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[...] it's quite possibly the most important stuff happening in American poetry today. 'Real' (viz. academic) U.S. poetry, a world no less insular than rap, no less strange or stringent about vocab, manner, and the contexts it works off, has today become so inbred and (against its professed wishes)…

Rap, under close scrutiny, becomes 'critic-heavy'—a unique pop opportunity for the application of Marxist & poststructural principles to the cultural production, not just reception, of texts, lyrics, art [...]. Rap is the self-conscious–self-consciousness loop academic feminists and deconstruct…

Straight rhyme, for example, is such a stiff formal cincture

A PLEA FROM D.

Bette Midler's intuition—which I share—is that there's some fundamental difference between: (1) pirating a piece of music and its attendant pavlovs for artistic reasons; and (2) doing so, as Ford seems to, as part of a cold, calculated effort to increase sales of a product. Well, …

the occasional ad-lib of stressed logorrhoea