usually i don't like criticizing things i haven't actually seen, but i have no qualms here.

~Local news is AWFUL. I don't particularly care that someone got stabbed in Kansas, or that there was a car accident and someone broke a clavicle, or that there's a dog who only has three legs somewhere.

~MySpace is a wasteland. I love it, i NEED it, but it's a wasteland in every sense of the word.

Yeah, i feel better now. Go about your business.

Monday, January 14, 2008


As I may have already written, this blog will probably be extra self-promotey in the next few months, as we’re getting ready to release my new album. So if you come here for the insightful political commentary or hard-hitting investigative features, sorry to disappoint you. But I’ll try to make the birth of my new album as interesting as possible, tying it to various thoughts of mine on hip hop, writing and art in general. Here’s a short preview:

1. It’s called “EL GUANTE’S HAUNTED STUDIO APARTMENT,” which is a reference to “Maxwell’s Urban Hang Suite,” an album I’ve always really enjoyed. The title was chosen based on a few ideas. The supernatural pops up on a bunch of tracks (Kodama, Bring Out Your Dead, Love in the Time of Zombies, Flicker and Orwell Oh Well), and I like the thought of inverting a classic “cool” album into something a little more sinister and weird. It’s actually hard to describe here just how well that title fits the “mood” of the album. You’ll have to listen for yourself.

2. My cousin Jason Myhre did the artwork here, and it’s FULL of subtle references to other stuff: my last album, my tattoos, the cover art on the two singles, the Maxwell album, all kinds of stuff. I really like the cover—it’s very understated, kind of disorienting if you look at it long enough. The back cover (not pictured here) is a direct parody of the Maxwell album.

3. We’ll be having release parties in Minneapolis, Madison, Milwaukee, Chicago, Des Moines and elsewhere all through March. Check the MySpace for all those details. The album will also be on ITunes and in some stores.

4. I am going to update my MySpace with new songs SOON! I’ve had the same five up for way too long.

5. Production from DJ Pain 1 (Madison, WI), Ethos Mega of Office Hours (Madison, WI), G-Force the Earthworm (Eugene OR), Tracksmith of the Figureheads (Milwaukee, WI) and See More Perspective (Minneapolis, MN). There are also two beatbox tracks, one featuring See More, and one featuring Twin Cities hip hop legend Truthmaze. Overall, the album has a pretty varied soundscape, from playful, organic jazz to glitchy electronica to some crazy stuff that’s hard to compare to anything else; it’s definitely not sped-up soul sample boom-bap (not that there’s anything wrong with that). It’s all very musical though; I think even people who don’t like to listen to the words will really dig the album.

6. It’s pretty long. I know the ideal length of a hip hop album is about 45 minutes, and this album is damn near 80. But I’m thinking of this release almost as three EPs rolled into one CD; it’s divided into “sessions:” the first is the proper album of 12 hip hop tracks, the second contains the trio of songs that Tracksmith produced (which have a very different feel) and the third is all live spoken-word tracks. I think of the third session as bonus tracks basically, as most casual listeners probably won’t get through them…

7. But I really wanted to include those spoken-word tracks, both because I believe in them as pieces and to showcase the other side of me as an artist. I can’t think of another hip hop album that has this many spoken-word pieces on it. Unfortunately, some of my best stuff was written too late to be included, but they’ll make it on to subsequent releases.

8. I’ll be doing a track-by-track “director’s commentary” as the release date approaches, but for now I’ll say that my favorite songs are “One of These Mornings” (which will probably be the second single), “Spirit Bomb,” “Scratching the Surface with a Sledgehammer” and the re-recording of “Flicker,” an older song that I think is the best thing I’ve ever written. I’m really interested in hearing how people respond to the song “Your Boyfriend Leaves Much to be Desired,” which is a probable second single B-side and something that could potentially catch on with college radio. On one level, it’s a goofy shit-talking song, but I wrote it with some serious stuff in mind… more on that when I do the full album run-down.

9. I love concept albums. And though this album isn’t a single story type concept album, it does have some underlying themes. The most obvious is probably the deconstruction and subversion of indie hip hop and spoken-word clich├ęs. This is explicit in tracks like “…Sledgehammer” and “A Paid Advertisement,” but it’s also implicit in songs like “Home Sick Home,” which takes the “rep your state/city/region” idea and turns it on its head, as well as “The Fourth Wall,” which is simultaneously a working-class “everyman” hip hop track and a call to be something more than “everyman.”

10. It’s been a long, painful journey, but I’m now giddy like a little kid going to Dairy Queen. Everything’s really come together in the past few months—the album sounds incredible, the artwork is hot, the release parties are coming together, it’s all very exciting. I just hope other people enjoy the album as much as I do. More to come, including videos, exclusive tracks and more.

Wednesday, January 09, 2008

check this blog out

Here's the link.

Friend from Madison. He's in Haiti right now and has some interesting thoughts, but also has a great 55-song countdown thing with lots of good links and whatnot.

Hope you keep writing!

Friday, January 04, 2008

outside the movie theatre

Critic 1: "Sweeney Todd" is the movie of the year. It was a musical, AND it was bloody.

Critic 2: I don't know. I thought it was kind of hollow. I mean, the acting was good and the visuals were interesting, but haven't we heard the whole "revenge destroys the avenger" story a million times before?

Critic 1: But it was a MUSICAL, and it was BLOODY. It was a BLOODY MUSICAL.

Critic 2: Yeah i get that. That's pretty novel. But isn't this just another case of style over substance? A pretty film with a novel idea that doesn't go anywhere we haven't been before; "Sweeney Todd" is going to fool a lot of people into thinking it's "groundbreakingly original" but it's really just another gory revenge fantasy.

Critic 1: I think you're missing the point. You see, this was a MUSICAL, but instead of New York bohemians trying to get by or giant anthropomorphic cats dealing with their problems, you had JOHNNY DEPP CUTTING PEOPLE'S THROATS. It was GROUNDBREAKINGLY ORIGINAL.

Critic 2: I'm not convinced. I think people want to like this movie because of Burton's and Depp's (not to mention Bonham-Carter's, Rickman's and Cohen's) prior works, and it DOES have some redeeming qualities, but all in all it's just a gratuitously bloody, plodding, muddled mess of a film, Hollywood trying to stretch into Shakespeare, a blockbuster masquerading as an indie film, gross-out shock-tactics splashed onto a stylized, dreary palette. It's the film version of Kanye West's "Stronger;" compelling personalities involved, technical proficiency and a strong gimmick, but when it comes to the MEAT, there's nothing new, nothing thought-provoking and nothing really even all that interesting. Great water-cooler conversation; boring art.

Critic 1: What does that mean?

Critic 2: You know, it's easy to TALK about this film: it's a gory musical, it's Tim Burton and Johnny Depp and Helena Bonham Carter together again, it's got Borat and Snape in it, etc. But just because it's got a bunch of bullet points that make it easy for movie critics to write about, it doesn't mean it's worth a damn as a story, or as a film.

Critic 1: But dude, it was a MUSICAL, and it was GORY! And "The Nightmare Before Christmas" was so cool! And BORAT WAS IN IT!

Critic 2: Let's go see AVPR.