The most wonderful thing about Paul Simon’s songwriting is that it’s deeply contextual and yet completely context-less in the sense that it’s culturally weighty enough to exist permanently within its moment and yet semantically ambiguous enough that it can be easily reappropriated to inform an infinite spectrum of collective and personal situations. But that’s not to say his words are ambivalent—quite the opposite, they are designed so as to belong to anyone and everyone.
At the tender age of 19, I started dating a contemporary ballet dancer. His knowledge of art and culture, I thought, would elevate my aesthetic acumen. We would cry ugly tears at Balanchine’s Swan Lake and convulse with laughter at Les Ballets de Trockadero de Monte Carlo and make out during intermissions in Manhattan’s most pretentious cultural venues…
She’s managed to get the respect of the notoriously superficial fashion world as well as the feminist intellectuals, which is no small feat. Everyone loves Tavi. Everyone secretly wants to be Tavi. She’s a dream teen. She’s the precocious child you thought you were growing up, but are now second guessing.
In spite of my young atheism and my naïve devotion to scientific optimism, profoundly religious works of literature shaped my spirit. The first novels I read, in the summer between second and third grade, were The Chronicles of Narnia.
Recording sessions for Tha Carter IV began back in 2008 after the release of aforementioned Tha Carter III, but were put on hold and pushed back while Weezy went to jail, where, by the way, he managed to release a full-length studio album.