I think I may need to stop making art, I feel very burnt out and I’m not making any progress otherwise

There’s a few artists I like that I don’t think really like me back and I find it somewhat upsetting

Really I don’t expect everybody to like me, like I’m cool with that, but it feels somewhat odd in this circumstance. I don’t necessarily have a problem with it otherwise.

corvuscantum asked:

33, 39

  • 33. The death penalty?

This is hard to say for sure, because you never know. It’s difficult to say whats deserved in what situations, or what actions are possible to deserve such a consequence. I won’t particularly deny death as a reasonable penalty, but I think it has to be realized that death is a very permanent thing and that it shouldn’t be so liberally executed on people.

Unless the action in particular is incredibly (and I mean incredibly) inhumane and immoral, and there is substantial evidence against the said person (enough to pin that person, without any room whatsoever for doubt), then I don’t think death is deserved.

I do my best to wish good upon everybody, regardless of their actions. This isn’t to say that their actions are excused, they need to face the consequences just the same.

  • 39. Love someone?

I still harbour feelings for somebody, yes, but I’m not particularly interested in any relationship at this point in time. I’m still going through a rough patch in my life, and I don’t think I can handle the responsibility of a romantic relationship right now.

I do occasionally crave the company and intimacy, but for now I need to focus on getting through this point of life and fixing myself for the better.

Our new track “Knees On The Ground” might benefit from an explanation. This is the most unguarded I ever intend to be when writing about Clipping.

What had happened was this: our very brief UK/Europe trip got called-off the day before we were supposed to get on a plane to London. Since we didn’t have any other plans, we met up in the studio with an idea to crank out a new track. On our list of songs to finish was one particular piece aimed directly at the club (or, at least, our twisted idea of what clubs should play). But none of us were in the mood for it. Each of us had spent the previous several days following the news of protests in Ferguson, MO. It was the only thing on our minds. We couldn’t bring ourselves to think about anything else, so we decided to direct our fear, our revulsion, our heartbreak into a new track.

The problem was that we’d defined our band — in interviews and to each other — as decidedly-not-an-activist-project. Diggs’s lyrics have been criticized for seeming apolitical, at least in comparison to what many listeners (perhaps rightly) expect to hear from an ‘experimental’ rap group. I have many times said (perhaps naïvely) that our politics lie in our structures, in our formal engagement with the rap genre. We love its conventions, its clichés, and we’re not above them. We see our participation in rap as something resembling an old punk flyer — an out-of-context collage of charged images with an fractured, contradictory, multiple point-of-view. I hope that our more dedicated listeners hear this and understand that we’re not interested in spoon-feeding them a position. At the same time, I’ve always assumed that they pretty much agree with us on most issues anyway. (We have yet to meet the misogynist, homophobic, white supremacist Clipping fan with an MBA and an NRA mebership).

So what do we do when all we can think about, all we can feel, is a profound injustice — yet another young unarmed person of color is murdered by a police officer? How does a band, which overtly rejects affect and the emotions, address something that is, for its authors, a deeply felt, deeply affecting topic? Well, we don’t entirely know. But the fact is: there’s more truth in Diggs’s lyrics than we generally let on. “Inside Out” describes a drive-by shooting in Oakland, “Chain” is about three stick-ups. They are presented with a lot of detail and specificity (perhaps the result of personal experience). But at the same time, they represent archetypal scenarios within rap music. One trope we had yet to explore as Clipping was the anti-police rap — the lineage of Public Enemy, NWA and Paris, straight through The Coup, and all the way into the ‘stop snitching’ panic of the early 2000s. “Knees On The Ground” is a paradigmatic white-cop-kills-an-unarmed-black-kid-and-gets-away-with-it tale — a story that happens all the fucking time in the US. What we have learned — from our first hand experience in Oakland in 2009, and from the media coverage of Ferguson in 2014 — is that the second part of this story involves a police response better suited to a war zone than to an American city. Cops think they’re playing Call Of Duty when they’re supposed to be part of a community. If Ferguson were in Iraq, Obama would have sent in an airstrike already.

This is the least obtuse Diggs’s lyrics will ever get. We’re embarrassed by the timeliness of this track. We do not intend to capitalize on what is, undoubtedly, a terrible tragedy. But journalists make think-pieces and we make songs. Writers write what they know, and this is what we know right fucking now.

William Hutson, Clipping. (you can listen to the track here)