Chief Keef “Macaroni Time”:  a Post-structuralist Feminist Critical Analysis – DJ KNIFE

Chief Keef “Macaroni Time”: a Post-structuralist Feminist Critical Analysis – DJ KNIFE

Chief Keef - Macaroni Time Feminist Review

In the early phases of its “bromance” with post-structuralism — roughly from the mid-1980’s (as in the recordings of N.W.A and Ice-T) to the mid-1990’s (as in such early recordings of Cash Money Records as “Bat a Bitch”) — feminist thought in rap music has understood materialism mostly as a matter of “language” (“sign”).

In the year 2013 however, Chief Keef’s feminist theory becomes — in its effects, if not in its intentions — a theory that inscribes the class interests of what bourgeois sociology calls the upper-middle classes, and of Eurocentrism. It does not acknowledge the “materiality” of a constant regime of blunts and cough syrup.

Nor does it acknowledge the existence of a historical series independent from the consciousness of the subject and autonomous from recorded music. Such a recognition would lead to the further acknowledgment of the materiality of the social contradictions brought about by getting head in a rented BMW.

Chief Keef’s style of feminism cannot accept a social theory that finds private property — the congealed surplus labor of others — to be the cause of social inequalities that can be remedied only through revolution. “Macaroni Time” is, in effect, a song for property holders. Nor can Chief Keef’s brand of feminism simply revert to an a-historical, essentialist position and posit the “consciousness” of the subject as the source of social reality.

Such a move would go against the general post-structuralist constructivism and consequently would lead to, among other things, a necessity to re-record his entire catalogue and eliminate the phallocentrism that underlies it.

“Macaroni Time” therefore seeks to “invent” a form of materialism that gestures to a world not directly present to the consciousness of the subject (as classic post-structuralism has done), but not entirely “constructed” in the medium of knowing (language) either.

It has simply become “unethical” to think of such social oppressions as “sexism,” “racism,” and “player hating” as purely “matters” of language and discourse. Chief Keef is beginning to learn, in spite of himself, the lesson of Gucci Mane’s “Take My Shirt Off”: the fact that we understand reality through language does not mean that reality is made by language.

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