Sir Andrew Motion – poet laureate from 1999 – 2009

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(Alfred Lord)

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The uniform of the pretentious scholar:

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You might get stared at reading certain books in public. I’ve had weird looks before just because I might not fit the stereotype look of a voracious reader, ie: black. Sigh.

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I like to think one can dress themselves in knowledge in the same way that you might deck yourself out in new clothes. And for me, one is as fly as the other.

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A starkly direct ‘punchline’ to the poem, deservedly on its own line. Four feet denotes a child’s coffin, indirectly telling us that the dead child was four years of age.

The absence of adjectives and bland use of ‘box’ for coffin sustains the ironically detached tone, adding to the poignancy.

There is a rhythmic balance in the last line, with the repetition of ‘foot’ and two related clauses, a device known as chiasmus. The rhythm is ironic; it should suggest equilibrium, but instead describes a terrible tragedy.

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An instant political manoeuvre: Morrison’s is a very working class supermarket chain that is typically frequented by the ‘ordinary’ people Osborne is courting in this speech.

Chances are he shops at Waitrose. Actually, chances are, he has a shopper who shops at Waitrose for him…

Also, the extent to which he was ‘invited’ is up for debate.

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William and Kate’s official titles are “Duke and Duchess of Cambridge”, thus Georgie Porgie is the town’s new Prince.

They don’t actually live in Cambridge.

Their official address is St James' Palace, London.

ACCEPTED COMMENT: This kid has been born working. By which I mean, very simply, that he’s born with a title and a position. His identity is rigid and predefined. It’s no accident that ‘Prince of Cambridge’ comes last in his list of titles, because, essentially, that’s what he is.

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This verse is key to the whole song.

‘Gold Watch’ is a discourse on individuality and status symbols, riffing on the concept of a gold watch (a staple hiphoip status symbol). Verse 1 saw Luper introduce the question as to what defines ‘cool’ or acceptable in a particular culture, and the hook falls upon a list of heavily cliched status symbols; gold watch, gold chain, diamonds, ‘bad bitch’ (if you take the girl as just another commodity…)

Now, Lupe hits us with his OWN inventory of ‘cool’ and it is far, far away from accepted hiphop rules of ‘coolness’. But that’s the whole point. Lupe is asserting his individuality, and aggressively so. He KNOWS you can’t be ‘punk from projects’ (verse 1) but is happy to rap about candles, sandals, notebooks, pens, sweets, video games, obscure jazz drummers, lesser-known graffiti artists, high-end luggage, political magazines, miniature ninjas and obscure Japanese designers.

Worth noting that the inventory of items in this verse is the inventory of a highly cultured connoisseur. Lupe has refined, specific tastes. He has sampled a great deal of world culture and is dripping with cultural capital as a result. In fact, the level of detail in this verse is remarkable – he differentiates his tastes to an almost ludicrous extent, specifying a preferred flavour of ‘Now and Later’ and specific Streetfighter II characters that he enjoys fighting with. Also, where most people might have left it at ‘I like Japanese designers’, Lu states not only which designers, but specific locations where you can find specific samples from certain ranges. Dover Street is nowhere near Japan, or Chicago. It’s in London.

See, if ‘cool’ is knowing your stuff, and knowing who you are, then this song is a hugely confident/ arrogant exclamation of how cool Lupe thinks he is, whether hiphop likes it or not.

Deep.

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