Hanif Abdurraqib的每月列，关于POP的注意事项，歌曲与内存之间的关系。Read more here.
During my craft talk about poems and sound, I play small parts of songs or music videos. I’m giving away the secret here, but it’s to distract from the fact that I don’t know what I’m talking about. Or, I do know what I’m talking about, but I can’t articulate it in any way that makes sense outside of the hamster wheel of my own brain. In some spaces, there is the assumption that anyone who writes poems wants to talk about the writing of them in front of people, and is equipped to do so. But some of us are just fumbling around dark rooms, occasionally lucky enough to find a light switch. And so, to not give away my fumbling, when I give a craft talk, I play songs. I play spirituals and gospel, and I play the rap songs that have sampled the spirituals and gospel. To talk about the magic trick of pace—of suggesting a big moment only to later reveal an even bigger moment—I play the iconic video of the Who performing “Baba O’Riley.” The one you’ve maybe seen, where the intro swells and swells until it feels like it could fill an entire stadium, and you might think, How can we ever climb atop this? But then Pete Townshend tosses his tambourine, steps back from the microphone, and windmills his arm around his guitar and shakes his ass in white pants while Roger Daltrey holds a microphone to the heavens with both hands.
But first, I playHAIM“要你回来。”一个特定的部分，围绕2:20标记。所有仪器都掉了大约十五秒钟，所有这些都仍然是声音的层次，唱歌“只知道/我想要你/后”，在鼓进入，歌曲从名声重建自己。在谈话中，我认为这一点是关于沉默。或者我正在尝试的点是关于语音本身如何不是乐器。这种语言是仪器，声音只是车辆，如扬声器或放大器。这一点是关于沉默和我们认为被认为的东西。沿着沉默景观，任何中断都可以打击的声音如何。我通过拉出一个有一个单词在页面的白色空间中溺水的诗来致力于。我说，那是打击乐器。 In the poem “Katy,” Frank O’Hara writes, “I am never quiet / I mean silent,” and I assume people who have been lonely enough or isolated enough know the difference. Percussion can be even the gentlest interruption. Here’s a concrete example I give: two people on the telephone, near the end of a conversation, when the line between them falls into the depths of soundlessness. Even one person saying the words “I love you” is percussive. All our affections, coming on the backs of drums.