For the next minute and a half we cannot easily anticipate the rhythm of the sounds and visuals. But the chiming bells continue to mark divisions. Has the dancing ended?
Do we hear music in the urban soundscapes or see dance in the everyday movements? Do we experience divisions among reality, pop, art, and high art? Do the different players recognize one another across their distinct spaces and temporalities?
Then the groove drops, again. And three minutes later the groove stops with the return of the pealing bell. With their backs to the Mona Lisa, the power couple now enacts a transformation. The Carters turn to face one another, and the sound of the siren creeps back in. In this turn, the Carters stage their vulnerability: two humans humbly facing artistic 60 pursuit and achievement. And while they turn their backs on us viewers in this gesture, they simultaneously turn themselves toward those public and cultural institutions that look back at them from behind bulletproof glass, as faceless African Americans warranting police sirens.
One last bell toll. The sacred screen turns white … Let there be light. And there shall be no night … for the Lord God giveth them light: and they shall reign for ever and ever. Trolling has two main definitions that are particularly pertinent to the pursuit of virality in a networked, social media environment: 1. The offensive or provocative material is the bait that stimulates the conversations and controversies that help generate the viral number of hits.
The video is a power play, underscored from the earliest appearance of the Carters with their backs turned disdainfully to the Mona Lisa. This establishing shot debases one of the most iconic European artworks, turning it from a transcendent object of aesthetic contemplation into a decorative backdrop for the Carters. This is the perfect launch point for the central conceit of the video—an imperious and playful trolling of historical European culture by contemporary black culture.
Electroacoustic music passages are heard from to , to , and to , comprising almost 25 percent of the song. To put this genre-splicing in context, we live in a genre-fluid world where different genres are often seen or heard to rub up against each other in contemporary popular artforms.
In this context, the juxtaposition of trap and electroacoustic music still catches our attention as an unusual pairing. Juxtapositions of different genres of pop music are quite common; juxtapositions of classical or avant-garde genres into pop music are still relatively rare. The adherence to genre conventions in the trap sections allows for easy identification of the song as trap, affording a clean distinction between the trap sections and the electroacoustic sections, which follow a very different set of musical conventions.
The lack of escalation or other developmental trajectories in the two genre areas keeps the listener clearly situated within only one musical genre at a time, with no ambiguity or genre mixing.
Putting aside the vocal performances, which exist in a different space, all instrumental elements are present in the trap music from the outset, and neither further elements are added, nor does the textural density increase as the song progresses.
Both the rigid adher- ence to convention and the absence of internal development puts the two different genres into maximally stark contrast. Instead, maintaining a stark stylistic contrast with only two gen- res in play, effectively separates the two aspects of the song into two parallel universes.
The nearly complete absence of an audience in the video or anything that could be interpreted as an observing crowd reinforces this sense of irony. There is just one enigmatic second in the video at where a dancing crowd behind the Carters appears to be going apeshit. I read these moments as outside the main argument of the video unguarded moments are coded as not for consumption , perhaps complicating the sense of irony of an absent audience, but not undercutting it.
This irony operational- izes a hierarchy between hip-hop culture and European culture, with hip-hop on top. The one sound icon present that is not a native element of trap music is a recur- rent descending electro-tom tattoo, first heard at Just as the European culture of the video is historical, the electro-tom tattoo is a historical call-out to s Disco.
Internally within the trap music, there are two levels of activation—with and without the drum beats. In this musical Kulturkampf, electroacoustic music is the negative space to the positive action of the trap music. The irony is clear—the museum of European art is empty of audience, and electroacoustic musicians do not get to hear the crowd going apeshit, a perquisite now attained and reserved for the royal Carters. Within this framework, both the Carters and the dancers fluctuate between subject and object; between frozen human art works presented for our gaze, and active creators of the audiovisual moment.
These fluctuations add complexity but do not disturb the pro- hip-hop hierarchy. Whereas the art on the wall presents both white and black subjects, all physically present humans in the video are black. A final twist occurs with the onset of the last electroacoustic segment.
In this moment, digitally simulated flaws nostalgic of analog film symbolically inscribe the Carters into art history, as the music reduces to a repetition of the iconic bell tone. Implicitly, all cultures and all postures are now available to the Carters, suggesting mastery. The video drew attention to multiple meanings of exclusivity with its psychological side piece that trains crowds to restrict their relations with those they perceive to be savage, bestial, or genetically different.
Their views justify restrict- ing a person, group, or area from inclusion as well. The recurring subject driving its exhibition confronts exclusivity and exclusion on multiple levels of aural and visual signification. To date, their internet surprise garnered eight MTV video music award Lassi A. The invitation to contribute to this feature in The Journal for Popular Music Studies afforded me the space to center my thoughts at the intersections between music, tech- nology and those marginalized by regimes of art and power.
They offer a week-long summer day camp for girls transgender and cisgender and gender non- conforming youth ages eight to eighteen culminating in a showcase concert. They also mimic the hoots or vocalizations that monkeys and apes use to sound an alarm of dis- tress or threat, after we enter the room. After our first view of the Carters, there is a jump cut to the black couple draped all in white.
We take them in—poised and stoic like statues at the top of a grand marble stair- case. As the beat drops its banging obstinate bass-line, dancers of various shades of blackness in leotards dyed to match each skin tone contract-and-return to a solemn state.
As they contract they lift their torso and limbs toward heaven as if woken from the dead. Once still, under surveillance, they embody sensations that visually gasp aesthetically for life. Each shot of them is intercut by motionless art and tableaus of the couple throughout the provocative visual intro and opening chorus accompanied by the sounds of trap art. Their move- ments are edited to coincide with and frame the first statement of the chorus. Get Off My Dick!
I wanted to tell stories and boast, to entertain and dazzle with creative rhymes, but everything I said had to be rooted in the truth of experience. Kim, Michelle. To spit a cover of a rap style of music commonly performed by black men in a primarily patriarchal genre is gold.
It is a kind of display of wealth in the resources of hip-hop sam- pling aesthetics while challenging gender normativity and white wealth all at once. His response was, as I expected, thought-provoking. So, they are kind of using the trope to subvert itself. That crown should be accessible to women as well as men. Joe Schloss, email interview: Apeshit music video impression, 25 July For The First Time. The act or art of rapping is not and never has been limited to men.
DMC of Run D. Music is key in selling our attention as users to advertisers in sophisticated ways that make youth as well as adults vulnerable to sur- veillance by algorithms controlled and engineered by predominantly white tech guys or coders. A sampling of the derivative audio content circulating through the end of July includes more than fifteen-second videos found on the Musical.
It was liked more than times and retweeted about times in part due to its incorporation of a seven-second GIF that could be found in a lot of other trending content promoting the song. The GIF highlights the choreography of Cherkaoui, whose other work embraces various styles of contemporary dance, hip-hop motifs, martial arts, and even spoken 74 word. Zulu Beats Marshall, Ly as a Video- Based Equivalent to Emoji.
Accessed 30 July 30 Kim, To be oppressed is more than a feeling. The physical sensation of weight bearing down on bodies, and the sharp, staccato movements, postures, and gestures that are produced lead to nuanced understandings of how knowledges of macro level—structural 75 injustices live and are animated in and through bodies.
She could also be referring to the vitamin D of sunbathing in Jamaica or Antigua or conversely signify on location, given that darker people of African descent may suffer vitamin D deficiencies because they no longer reside in places where our bodies can absorb enough sun, given our forced migration out of Africa. Exclusivity in the form of a hidden message that only a black woman might notice takes place in the chorus line of swiveling hips and head gestures under the Coronation paint- ing.
Her light-complexion should be matched by a similar-toned leotard, but there is a subtle difference that becomes apparent once you notice it. Institutions man- ufacture the elite-ness of European art. Rosemarie A. Critical Reflections on Theorizing and Analyzing Embodiments.
The text and screenshot of the tweet and GIF posted by Twitter user TabloidArtHist who tweets about intersection of art history and tabloid images. Nude or flesh tones that signify whiteness through products are analogous to tech- nological filters built into Kodak cameras calibrated using Shirley card models who were always white until recently.
This technological phenomenon is a function of white biases built into visual reproductive tech and product manufacturing. It remains, more or less, in 77 the tech of our webcams and film cameras.
Whiteness is still lit more readily biasing the way we see ourselves toward white not black. Even in the screen capture of the GIF above it is harder to fully recognize and make out the distinct features of the darkest dancers on 78 the line that are hidden by shadows.
Everything was done to encode the impossibility of mixing racialized gendered bodies and groups. Blacks back then were unable to exclude white youth from their spaces not unlike today. The reverse—exclusion of blacks in white spaces—is practically a norm despite laws against such discrimination since the s.
Touching, much less dancing between blacks and whites, even briefly, was forbidden. White gatekeepers tried to ban black records from airplay and jukeboxes.
They convinced themselves that prohibiting contact with these objects of art and technology kept their youth free and 82 white, at least until they were twenty-one. They would be ashamed if they thought their friends were listening to it. The quality of the music is 83 poor … it brings out the—well—the savage in people. By juxtaposing trap music and its lyrical tropes with the high art, haute couture and dance, the Carters invite us to see and hear how music and visual culture have reinforced George T.
Nierenberg and David G. Find it, if you can, at an academic library to hear this anecdotal expression by a white Southern club-goer first-hand. Wulf D. Hund and Charles W. Accessed 6 August What is often unspoken is the context of segregated public spaces that permitted these dehumaniz- ing ideas and animalization of black people. Ideas, ideals, and norms about miscegenation in sex, love, or marriage between the sexes are not objects you just throw away to refuse.
The music video does not merely flip the script, it remixes at the grand and intangible scales of genre, aesthetics, and institutional space. Music, like ideas, is ingrained in our cognition, carried on soundwaves and in memories beyond our time and generation.
We are no longer your monkeys. He 84 was imprisoned, tortured, and murdered by Western forces soon after. The intensified exaltation represented by the Louvre takeover is the flipside of the intensified devaluation of music that the Carters are pushing against; association with 85 priceless art may be a way to make a case for music that has any price at all.
It is amazing how well this music video performs its critical work of confronting the pricelessness and dehumanization of the bodies of black women and their lives. Hund and Mills The painting appears cropped, without its ornate gold frame, as if it were only a headshot.
In some African contexts, her face and headwrap would iden- tify her to her own people and other groups. He noted that Benoist had led a typical life as a white woman of bourgeois society. Accessed 31 July, Accessed 8 August The function of lavishness has always been a pre-occupation with white superiority in music and art whether acknowledged or not. To begin to ask what kinds of writing and what kind of questions we could ask?
What methods could we use, who should apply them; how do we approach the study of racialized and gendered spaces and sites for embodying music and art in an age of algorithms and big data? The tools needed to critically examine the scale of the reproduction of psychological occupations we have inherited as white superiority and hetero-patriarchy are as much human resources as they are intangibles e. We all must find ways to reframe flawed practices and stereotypical logic about the mar- ginalized and about the music of the marginalized.
Published on Jun 16, ; accessed July 31, Published on March 8, ; accessed July 31, Drake, David. Gaunt, Kyra D. NYU Press, Harding, Xavier. Heisel, Andrew. Accessed August 6, Hund, Wulf D. Liikkanen, Lassi A.
Accessed August 8, Macarthur, Sally. Routledge, Marshall, Wayne. March 27, Maultsby, Portia K. Accessed July 31, Mills, Charles Wright. This is Kocayine's complete and uncurated youtube channel, archived with youtube-dl starting on with the latest upload on The channel is most notable for the many uploads of historical Yugolav War propaganda videos, but also contains edited video game footage and some miscellaneous other content.
Due to rampant political hysterics and demand for censorship of wrongthink, the channel was subjected to the digital version of bookburning when it was shut down in may of Topics: youtube, Kocayine, channel, serbia, slovenia, croatia, bosnia, kosovo, yugoslav, tupac, war, Sister Midnight at Liv from Laval's Topic: music.
Live from laVals Topic: music. Credit to Simon Arty Harris favorite favorite favorite favorite favorite 1 reviews Topics: music video, reel2real productions, yung chi, entertainment, music, hip hop, randb, tampa. Patrick Landeza on Live from Laval's favorite favorite favorite favorite 3 reviews Topic: music. The youtube channel nosbo has been deleted, I am archiving it here.
The Badger at a Notes of Harmony show Topic: music. Join special guest, Sherry Zak Morris, who specializes in Yoga for people with movement limitations, chronic conditions and age-related degeneration.
Today's Chair Yoga class is focused on Improving your Balance. Balance is one of the first things that degrades as we age and it is something we can improve with practice. A special thanks to Dr. Melissa West of Yoga with Melissa for sharing this video on her channel.
Topics: chair yoga for balance, senior yoga, chair yoga, chair yoga for seniors, yoga for 50, chair yoga Live from LaVal's Topic: music.
This is a rare early version of the music video which features less extensive visual effects than the version currently circulating online, and was previously only really available from an ancient, low-quality encode.
Topics: soundgarden, music video, rare, original, , tvrip, hq, original. See why parents have turned to Baby Einstein to entertain and enrich their children. These beloved classic videos feature captivating imagery and discovery themes, choreographed to the tune of classical music.
Topics: baby einstein, newton, shapes, animals, wild, world, jungle, ocean, savannah, beethoven, music, Art in the Gardens Topic: music. Trinidad culture Topic: Trinidad music. Live from Laval's Topic: music. Chronic Daoko feat.
Evan Kale's youtube channel Archive Topics: evan kale, arduino, electronics, music, videogames, sound, bluetooth, gamepad, speaker, photoshop. Stone e sua gangue. Most of? Live from LaVals Topic: music. Soper Reese Theater Topic: music. An informative video on why Beetlejuice should stay on Broadway. Also there is a slime tutorial in this.
Topics: Music, Slime Tutorial. Musical Discoveries contains three minute Baby Einstein episodes: Baby Mozart - Music Festival A trusted, award-winning musical banquet for little eyes and ears Baby Bach - Musical Adventure An award-winning, whimsical introduction to classical music for your baby Baby Beethoven Topics: baby einstein, mozart, bach, beethoven, classical, music, classical music, , , , , Frankies of Mendocino Topic: music.
Mendocino Coast Television Topic: music. Full live performance of Jimi Hendrix at the Monterey Pop festival Topics: jimi, hendrix, music, guitar, fire, live, performance, monterey, pop, festival, , 60's, solo, Groovinators at the Sequoia Room Topic: music.
Created on. Jeff Kaplan Archivist. AnnaN Member. ARossi Archivist. Diana Hamilton Member. TrimurtiVishnu Member. Brian A. Griffith Member. KurdmaxTV1 Member. Creator looking to recover locked upload BLPMedia 0 Oct 27, pm Oct 27, pm thumbnail at end of upload?
Yebodave 0 Jun 19, am Jun 19, am thumbnail at end of upload? Please try again later. Kanoptikum 1 Dec 28, pm Dec 28, pm Re: Please delete Nov 30, am Nov 30, am. But Puth also brought a lyrical edge to the dense production of Voicenotes , addressing more mature topics a relationship with an older woman on 'Boy,' hooking up at a party on 'Empty Cups' that appeal to both his twenty-something peers and the teeny boppers he drew in with his more innocent debut. Is there any better feeling than coming clean?
All of those songwriters have mounted impressive catalogs from their confessionals, and based on Lush , Snail Mail may very well do the same.
Crucially, though, they make time for uplift and Big Rube spoken word! No stitches needed here -- Shawn Mendes is ready for a more grown-up kind of angst and yearning on his self-titled album. Gone are the wailings begging for mercy, found are the sexy pleas of a rocker's invitation to stay the night. With Shawn Mendes , the singer graduates from pretty teen pop star to an artist capable of soundtracking your late-night adventures -- but one who hopes to wake up next to you in the morning.
While those three shine on their respective cuts, there's no question who real standout star is. It says a lot about the quality of the music from A Star Is Born that the track, dialogue-free version of its soundtrack still leaves you wanting more. The set of songs performed by the movie's musician characters even works in a , post-genre-Spotify-playlist sort of way, with the bluesy folk-rock of Jackson Maine Cooper and Ally Gaga from the first hour of the movie side-by-side with the electro-pop that follows Ally's glossy top 40 makeover.
But, like the best soundtracks, this one truly resonates because it re-transports you to the world of A Star Is Born , thanks to a combination of live and studio recordings that include ambient noise and audience feedback and put you right back onstage with Jackson and Ally. It's as if you're rediscovering their characters and music all over again for the first time.
We're off the deep end, watch as we dive back in. Speeding by at a song-per-minute clip, Whack World combines fun-house excitement with game-show puzzlement, daring listeners to guess what's behind doors No. Indeed, at almost 90 minutes in length, the listener has to work through some landfill to get to all of the gems on the album, but they're there -- and well worth digging for.
Initially slated for release in , Tha Carter V was shelved due to a legal battle between Wayne and his label Cash Money that was settled earlier this year.
Tangana have done nothing less than create an entirely new sound, rooted in Spanish song, which could only have been borne from today's global pop culture. Hoping for a heady slow groove? Isolation shows Uchis stretching her wings, past the lonely condition of the album title and into a mutli-continental community eager to embrace her talent.
With his much-anticipated double album, Drake decided that the kind of cold revenge he'd have to dish out to properly escalate the feud that nearly submarined his didn't serve anyone best. So instead, he decided to indulge in that other revevenge-related truism: that the best one is living well. The track Scorpion saw Drake living better than nearly anyone in rap or pop history had previously, scoring the year's best first-week numbers and topping the Hot with three of its singles for a record 29 weeks of the calendar year.
And he did it with a set that threads his side of The Story of Adidon captivatingly throughout the double LP, spellbinding not only with those more revelatory tracks and its knockout trio of singles but also the inflammatory 'Talk Up,' the cuddling 'After Dark,' the soaring '8 Out of 10' and even the sublimely silly 'Rachet Happy Birthday.
He can't help it, it's in his nature. It's hard to talk about The without talking about their relationship to -- particularly when their album title suggests a sprawling conceptual masterwork about subtweeting and swiping right. But as much as The are a band for their times -- maybe the band -- A Brief Inquiry Into Online Relationships ' greatest revelations are disticntly timeless. And while much of the band's success has come by detaching from the guitar, the electrifying hook to 'Give Yourself a Try' still feels like a million kids learning their first riff to properly irritate their parents with.
Those who don't learn from the past may be doomed to repeat it, but those who learn everything from the past often get to dictate the future. Expectations were sky-high leading into Honey , with fans having already held tight not so patiently for eight years, pining for more Body Talk -esque bangers. But Robyn doesn't do 'expectations': She's been making unpredictable pop music for more than two decades, and Honey is no exception. Deceptively buoyant lead single 'Missing U' was merely an appetizer for what fans were really in for, which is disco heartbreak 'Because It's in the Music' , post-fembot melancholy 'Human Being' , deep-house innovation 'Between the Lines' and whatever 'Beach2k20' is.
Honey might not have been the exact album fans anticipated, but it's a reminder that whatever album Robyn gives us next will be worth waiting a near-decade for. Though the sounds whip from one style to the next, the lyrics all come from the perspective of someone unsuccessfully trying to hide her vulnerability, like a person insisting 'I'm fine' despite the fact that nothing seems to be.
If y'all don't understand that, we ain't meant to be friends. For The Carters, love will always conquer all. But superstar J Balvin made a major effort to put a dent on such thinking with Vibras , an album mostly rooted in reggeaton but one that often expands daringly from it.
Camila Cabello confused fans with her abrupt exit from Fifth Harmony in December , but she cut through all that chaos with the release of Camila.
Cabello's debut set showcased her versatility as a solo artist, whether she's singing in whispery falsetto on 'Never Be the Same' and 'Real Friends,' honoring her Spanish roots on 'Inside Out' and lead single 'Havana' or showcasing her vulnerable side on 'Consequences' and 'Something's Gotta Give.
0コメント