CAN YOU PLAY OBLIVION ON MAC MAC
Ultimately, Denzel Curry wants to live, while Mac Miller, on “Self Care” wants for nothing. Curry may as well have been buried alive because on "CLOUT COBAIN," he is essentially writhing in place until a violent last breath. As we've gathered, though, this is far from a fair fight. Meaning, when Curry fights off oblivion, he is consequently fighting to claim his humanity. “Self Care” ends as a lesson to not treat our souls as zero-sum.Ĭurry’s oblivion, then, is his untimely reduction to media fodder until the day he’s placed in a casket of his own. Oblivion is not a cure-all, and evidently out of our hands. This is what Murakami suggests in Kafka, and why we must be discerning with oblivion. That’s the rub of self-destruction, how in the end it’s still not entirely what we want. While he may be absolved of his woes, the repercussion of exposing all memories is far weightier and more depressing than Mac’s impulse to fade away. Once he has risen above the dirt, there’s a deceptively astral quality to the music, as if to say oblivion is a freedom he has been chasing all along. Mac Miller certainly makes oblivion sound beautiful.
CAN YOU PLAY OBLIVION ON MAC PLUS
“I was, thinking too much, got stuck in oblivion, yeah, yeah / Oblivion, yeah, yeah, oblivion, yeah, yeah / I got all the time in the world, so for now I'm just chilling / Plus I know it's a, it's a beautiful feeling” -Mac Miller, “Self Care” That’s why the beat switches in the first place: a new plane of existence. It’s a playfully and tacitly absurdist moment, emphasized by his punching through the casket and the subsequent beat switch.Ĭonsider this his grand finale, his implosion of spirit, because approaching and settling into oblivion is a brand of death in itself. Translating from Latin to English, the carving reads: “Remember that you have to die.” Here, Miller is accepting that oblivion is life’s single promise, and that acceptance teetering on resignation is what allows him to break out of his casket.
Instead of pushing the issue, we move onto the next phase of grief, during which Miller carves “Memento Mori” into the wooden lining of his casket. Miller’s notes tumble into each other leaving us wondering: who will be alright, exactly? This is why his mealy warbling on the first verse is not convincing in the slightest.
He is indulging the pleasures of the body in a way that suggests pleasure and non-feeling are one in the same. On “Self Care,” Miller is no longer struggling against oblivion, he is pursuing the feeling in a way that makes his penchant for self-destruction appear altogether considerate. There must have been a struggle, but with his cigarette in hand, Mac has long forgone fighting. To be buried alive is to deal in juxtapositions of a fire there and gone, and there and gone again. “Self Care” opens with Mac Miller admitting he is finished. It’s a ceremonious act signifying the end of something like dinner or sex, or worse. The first thing Miller does is spark a match and smoke. Equally gruesome, Mac’s latest video opens with him buried alive, with only a cigarette and pocket knife to his name. It’s a winding and psychologically gruesome novel. Kafka on the Shore, like most things-like Mac Miller’s latest single and music video-is about what we must do in order to feel better, and the different forms “better” can take.
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