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petewentzisblack1312 · 2 years

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hii! here's my other piece from the zine Sing It Like The Kids That Are Mean To You (created by @thrashbeatles and laid out by @birdloaf, get your physical copy here (when its in stock) and your digital copy here)

Pete Wentz is, in many ways, the driving force behind Fall Out Boy, and he is a biracial black man. It is no surprise, then, that blackness is ever-present within the band’s art, through genre, through lyrics, through politics. Let’s talk about how race colours their work.

To start, black genre influences are scattered throughout the band’s discography. The album art of Take This to Your Grave is an homage to John Coltrane’s iconic album Blue Train. Infinity on High is filled to the brim with funk, soul and R&B influences on songs like I’m Like a Lawyer with the Way I’m Always Trying to Get You Off (Me & You) and This Ain’t a Scene, It’s an Arms Race. American Beauty/American Psycho was an experiment in emulating mixtape culture, filled with samples and electronic beats, and getting its own remix album, Make America Psycho Again. M A N I A drew its influence from dancehall and reggae, especially on Sunshine Riptide and HOLD ME TIGHT OR DON’T. They haven’t been shy about incorporating black genres into their work, and in fact, it seems to be a staple for them.

Additionally, Pete Wentz’s lyricism in and of itself is in fact heavily influenced by black art, and one could argue it is quintessentially the work of a black poet. In his lyrics are strategic plays on words, inversions and remixes of classic phrases, and an endless stream of cultural references, all akin to the wit and flow of a rapper. Think lines like “I’m a painter and I’m drawing a blank,” or “You take the full, full truth and you pour some out.” Indeed, in his words you’ll even find braggadocio, a staple in hip hop, though his comes with a helping of self-deprecation, like in the line “Signing off, I’m alright in bed but I’m better with a pen/The kid was alright then it went to his head.” This is arguably a feature which endears so many people to his work, and it is the one which shows his blackness most evidently.

Finally, while Fall Out Boy itself is not an overtly political act, the band has at times used their music to espouse black politics. In You’re Crashing, But You’re No Wave, the lyrics tell the story of Fred Hampton Jr’s conviction for aggravated arson following the 1992 LA riots protesting the acquittal of the police officers who murdered Rodney King. The song Novocaine also deals with black politics, being inspired by the murder of Trayvon Martin and primarily about the corruption of and threat posed by the police to black youth.

The core idea behind Fall Out Boy is to make music “for the kids who feel like they don’t fit in anywhere”. When that sentiment is espoused by a man who grew up as part of the only black family in his neighbourhood, it gains a whole new meaning. Fall Out Boy is, in a very real way, for niggas.

#fall out boy #pete wentz #ioh #futct #tttyg #folie a deux #ab/ap #mania #dils declares #dils dissects #tagging this for people to see it sorryyyyy #srar #sing it like the kids that are mean to you zine #sing it zine

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tatatmic · 6 months

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:･ﾟ✩ 2 COOL 4 SKOOL ✩:･ﾟ✩

; Intro: 2 Cool 4 Skool ;

@/sckool24 (mess sorry)

; We Are Bulletproof pt. 2 ;

@/bullertproof / bulletrproof

@/bulletwoof (bullet + part [two] + pro[of]) (mess sorry)

@/arwbullet / arwebullet ([we] [ar]e [bullet]proof) (mess sorry)

; Skit: Circle Room Talk ;

@/circleskit / skitcircle

; No More Dream ;

@/nodreamvs (no more dream + mvs)

@/not7dream ([no] more dream + ot7) (mess sorry)

@/nmrdream / nwmrdream

@/nmoredrm

@/nomrdream

; Interlude ;

@/isnterlude

@/inrterlude

@/interluwde

@/intterslude

@/interludette (mess sorry lol)

; I Like It ; (mess sorry)

@/ilikeitmp3

@/ilikeitsus

; Outro: Circle Room Cypher ;

@/outrozcypher

@/outrocyphier

@/cyphercle (cypher + circle) (mess sorry)

@/outrot7

@/cypherseus

; Skit: On The Start Line ;

@/onthwstart

@/startwline

@/skitwline

; Path / Road ;

@/pathdeus / pathseus

@/roadmp3

@/pathscene (+ beyond the [scene])

✩:･ﾟ✩ O!RUL8,2? ✩:･ﾟ✩

; Intro: O!RUL8,2? ;

@/ohreulate / ohrulate (oh a[re] yo[u] late) (mess sorry)

@/introulate (intro + yo[u] late)

; N.O ;

@/lyricswno (lyrics + no)

@/nowmvs (no + mvs)

; We On ;

@/weonmv / weonmvs

@/weondeus / weonseus

; Skit: R U Happy Now? ;

@/skitnow

@/skitrhappy

; If I Ruled the World ;

@/ruIedworId (LL = ii)

; Coffee ;

@/coffeendless

@/coffeelled

@/coffeernate

@/coffeejours

; BTS Cypher Pt. 1 ;

@/cypherwone

; Attack on Bangtan / The Rise of Bangtan ;

@/bngttanck

@/bngtnrise

@/attackboys

; Satoori Rap ;

@/satoorism

@/uttsatoori

@/sawtoori

@/raptoori

; Outro: Luv In Skool ;

@/luvsnkool

@/luvnoutro

@/skoolutro / skooutrol / skooutro

@/luvrskool

✩:･ﾟ✩ Skool Luv Affair ✩:･ﾟ✩

; Intro: Skool Luv Affair ;

@/skooluvffair

@/skoolffair

@/Iuvffair (L = i)

; Boy In Luv ;

@/tboynluv ([tb]h + b[oy] i[n] luv)

@/boynrluv

@/boynzluv

; Skit: Soulmate ;

@/soulwmate

@/joursmate (toujours = always + soulmate)

@/sourlmate

; Where Did You Come From? ;

@/whrdid (mess sorry)

; Just One Day ;

@/tbharuman

@/justhrday (just + hr= haru + day)

@/haruseus

; Tomorrow ;

@/tomorroiw

@/tomowrro

@/tomosrrow

; BTS Cypher Pt. 2: Triptych ;

@/tripcypher

@/triptyrch

@/utlcypher

; Spine Breaker ;

@/spinerbrkr

@/breakspiner

; Jump ;

@/jumpseus

@/jumpstwt / jumptwts

; Outro: Propose ;

@/outropose

@/prowpose

@/missrighrt

@/itslowjam (i like it (slow jam remix)

✩:･ﾟ✩ DARK & WILD ✩:･ﾟ✩

@/darkvwild

@/darkwildsus

; Intro: What am I to You? ;

@/introwhat

; Danger ;

@/offciaIdanger (L = i)

@/featdanger

@/lyricsdanger

; War of Hormone ;

@/kthormone (mess sorry)

@/warfhrmne

@/hormowne

; Hip Hop Lover ;

@/hhplover

; Let me Know ;

@/letmrknow

; Rain ;

@/rainhoutte (+ silhouette) (mess sorry)

@/trailerain

@/rainfelts

; BTS Cypher Pt. 3: Killer ;

@/killwrcypher

@/partkiller

@/cypthkiller

; Interlude: What Are You Doing? ;

@/whtrdoing

@/whaterlude / whterlude

; Would You Turn Off Your Cellphone? / Can You Turn Off Your Phone? ; [mess sorry]

@/wldturn

@/wldphone

; Blanket Kick ;

@/blantkick

@/blanketmp3

@/blankthicc (mess sorry lol)

; 24/7 = Heaven ;

@/heavendless

; Look Here ;

@/lookzhere

; 2nd Grade ;

@/twndgrade ([tw]o + nd + grade)

; Outro: Does That Make Sense? ;

@/outrosznse (outro + sense)

@/outrodoes

✩:･ﾟ✩ The Most Beautiful Moment in Life, Part 1 ✩:･ﾟ✩

; Intro: The Most Beautiful Moment in Life ;

@/themostiful (mess sorry)

; I Need U ;

@/ineedsus

@/ineedusz

; Hold me Tight ;

@/holdmrtight

; Skit: Expectation! ;

@/expecttion

@/exrpectation

; Dope ;

@/dopethyst

@/dopensfw

; Boyz With Fun ;

@/boyszwfun

@/boyzwrfun

; Converse High ;

@/convrsrhigh

@/lyricsnverse (+ lyrics) (mess sorry)

; Moving On ;

@/movingwon

; Outro: Love is Not Over ;

@/outrosnlove

@/loutrover (mess sorry)

✩:･ﾟ✩ The Most Beautiful Moment in Life, Part 2 ✩:･ﾟ✩

; Intro: Never Mind ;

@/nvrwmind / nevrwmind

; Run ;

@/offcialrun

; Butterfly ;

@/buterlyrics

@/bwrtterfly

; Whalien 52 ;

@/wharlien52

; Ma City ;

@/mawrcity

@/ilysmacity (mess sorry lol)

; Silver Spoon ;

@/baespoon

@/silverspoorn

; Skit: One Night in a Strange City ;

@/nightwcity

@/skitnight

; Autumn Leaves ;

@/autmnrleaves

@/tmnleaves

; Outro: House of Cards ;

@/outrorcards

@/housecrds

✩:･ﾟ✩ The Most Beautiful Moment in Life: Young Forever ✩:･ﾟ✩

; Fire ;

@/offcialfire

@/fireffct / fireffcts (+ effects)

; Save Me ;

@/lyricsavem / lyricsavme

; Epilogue: Young Forever ;

@/ywngforever

@/epiloguewl

✩:･ﾟ✩ Wings ✩:･ﾟ✩

@/uttwings

@/articwings

; Intro: Boy Meets Evil ;

@/introboysz

@/boysmeetvil

; Blood Sweat & Tears ;

@/bloodwtears

@/bldswtears

@/bldsweatrs

@/bwtears

; Begin ;

@/beginseus

@/bewgins

; Lie ;

@/liedosed

@/outroslie

; Stigma ;

@/soultigma (neo [soul] + stigma)

@/stigmacist (+ supremacist)

; First Love ;

@/firstflove

@/firstdlove

; Reflection ;

@/reflwcttion

@/joonflection

; Mama ;

@/mamalogist (mess sorry)

@/mamajours (+ toujours = always)

; Awake ;

@/awakeffct / awakeffcts (+ effects)

@/awakedeus

; Lost ;

@/lostmvs

@/lostjours (lost + toujours = always)

; BTS Cypher 4 ;

@/cyphefour (mess sorry)

; Am I Wrong? ;

@/featwrong

; 21st Century Girls ;

@/centwrygrls

; Two! Three! (Still Wishing There Will be Better Days) ;

@/betterzdays

@/bttrwdays

; Interlude: Wings ;

@/interlwings

@/intterwings

✩:･ﾟ✩ Wings: You Never Walk Alone ✩:･ﾟ✩

; Spring Day ;

@/sprngdwy

@/springdaiz

@/springcday

; Not Today ;

@/nowttoday

@/nosttoday

@/snwttoday (mess sorry)

; Outro: Wings ;

@/outrownsg

@/featwings

@/outroftwings

; A Supplementary Story: You Never Walk Alone ;

@/trilogynwa

@/lullabynwa

@/frostynwa

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hit-song-showdown · 11 months

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Year-End Poll #47: 1996

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: Los del Tio, Mariah Carey and Boyz II Men, Celine Dion, The Tony Rich Project, Mariah Carey, Tracy Chapman, Bone Thugs-n-Harmony, Donna Lewis, Toni Braxton, Keith Sweat. End description]

More information about this blog here

A lot of major moments to talk about this year. Like my birth. I was born out of the Macarena Summer.

In 1996, the Bayside Boys remix of Los del Rio's Macarena became a cultural phenomenon as well as an incredibly popular song (I'm clarifying it's a remix, because the non-Bayside Boys version also reached the Hot 100 at number 98). The track's record for longevity in the Hot 100 would only be broken almost two decades later by Adele.

Speaking of record-breaking songs, One Sweet Day, the duet between Mariah Carey and Boyz II Men, is a towering R&B number. At 16 weeks, the song held the record for most weeks at the number one spot until Lil Nas X came out with Old Town Road in 2019.

One Sweet Day is a song about grief, specifically the track was inspired by the ongoing AIDS epidemic. It's not the only song on this poll related to this issue. Bone Thugs-n-Harmony wrote Tha Crossroads to honor Eazy-E, one of the establishing figures behind the West Coast rap scene who passed away from AIDS-induced pneumonia in 1995 when he was just 30-years-old.

Sadly, the stretch between 1995 and 1996 would be marked by several losses among legends in rap and hip-hop. In 1996, The Notorious B.I.G. and Tupac Shakur would be murdered with only a few months between their deaths. These losses will be relevant in a direct manner when we get to the next poll, but it's not an exaggeration to say that the music world was shaken by their deaths. There were those who were quick to make bad-faith arguments blaming the violent subject matter of the music itself. And while the coast-based rivalries did get extremely intense, I think this is a reductive conclusion to come to. To many, however, this moment in music history felt like a nation-wide wake up call.

As rap became more mainstream and started to absorb more of pop music influences into its sound, the genre was bound to change. We've already seen this with the increasing number of R&B fusions and rap verses on pop songs. But some mark this year as another turning point for the genre, as the gangster rap era starts to fade in the mainstream music scene. Even outside of rap, after this point pop music starts to feel a lot sunnier, for lack of a better term. Whether this is due to coping with these recent tragedies, a larger demographic of younger music listeners dictating the majority taste, people gearing up for the new millennium, the record industry reaching record numbers in profits, or genuine positivity and optimism (think that might have been still a thing lol), the times are certainly about to change.

#billboard poll #billboard music #tumblr poll #1990s #90s music #1996 #los del rio #mariah carey #boyz ii men #the tony rich project #tracy chapman #bone thugs n harmony #donna lewis #toni braxton #keith sweat

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7grandmel · 4 months

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Todays rip: 19/12/2023

Dancin' Tranquility

Season 5 Featured on: SiIvaGunner's Highest Quality Rips: Volume C

Ripped by Ahmaykmewsik

youtube

Requested by xinos (Discord)

Y'know, it feels like almost any time I highlight a rip by Ahmaykmewsik, I'm obligated to highlight just how good they are at gripping a track's emotional core, making rips with so much pure visible feeling and heart. It was only earlier this month that I talked about It's Snowy but its snowy, and a month before that I covered one of my all-time favorite rips in Your Silent Reality. Even in simpler, earlier rips, with simpler mashups like Picture This Ranch, their talent has been evident, and though I don't want to pick favorites too much on SiIva there's just something about Ahmaykmewsik's rips that keep me coming back time and time again. And, really, today's no different: when Dancin' Tranquility got suggested for the blog, I saw it as an opportunity to just get to talk more about this incredible ripper.

I have a lot of feelings on A Hat in Time in general, that honestly sort of mirror my experiences with SiIvaGunner - it has the wholesale heart and soul of a pure indie project, and wears its influences, strengths, weaknesses, excellence and imperfections equally as proudly. Its a game that's immensely hard to dislike due just to how earnestly happy the development team seem to always be, and the Peace and Tranquility screen really embodies all of that. Referencing an older Tumblr meme whilst also feeling like a sort of acknowledgement of how caring and friendly the game's community had become, it's an aesthetic touch that had no reason or requirement to be implemented into the full game. Yet its addition was just one of the many pieces that makes the whole of A Hat in Time feel so lovely.

In that same way, a rip of the theme could have very well been executed perfectly with any sort of hip-hop mashup, akin to something like Noonsummer Madness or even Door into a Hundred Summers. Yet the remixing effort Ahmaykmewsik has gone through here feels so painstakingly, carefully done - incorporating elements and samples from Dancin - Krono Remix, a song with a similarly lo-fi, kick-back-and-relax energy to it. There's a newfound energy to Dancin' Tranquility that's hard to really describe - it feels lo-fi, yet the remixing add a subtle feeling of urgency, without actually becoming stressful.

There's so many little touches to the remix that make it truly stand out, breaks and sound samples, additional backing pieces - yet it all fits together surprisingly cohesively. And like I said before: that's kind of like A Hat in Time itself, isn't it? It really shouldn't come as a surprise that the official A Hat in Time twitter account found, loved and shared the rip with its own fans, one form of independent art creation supporting another. Ahmaykmewsik continues to impress me, and I'm so happy to see their work be appreciated through Dancin' Tranquility in particular.

#todays siivagunner #season 5 #siivagunner #siiva #Ahmaykmewsik #a hat in time #ahit #ahit remix #ahit peace and tranquility #peace and tranquility #indie games #indie #indie platformer #gears for breakfast #Youtube #Bandcamp

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for-yoongi0309 · 2 years

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THE INSIDE WORLD OF GENIUS LAB

– 𝙬𝙧𝙞𝙩𝙩𝙚𝙣, 𝙬𝙤-𝙬𝙧𝙞𝙩𝙩𝙚𝙣, 𝙘𝙤𝙢𝙥𝙤𝙨𝙚𝙙 𝙖𝙣𝙙 𝙥𝙧𝙤𝙙𝙪𝙘𝙚𝙙 𝙨𝙤𝙣𝙜𝙨 𝙗𝙮 𝙎𝙐𝙂𝘼 𝙤𝙛 𝘽𝙏𝙎, 𝘼𝙂𝙐𝙎𝙏 𝘿, 𝙈𝙞𝙣 𝙔𝙤𝙤𝙣𝙜𝙞 𝙖𝙣𝙙 𝙚𝙫𝙚𝙣 𝙪𝙣𝙙𝙚𝙧𝙜𝙧𝙤𝙪𝙣𝙙 𝙙𝙖𝙚𝙜𝙪 𝙧𝙖𝙥𝙥𝙚𝙧, 𝙂𝙡𝙤𝙨𝙨.

ㅡ

❝ 𝐂𝐫𝐞𝐚𝐭𝐢𝐯𝐞 𝐌𝐮𝐬𝐢𝐜𝐢𝐚𝐧 ❞

ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ

║ Spotify╽Apple╽SoundCloud╽YouTube ║

ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ

518-062 - PROD. GLOSS

WHO AM I? - PROD. GLOSS

DISS - BY GLOSS

The Truth Of Life - DTown (prod. GLOSS)

INTO : DT sugA

AGUST D

Give It To Me

SKIT

724148

140503 AT DAWN

THE LAST

Tony Montana

INTERLUDE : DREAM, REALITY

SO FAR AWAY

MOONLIGHT

DAECHWITA

What Do You Think?

STRANGE

BURN IT

PEOPLE

HONSOOL

INTERLUDE : Set Me Free

Dear My Friend

DDAENG

SPRING DAY

TRIVIA : SEESAW

I NEED U x SEESAW (remix)

BLUEBERRY EYES (ft. SUGA)

EIGHT (FT&PROD. SUGA)

MOTS7: INTERLUDE: SHADOW

SUGAs INTERLUDE

SONG REQUEST (FT. SUGA)

FIRST LOVE

RESPECT

UGH!

TOMORROW

JUMP

134340

24/7=Heaven

2nd Grade

You Never Walk Alone

Airplane pt2

All Night

Anpanman

Answer : Love Myself

Attack On Bangtan

Best Of Me

Blanket Kick

Blood Sweat & Tears

Boy In Luv

Boy With Luv

Boyz With Fun

Butterfly

Coffee

Converse High

Could You Turn Off Your Cell Phone

Danger

Dionysus

Dis-ease

DNA

DOPE

Epilogue : Young Forever

FIRE

For You

Good Day

Hip Hop Phile

Hold Me Tight

HOME

I LIKE IT

I LIKE IT pt.2

I NEED U

I’m Fine

If I Ruled The World

IN THE SOOP (show intro)

INTERLUDE : WINGS

OUTRO : WINGS

Intro : Ringwanderung

Introduction : YOUTH

Just One Day

Let Me Know

LIFE GOES ON

Look Here

Louder Than Bombs

Love Is Not Over (full length edition)

LOVE MAZE

MA CITY

MAGIC SHOP

Make It Right

MIKROKOSMOS

MISS RIGHT

Moving On

N.O

WE ON

No More Dream

OTSUKARE - SOPE DUO

WE ARE BULLETPROOF pt2

WE ARE BULLETPROOF : The Eternal

Outro : Circle Room Cypherr

CYPHER pt.1

CYPHER pt.2 Triptych

CYPHER pt.3 Killer

CYPHER pt.4

어른아이 by RM, Suga & 진

A Typical Trainee’s Christmas by RM,SUGA & 진

SUGA 싸이하누월 MIX Final

DREAM MONEY

ALL I DO IS WIN

PARADISE

PATH

PIED PIPER

RAIN

RUN

Satoori Rap

SAVAGE LOVE - Jungkook, SUGA & JHOPE

SAVE ME

Hidden Track : SEA (lyher)

So What

Spine Breaker

The Stars

2!3!

Wake Up

War Of Hormone

Whalien 52

Where Did You Come From?

Wishing On A Star

DEAD/AUTUMN LEAVES

INTRO: NEVERMIND

INTRO: THE MOST BEAUTIFUL MOMENT IN LIFE

OUTRO: TEAR

OUTRO: HER

INTRO: SKOOL LUV AFFAIR

ETERNAL SUNSHINE (prod. SUGA)

WINE (prod. SUGA)

WE DON’T TALK TOGETHER (prod. SUGA)

Fly To My Room

Telepathy

Blue & Grey

My Universe (coldplay)

YOU - ØMI (prod. SUGA)

Girl Of My Dreams (ft. SUGA)

STAY ALIVE - JUNGKOOK OST (PROD. SUGA)

THAT THAT - PSY (PROD & FT. SUGA)

Yet To Come

Yet To Come (Hyundai ver.)

RUN BTS

For Youth

OUR ISLAND OST (PROD. SUGA)

OVER THE HORIZON

OVER THE HORIZON (2022 Ver, funk ver)

DDAY

Haegeum

HUH?! (Ft. J-Hope)

Amygdala

SDL

People pt2 (ft. IU)

Polar Night

Interlude : Dawn

SNOOZE (Ft. Ryuichi Sakamoto & Woosung of The Rose)

Life Goes On (DDay vers.)

TAKE TWO (PROD. SUGA | 10th anniversary song)

LILITH (ft. SUGA | Diablo IV soundtrack)

#ultkpopnetwork #mgroupedit #btsgoldnet #yoongi #suga #min yoongi #bangtan #bts #fy0309.playlist #for-yoongi0309's masterlist

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southernvangard · 3 months

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Episode 390 - Southern Vangard Radio!!!

BANG! @southernvangard #radio Ep390! We’re a mere TEN episodes away from Episode 400 - if our rudimentary math calculations are correct, we’re hitting four hundo around mid-April. Spring time will be a fun time here at the best underground rap show on the planet. Come on - what show do you know wraps up with one of it’s co-hosts rocking out to the J Geils Band? The answer - NO ONE. YOU WAAAAALCOME!!!!! #SmithsonianGrade #WeAreTheGard #YouWaaaaalcome // southernvangard.com // @southernvangard on all platforms #undergroundhiphop #boombap #DJ #mixshow #interview #podcast #ATL #WORLDWIDE #RIPCOMBATJACK

Recorded live February 5, 2024 @ Dirty Blanket Studios, Marietta, GA

southernvangard.com

@southernvangard on all platforms

#SmithsonianGrade #WeAreTheGard

twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks

Pre-Game Beats - Selections from Boom Bap Crew Vol. 1

Talk Break Inst. - "Finger Tips" - Kuartz

"The Lesson" - Emskee x MiLKCRATE ft. DJ Jon Doe

"Pedal To The Floor" - Tha God Fahim & Cookin Soul

"More Of The Raw" - Da Flyy Hooligan (prod. DJ Rhettmatic)

"Move " - Crotona P x Sinamatik ft. Rico Blox

"Hero" - Masta Ace & Marco Polo ft. Inspectah Deck

Talk Break Inst. - "Forget About Me" - Kuartz

"Murderers' Row" - Reef The Lost Cauze ft. Dillon, Miggs Sonny, Saleem Oxygeen & DJ Skipmode

"Late 90's (DK Remix)" - PR Dean ft. Copywrite, Heleos, King Nova & Messiah Kaine

"Molly" - Tame One & Parallel Thought ft. Aesop Rock & Breeze Brewin

"Man Down" - Napsndreds

"Talk Is Cheap" - Crisis ft. Eto

Talk Break Inst. - "Stay" - Kuartz

"Macys Lo Section" - Jay Royale feat. Nym Lo (prod. Crown, cuts DJ Eclipse)

"Must Don't Know" - IamGAWD & Clypto ft. Rufus Sims

"Blood In Blood Out" - Bozack Morris ft. Asun Eastwood & Lex Talionis

"Mystery Science Theater" - HiDEF x Estee Nack ft. Raz Fresco

"Washed Ashore" - Waterr X Wavy Da Ghawd

"Dwayne Johnson" - Chuck Chan x Squeegie Oblong

"Lion Vs. Panther" - Crimeapple & Preservation

"Whats Today Math?" - Al.Divino

"1 Way Ticket" - Forever Pavot & XP The Marxman

Talk Break Inst. - "Ain't No Way" - Kuartz

"Love Stinks" - The J. Geils Band

"Big Beat" - Billy Squier

SOUNDCLOUD

https://on.soundcloud.com/Lg29g (SHORT LINK)

APPLE PODCASTS

https://itun.es/us/QyyX9.c/

SPOTIFY PODCASTS

YOUTUBE

youtube

GOOGLE PODCASTS

http://bit.ly/svrgooglepodcasts

TWITCH

twitch_live

#Youtube

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strangledeggs · 4 months

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Has Remix Culture Run Out Of Steam?

The short answer is "no". The long answer is...

A couple days ago, I was talking with @philippesaner about the failures of postmodern critical theory to come up with a viable alternative to liberal-democratic politics given all its critiques of the latter (this subject seems to inevitably come up at least once every time we meet in real life). The famous article he brought up that the title of my current essay here is referencing is of course Bruno Latour's "Has Critique Run Out Of Steam?" which if you haven't read and are at all mystified by why we would be discussing something like this in the first place, I'd recommend reading.

Anyway, around the same time (maybe it was even the same day?), my sister happened to show me Youtube music critic Toddintheshadows' 10 worst songs of the year list for 2023. A notable entry on the list that I hadn't heard prior to seeing the video was a song that was essentially a cover of Haddaway's "What Is Love?", kind of like that previous Bebe Rexha basically-a-cover "remix" of Eiffel 65's "I'm Blue".

That struck me as interesting, given that both songs seem exemplary of a current trend that takes the very simple approach of reviving an old song that was already a "proven" high-charting hit by doing the bare minimum work on it to get it considered a "new" song, then re-releasing it and watching it climb the charts again on the power of nostalgia alone. If it seems like I'm making this out to be a more deliberate process than you'd think it might be (instead of just a coincidence born of nostalgia for the 90s/2000s), that's because I have good reason to believe it is. This Pitchfork article from a few years ago pretty much predicted this exact phenomenon, as it details how venture capitalists started buying up the song catalogues of major songwriters with specifically the intention of marketing new songs based on the licensing of older, already well-known songs.

What does this have to do with Bruno Latour? Well, many of you may not remember this, but pop music (pop culture in general, I would argue, as we'll see through some other examples) went through its own moment of "postmodern theory" not long after the political theory took off mid-20th century. There were many different ideas tossed around for a while, some of them conflicting, but most of them centered on the deconstruction of the individual artist as a singular creative originator of things, much like certified post-structuralist Barthes' "death of the author" (actually, you could argue that Barthes' original essay was the first shot in this assault on the cult of the pop-star-as-creative-genius). This culminated in a fierce debate over what started happening with the birth of hip-hop in the late 70s, but especially the 80s and 90s. Early hip-hop was often heavily dependent on the DJ's use of "samples" of already-recorded music. This sparked accusations from more traditionalist musicians (nowadays we tend to call these "rockists", which isn't entirely fair because there are many rock musicians that appreciate the nuances of this debate and many outside the genre that don't) that hip-hop was a fundamentally unoriginal genre because it relied on playing "other people's music".

At the same time that early sample-based hip-hop was emerging, a new form of recording started to be sold, first in conjunction with hip-hop DJ culture but quickly expanding beyond these bounds. This was the format of the "remixed" song, which I won't bother to explain here because I'm pretty sure everyone is familiar with it at this point. Between the growing popularity of remixes and hip-hop, many of the traditionalists seemed to feel that we were heading towards a future in music where no one would bother to create new music again because we'd just plunder the same songs from the past forever, leading us into a creative dead end that would constitute the much-threatened, long-dreaded "death of music".

This is where the postmodern streak in pop music comes in. Speaking in response to these accusations of creative bankruptcy, the postmodernists pointed out that actually, all of music had been nothing but "remixes" from the start, since no one has a truly "original" idea and all new music can be traced back through the music that influenced it in a chain that only ends at our recorded history of music. This is obvious enough from genres like rock (which used the basic structures of the blues as its jumping-off point) and jazz (which often featured artists "quoting" other songs by playing their melodies mid-solo, a kind of proto-sampling when you think about it), but it could even be observed in how classical composers would take musical themes from popular folk songs and imitate each others' compositional structures.

The point of music, the postmodernists went on to argue, isn't to create something totally "original" anyway, since that's basically impossible. It's instead to simply create something "new", and "new doesn't have to mean that it isn't built on the back of some older work; "newness", in fact, comes from the new combination of older elements, which, placed in a new context, will now seem unfamiliar as a whole even if the individual parts are familiar. As Buck 65 says, and then re-constructs through a sample of someone saying the same thing at the end of his song "Leftfielder", "And you never heard it like this before".

The postmodernists were, I think, indisputably right, and for a while it looked like they had won this particular culture war. Hip-hop went on to experience a golden age of creativity through sampling and remixes (something reflected in reference-heavy lyrics too, as any hip-hop listener will notice). Pop music in general got a lot more explicitly self-conscious and self-referential. It was (and continues to be - we're not out of this era yet, despite what I might be implicitly foreshadowing here!) an interesting time for people like me who enjoy nerding out over "spot-the-reference" games, as well as debates over the relationship between form, content and historical placement of music.

But there is a dark side to the arguments the postmodernists made. If there is truly, as an ancient source claims, "nothing new under the sun", then maybe the answer to this is not to try and create new things (since this would be a waste of time) but to stick as close as possible to those things from past times that we know have already worked. This is an argument for aesthetic conservativism, which claims on some level that there are actually a finite number of "good" art pieces (songs, stories, poems, etc.) that we can create, and if we try and deviate from these, we will either end up accidentally reproducing a worse version of one of those "originary" pieces anyway, or produce utter nonsense that will be of interest to no one.

How deep this theory goes depends on who you ask. I would argue that the originator of this argument is as far back as Plato, who claimed that there were metaphysical "forms" constituting the "real" existences of all things in the world that were, in themselves, just defective imitations of those forms. This kind of thinking is reflected in psychoanalyst Jung's idea of "archetypes", different kinds of narratives that exist eternally in all human minds which can be seen as the blueprints for all other stories we tell each other. And this idea would be highly influential on comparative mythology scholars like Joseph Campbell, whose own book "Hero With A Thousand Face", which argued that there is only one real story humanity has ever told known as the "monomyth", in turn influenced George Lucas in the writing of Star Wars.

But it doesn't have to get that deep. To many who espouse some version of this view, aesthetic conservativism is simply a shorthand for commitment to "formula" in the arts. Many of these people wouldn't even go so far as to completely deny the possibility of entirely original art - they just think it's usually a waste of time, and that 99% of what's worth making is made by the use of a "proven formula" that works because we have evidence of it already working in the past. It's a kind of bastardized "scientific" approach to creating art, where you claim to create through "evidence-based" methods, but you only ever draw your evidence from historical data and ignore the possibility of current tastes changing. It's the approach of any screenwriter who's told you about how "Save The Cat" changed their life. What's kind of funny with these types is how many of them worship George Lucas; after all, they tend to value what's successful on the market over all else, and Star Wars is nothing if not that. So the ghost of Plato (and Jung, and Campbell) lives on in these "formulaic conservatives" even if most of them never get around to thinking that much about it.

Anyway, for the record, I think this philosophy of aesthetic conservativism is completely full of shit. I'll keep my own beef with Plato for the separate essay it deserves, but I will make my case for the pop postmodernists on this issue here: just because you can retroactively identify patterns of things that "work", doesn't mean those will be the only things that will ever function as art. For one thing, canonical tastes change over time, and what we considered to be a masterpiece 100 years ago isn't always the same as what we consider to be a masterpiece today. Further, I would accuse some of these aesthetic conservatives of a kind of reverse "forest-for-the-trees" view: they can't see the uniqueness of individual trees because they're too focused on the forest as a whole! While you can point out the similarities among different works across time, you can also point out their differences, which frequently lie in their specific details - combinations of which, I might add, come from the distinct circumstances of a sum of past influences that result in an ever-new "remixed" cultural product over time. You can, in fact, just produce minor variations on the same thing and end up with wildly different results as long as you know what to focus on. Case in point: though "Cool Hand Luke" might feature a similar story to that of Jesus in the Bible, no one would ever mistake it for the Gospels, and we certainly don't view those two things as equivalent.

This might seem like I'm nitpicking here, but taking the aesthetic conservative stance has real consequences for the kind of art that gets produced. Consider the movie industry, where this kind of thinking seems to have dominated for a long time; it feels like only now, we're coming out of a long winter of cookie-cutter superhero movies which, while certainly driven economically by IP licensing deals, were justified critically to many by the idea that they're constructed according to a certain "proven formula". It was a fundamentally backward-looking paradigm of culture, one that suggested that lazily regurgitating the same thing over and over again was not only all that was possible, it was desirable because it had already worked in the past! This is the same logic expressed in those interviews with the venture capitalists buying up song catalogues in the hopes that they can prey on people's nostalgia for already "proven" hits. And you might say they're transparently only in this for the money, so what does their logic matter anyway? But I'd argue that the financial victors of culture wars like this have a significant stake in people buying the logic of what they're doing on some level, because if everyone recognized what they were doing to be obviously bad, they'd stop consuming it and move on to something else.

I would contrast this aesthetic conservativism with a more "forward-looking" approach, one that uses the postmodernist cultural theory to look towards creating new combinations of things out of old things in ways that feel genuinely surprising. Think something like DJ Shadow's "Endtroducing.....", the first album constructed entirely out of samples, or more recently, 100 gecs bizarre genre-pastiches that leap from one sound to another with little warning. You'll note that neither of these artists sound like each other, or much else that came before them, despite taking obvious influences from the decades of music that immediately preceded them.

The change doesn't have to be that drastic, either. You could be a country-rock band playing in a 70s style, like the Drive-By Truckers, but you're experimenting with songform and subject matter for a change, or a rapper incorporating a slam-poetry influence into your flow like Noname or R.A.P. Ferreira. The point is that you can, in fact, make new music with a forward-looking approach, and there is something truly disturbing to the thought that the future of the industry might be several more years of covers of the already successful hits of yesteryear, like those of "I'm Blue" and "What Is Love?" If that's the case, then we might start to see a backlash against the postmodernist cultural theory, since those growing up in the current generation would only know it by means of this aesthetic conservativism which takes the conclusion that "everything is a remix" as a license to do the barest minimum of remixing possible for the safest return on investments. And what we might see then is a return to pre-20th century ideas of the sanctity of the individual artist's creation and "originality", which will simply throw more fuel on an already raging fire of support for devastatingly overreaching IP laws, which will ironically only make it easier for this phenomenon of re-animated Hits From The Dead to continue. Because you know who can afford to buy up that IP so that their own remixes are the only "legal" ones...

As a final note here, I wanted to bring up the original "Everything Is A Remix" guy, Kirby Ferguson, whose video essay series released under that title is still available in its original form here (it's just past the "updated 2023 edition", which I haven't watched yet). I first watched this series almost 15 years ago and I felt like the guy was basically summarizing everything I had been saying about the postmodernist theory of art at that point - nothing is truly "original", remixing isn't the same as "stealing", intellectual property law is a plague, etc. Anyway, I haven't kept up with what he's been doing these days, and taking a quick glance at the site, it looks kind of grim: he's got a dubious-looking course on using AI in art as well as several self-help-y looking ones on "unlocking your creative potential". I guess he had to make some money on his idea somehow (ironic, for a guy whose thesis kind of necessitated a destruction of the laws that allow people to profit off their ideas), but this is a bit of depressing direction to see him take. Anyway, check out the original videos if you haven't seen them, they make a compelling argument even if I think I would find it kind of oversimplified now (disclaimer: I haven't rewatched them at the time of writing this and am relying on my memory from almost 15 years ago, so I take no responsibility here if they turn out to actually kind of suck).

#Music #Music analysis #Remix culture #Aesthetics

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mywifeleftme · 7 months

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163: Brittany Howard // Jaime

Jaime Brittany Howard 2019, ATO

I’ve probably never given Alabama Shakes their fair [you get it], but they always struck me as music for people who comment on Allman Brothers YouTube videos about How Much Better Things Used To Be. The Shakes are clearly excellent musicians and Brittany Howard a powerful vocalist, but somewhere in the gap between their southern blues rock roots and Teflon ‘10s production my interest dies. Not so with Howard’s 2019 solo bow Jaime, a record that [you get it again]s off her other project’s revivalist moves in favour of a deconstructed soul sound that at last adopts a contemporary perspective. As a result, people have tagged this thing with more genres than it has songs. I think on the whole that that mistakes texture for structure. Jaime draws from a familiar well of related, mostly Black genres (funk, blues, jazz, soul), but it’s made by a musician who shares the internet’s postmodern magpie sensibilities when it comes to how to record them.

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Our present is a temporal echo chamber, haunted by futures which did not come to pass, the artefacts of the past haphazardly juxtaposed with those of the present. We gauge the proximity of historical events by their medium’s degree of decay (tape hiss, cylinder crackle, glitching), while at the same time incorporating the aesthetics of that decay into new cultural production. Our sense of sequence is confused, and Jaime is a product of that experience. Ballads of timeless, elemental simplicity (“Georgia,” “Run to Me”) sound like they’re playing on a boombox in a vast, ruined warehouse; self-love sermon “13th Century Metal” is couched in modal jazz by way of a dial-up modem scream. Howard’s songwriting is great enough to stand on its own without these trappings, but it’s her production that elevates Jaime into one of the most impressive debuts in recent memory.

There are precedents for Howard’s solo sound of course. D’Angelo’s neo-(neo-?)soul Black Messiah has been specifically cited in reviews, and I can see correlations in Kendrick Lamar’s To Pimp a Butterfly and Erykah Badu, but it’s Robert Glasper (all over the latter half of the album as a sideman) who might be the clearest antecedent. Glasper staked out this sound as early as 2012 with his Black Radio series, but original as they were musically they lacked the kind of orienting star persona Howard brings to the table. Glasper is a contemporary jazz musician (and a fully institutionalized one) dabbling in hip-hop, and he’s forced to make do with mostly third-rate bars from rap collaborators to get his broad talking points about Black music across. Howard is a single and singular voice, committed to a vision that can be searingly personal, and as a result Jaime fully actualizes a sound that is tangled up in conceptual baggage on Glasper’s own records.

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Howard has been relatively quiet since Jaime, releasing a mildly diverting remix of the LP in 2021 and showing up for a feature here and there. I look forward to whatever she does next, but I don’t mind her taking her time: Jaime still rewards the time I take with it.

163/365

#brittany howard #'10s music #robert glasper #soul #r&b #alabama shakes #music review #vinyl record #queer music #female musicians

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theissuewithjess · 9 months

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Jay-Z remix | "Ain't No Love"

I wanted to speak to something on my mind. Thinking about the 50th anniversary of Hip-Hop had me thinking about Queer Rap and if there was any that wasn't straight up cringe. This made me want to pick up the pen for the first time in years and I wonder what you all will think of the end result. PS this was made to be a sort of parody or remix Jay-Z's classic Heart of the City (ain't no love).

[Verse 1] Can't you see? There's broken glass, everywhere. Look bitch, don't you see the heroin needle over there?

The only heroine I'll ever need'll be Claire. 'Cause she got the pear that'll save me from this evil snare.

Because the only time I -- leave this hell we bare. Between the sheets like Isley, 6 deep and then we glare.

Into each others eyes. This abandoned warehouse fling began to make angels sing on and on to this unconventional love affair.

It's amazing we skipped rehab, lovin' the peace we have, until the cops bust harder than me. They sayin' "freeze f*g hands in the air".

[Hook] Ain't no love, in the heart of the city. Ain't no love in the heart of town (naw no no no no). Ain't no love, in the heart of the city. Ain't no love in the heart of town (naw no no no no).

[Verse 2] She runs, away leavin' me, dumb - founded I look and these thugs, pointing at me with at least three guns.

I say "you must think that 'we freaks huh?", two women asleep (uh) really need the machine gun? For two teens on the streets (bruh).

Polk city police wont cease until all 'em tranny's deceased and DeSantis can have peace as he feasts off the blood from fuckin' souls that he reaps (uh).

Your religions ambitions to eradicate will be as fruitful as your attempts to placate those who sit around and jerk all day to the pics of the Austrian painter by the edge of the bay.

Gon' need you to get the cum outta ya ears and to come out of ya years into the 2000's and hear these kids out for their legitimate fears. 'Cause they off-ing themselves, 'cause they think "daddy don't care". But to them one thing is clear.

[Hook] Ain't no love, in the heart of the city. Ain't no love in the heart of town (naw no no no no). Ain't no love, in the heart of the city. Ain't no love in the heart of town (naw no no no no).

[Verse 3] Kids don't just end up on the streets someone probably put 'em there. It's sick queer kids learn quick that life isn't fair.

Robbed pitifuly of the opportunity to prosper by some imposter on that Michael talkin' that "I'll be there".

Ya'll wonder why they talk so much 'bout makin' love. Ever wonder if it's 'cause they got no hugs?

You see 'em running around the ghetto assumin' they thugs. Funny thing is poverty is poverty & blood is blood.

These kids bleed the same color you do, they ain't all children either and no they don't practice voodoo.

You was raised in the church so ya fear those who don't act like you do. But if your kid wanted to jump what would you do?

[Hook] Ain't no love, in the heart of the city (where's the love?). Ain't no love in the heart of town (naw no no no no). Ain't no love, in the heart of the city (where's the love?). Ain't no love in the heart of town (naw no no no no).

#rap #hip hop #50 years of hip hop #queer rapper

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lothedon · 1 year

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Hiatus Thoughts Part 1

1. Go see a doctor. Preferably a black female doctor but go see a doctor. I recommend Dr. Sabrina Williams.

2. I’m finally getting help with my ADD. 🥂 Here’s to better focus.

3. “Anniversary Reaction” is a real thing. Mentally you may think you’re past it but your body has its own memory.

4. At this big old age, I still hate needles. POKE-ahontas got my blood work done as SOON as I sat down. Barely a connection or nothing, Jeezus. She was smooth with it too. Quick & no pain. Great work POKE-ianna. Just sweet talk me a little before you put it in, aight!? 🤝

5. Ear worm: Thotianna Cardi B & YG remix

6. I LOVE BEING AN AUNTIE!!!!!

7. I want Indy to stop going viral for the WRONG reasons. WE make the wrong shit go viral.

8. The Last of Us is FINALLY a movie! 🙌🏽

9. I want to lose 14 pounds before Pardi Gras Ball.

10. My favorites songs from Drake’s “Honestly Never mind” are ‘Jimmy Crooks’ & ‘Calling My Name’. There were other good ones but those are my “go-tos”.

11. Sweet Nothing - Calvin Harris (Diplo + Grand Theft Auto Remix)

12. I need workout gloves.

13. Back work outs are my favorite! I want a sexy back 😜

14. Making sure my nieces & great nieces hear Destiny’s Child’s “Writing On The Wall” is imperative. My nephew needs to hear it cause he’s a natural musician.

15. I need to attend some theater plays.

16. Venus in Pisces requires us to spend more time recognizing our emotions, enforcing boundaries, & receiving love. 🥰

17. One thing I loved about myself in my early 20’s is that I marched to the beat of my own drum music wise. On a regular, I didn’t listen to what’s popular with those around me. You’re guaranteed to hear something new.

18. My goal is decorate my room & bathroom to be like an expensive hotel & spa.

19. I need a full time job that I love.

20. This book about boundaries is bomb. The beginning of chapter 5 lets me know a conservative white man is writing it though 😒.

21. Focalin got my hunger suppressed like a mug! No more random snacking.

22. 👉🏽Results are always in the work we avoid.

23. Twerking over Squats. I’m working these thighs at all the parties/events I attend. I need to be twerking for at least a good HOUR!

24. 👉🏽Success is going from failure to failure without losing enthusiasm.

25. IM SO HAPPY TO BE BACK ON MY THYROID MEDS!!!

26. This tetanus shot is IRRITATING! 😣

27. I’m contemplating going back short & blonde 😩

28. Ain’t nobody engaged with me or reach out since I deleted the app. Ain’t no point in me having the app anymore. I put too much effort into engaging with folks for them to not want to engage with me. Time to become more exclusive.

29. Eargasm: Broken Clocks - Sza

30. Marc Jacobs need to come out with mini backpacks 😒

31. Progress. My legs are not shaking while skating.

32. Adding skating to my workout regime.

33. Feminine & Flirty.

34. Playing video games until 3am is a lot 😫

35. WHY IS MINECRAFT SO BORING???

36. Everybody needs to get back on Tumblr

37. Hopped on FB for a zip, did a quick scroll, & remembered why I need to keep the app deleted. Smh Too Much.

38. I’m about to just get a regular degular job somewhere. I’m tired of the emotional roller coaster with these jobs.

39. Sit ups/Crunches in variations REALLY makes a difference in one week with your normal work out. 🤯

40. I’m not even vegan but Tabitha is about to get all my coins.

41. I really miss the EDM & Hip Hop days.

42. I can’t date a man that doesn’t prioritize his sleep. You don’t care about your health at all.

43. Before I get back active on FB I need to unfollow a BUNCH of folks for various reason. The only way I’ll be happy online is if I see stuff that makes me happy.

44. 👉🏽Anger lets us know our boundaries have been violated.

45. The Lat Pulldowns gonna slim this waist. 😜

46. I want y’all to stop walking up on peoples cars unless you asking for help because it’s an emergency.

47. Stop paying non-existent debts with folks & do what’s best for you!

48. So y’all going to Target in robes and house shoes????

49. 👉🏽 Sometimes the answer is in the process. - Megan Brooks

50. 👉🏽 Proof of desire is in the pursuit. - Megan Brooks

51. I know Vasa is all the rave but what I do love about Planet fitness is that when I go, it ain’t packed.

52. NOT EMILY IN PARIS CALLED INDIANAPOLIS BORING????😫😂

53. Emily In Paris makes me want to move to another city SO BAD! Or at least travel & stay for a week 😭

54. Got my STD/STI/HIV test results back & they were all negative/non-reactive. 🎉🙌🏽🤩

55. Emily in Paris IS the “Sex In The City” -ish show I needed.

56. If I can get my vitamin D levels elevated in normal range I can lose weight, get rid of my asthma, calm my allergies, & have better focus. 🙌🏽🤩

57. I’m really gonna lose this weight & get the breast reduction. I want to go down to a C cup.

58. Before I die, I have to see Paris, France.

59. Who is this fine caramel man in Emily In Paris???😍

60. 2023 = Overdressed, Mix Match Print, Polished, Out The Box, Head Turning, Main Character, Neutrals & Pop Of Color/Colorful

61. For every sandal/heel purchase I must buy a tennis shoe. Build your sneaker collection.

62. Black, Brown, Purple, Cobalt Blue, Green, Orange, Dusty Pink, White, Navy, Yellow, Red (order in that order). For every black version order the color version. For every color version order black.

63. The Husband & Wife of Mielle Organics are still the CEO & COO of the company. They have NOT stepped away from the brand.

64. Can someone bring Fabulous back to Indy? He’s my favorite toxic.

65. This year I’m twerking to Back That Thang Up Juve every time I hear it.

66. Emily In Paris gives me “Sex In The City” + “Devil Wears Prada”.

67. I’ll never forget how “Go DJ” by Cash Money Records had y’all in a chokehold in middle school.

68. If Erykah Badu had “punk” or “goth” baby it would be Rico Nasty.

69. I wonder if the offspring of Vietnam veterans that were effect by Agent Orange are the ones who also have ADHD & Autism as well. (Of course not all people with ADHD & Autism)

70. Done is good. Good is extra. Completion over Perfection! For people with ADHD it’s better to half ass it & get it done versus never starting due to procrastination/fear of not doing it perfect!

71. If you want to see some black father & son content, watch 2Chainz & his some on YouTube as well as another black father & son duo called Daddy Seed. I’m here for the black father & son content.

72. I also love the black man luxury self care content too.

73. I’m learning to not be afraid to ask the “stupid” questions. And to ask people to be patient with me.

74. Yagi World is giving me Baby Phat track suit popularity trend in the early 2000s.

75. Not being apart of anything going on with the NBA ALL STAR 2024 makes me feel like I’m not enough or haven’t done enough. Personally, I’ve been feeling both simultaneously for years & I think I’ve had enough. Im ready to let it all go & pivot to the nothing related to marketing, PR, communications, ……nothing. Im 31 going on 32. I’ve been working in this since I was in college around the age of 21. Altogether 10 years. I have nothing to show for & no more doors are opening. It’s just not in me or for me anymore. I quit.

76. I hope to be out of town All Star Weekend. I don’t even want to be in the city. Hell I hope to have moved out the city.

77. I think I’ve been fighting depression and it’s caught me.

78. Mental Healness on Tik Tok is a great guy. It’s refreshing to see a black male open up about his mental illness to help others. He is a diagnosed narcissist & has so many men & women in his comments who has narcissism that are getting help because of him.

79. Values over goals. Ex:. Instead of “I will work out 3-5x a week.” You will say “I value movement. I value being pain free in basic tasks such as walking. I value energy. I value an able body.”

80. I want to go on a cruise for NYE 2024.

81. Prostate cancer is on the rise due to low testing. Fellas start getting tested as early as 40.

82. Beyoncé - “Church Girl” should be played more often.

83. It takes one day to get married but a lifetime to stay married.

84. I got all y’all looking at my story to see this light chick with the big butt. With the amount of attention y’all ran to my story with, I don’t want to hear y’all say anything about chicks who get BBLS, wear make up, &/or brighten their skin. YALL LIKE THAT VISUAL! 🤷🏽‍♀️

85. I’m unfriending a lot of men when I get back on Facebook. If we not family, genuine friends, you’re not inspiring me, we not hunching, or making money together….then I don’t see the point of remaining Facebook friends.

86. I may be single but I ain’t out here physically fighting a significant other. 🙌🏽

87. Everyone should watch “Bao” & “Red panda” 🥹

88. I LOVE BEING AN AUNTIE!🥰

89. Stop having relationship conversations with people you’d never consider dating or that are not on the same wave length as you. You’re wasting your energy.

90. I feel some type of way about the “hot Cheetos girl” trend in Tik Tok.

91. RIP Grandma Holla 🙏🏾

92. Teaching kids to set boundaries, how to respect other people’s boundaries, & supporting them while they are practicing is important. It is also important for them to watch YOU set boundaries, respect other people’s boundaries, & see you receive support from your tribe.

93. “It’s clear that I’m not feeling you & you not feeling me. On the G, what comes after A? Just let that let that Nigga B.” - Freaky T

94. Sunday is not a rest day from the gym or from moving the body.

95. Go watch “Shadow In The Cloud” on Hulu.

96. I got new bras! 🎉

97. If they make you anxious when they’re around then they don’t need to be around. Id have to say that is one time I realize my anxiety was actually the way my body is telling me something is wrong.

98. 🔑 “Sometimes your point is in your silence.” - Megan Brooks

99. “High value but no core values.” 🚫👎🏽

100. “Drake wants a Ayesha Curry but is Drake a Steph Curry!?” - KnoForSure Podcasts

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tokyorecordstyle · 1 year

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If you don’t know Tokyo Camera Style, on which Tokyo Record Style is based, run by my pal Sypal, I highly recommend again that you check it out. It’s a celebration of old-school film photography love, where when John spots you on the streets of Tokyo, rawking your film camera, he snaps a shot and adds you to the stream. As I’ve said before, in one light, it could be considered quick to dismiss as material camera porn but it is really anything but. Culture is what it is, Street fashion is what it is, Individuality and expression is what it is. John may argue with me here, but it’s not just called Tokyo Camera STYLE for shits. In fact, I’d ALMOST argue, if it weren’t for a mountain of amazing photography that comes out of this film community, that it’s MORE fashion than photography. You know, come to think of it, it’s one of my favorite notions, style coupled with utility, like the finest engineering, which doesn’t necessarily mean the newest or shiniest, it’s hitting that perfect balance of… oh, I'm gonna stop myself before I really start to ramble on. So why am I talking about style? Oh just cuz Riku, who I photographed for Tokyo Record Style was looking pretty dang styley. With his grey tartan suit, casu’d out with Jordan 1 Lows, hoody, backwards cap, and gold wire frames and RDJ lenses, not to mention old school Hip Hop 12” remixes. Looking slick, Rick! More Tokyo Record Style on the way! …also mark you calendars for Tokyo Record Style Day Vol. 2 in Shibuya, March 19th from 2-5pm. #Tokyo #record #style #tokyorecordstyle #records #music #recordcollector #recordstore #vinyl #vinylrecord #HipHop (at Diskunion渋谷中古センター) https://www.instagram.com/p/CpfXc5avZD1/?igshid=NGJjMDIxMWI=

#tokyo #record #style #tokyorecordstyle #records #music #recordcollector #recordstore #vinyl #vinylrecord #hiphop

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aizenat · 2 years

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if you want a great female rapper who doesn't really talk about sex can i suggest snow tha product? she's a mexican-american artist that's been around for like almost twenty years. she's also bisexual and has been with her partner juju for around five years. she raps in spanish and english so idk if you know spanish or not but it's awesome music either way.

I know I can seem serious a lot, but I actually often make jokes that I expect zero people to take seriously. And so I am rather bemused when people do take them seriously.

So since people are taking me way too seriously:

My "female rappers go a song without talking about dick challenge go" post was VERY tongue-in-cheek. I'm very aware of snow tha product actually (I believe I became aware of her because one of her songs was featured in the second season of She's Gotta Have It, and I really liked it), as well as Angel Haze, noname, Chika, Young M.A, and the billion other fucking suggestions people have sent me as though my post was a request for that. Just about any female rapper out there who isn't singing about sex, I'm at least vaguely aware/familiar with, including many from the UK as well. This isn't me attacking you, but to anyone on my page, I don't fucking need suggestions.

My point is that the MAINSTREAM BLACK FEMALE RAPPERS of this generation are all hypersexual. Period. The end. And that is a PROBLEM. None of the suggestions I get are from popular female rappers playing on the radio (do people listen to that? whatever) or topping the charts. They're not winning awards and being talked about in the mainstream. They're not in our daily conversations, few people are following them on socials, and because of all of that, they get little support from their labels (if they're even signed with one). As such, there are huge gaps between song releases, their songs are never that catchy or have mainstream appeal, all because studios decided they can't sexualize the hell out of them so there's no point in giving them a lot of studio time and sessions with engineers and song writers to pump out at least a full length album every year or two.

And even then, no offense to them, a lot of their songs and vibes aren't compatible with me. I love hip hop. I love pop. I love songs and beats I can dance to. I love catchy choruses. I love repetition, crescendos, beat changes, and fast paced flows. There's a reason I was a huge Nicki fan back in the day. I'm an east coast girl who loves that east coast, fast moving, can barely keep up with what they're saying, rap styles.

Meg gets to do a remix to Salt n Pepa's Push It, and she can afford the royalties and copyrights or whatever goes into that because she has a big label behind her that can afford it, and will do it because she's gonna rap about something sexual that they can push to objectify her and they'll get their money's worth (love the song, but I recognize the game is all). Meg gets to collab with big pop stars with songs that top Billboard. Beyonce featuring on a Chika song? Is Snow tha Product getting a song topping the charts on Billboard? She hasn't had a single song even make it on the US Billboard chart.

And I'm not saying that to put them down; it's to show how our society doesn't appreciate talented women who they can't hypersexualize. Who they can't throw a thong on her and send her out. And this is why up and coming rappers/newer artists play into that. From Doja Cat to Saweetie (who's sexualized image is literally ALL she has going for her; she has zero real talent) to the Shitty--I mean, City Girls, to Coi Leray (who that post was specifically referencing).

Talented Black (and brown) women get snubbed and ignored for the women who are fully willing to put their entire asses and pussies on display, rap almost exclusively about sucking and fucking dick or how great men love fucking them, and are willing to do whatever it takes to doll themselves up and objectify themselves for men to enjoy and for women to aspire to be like. Docile, pretty fuck dolls and little more. And any woman who can't be that (either due to looks/beauty standards, her personality/not wanting to be a sex object, etc) might get a little hype, but never too much. And def never more than women who happily stay in line.

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thelensofyashunews · 9 days

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Cincinnati's Skylar Blatt is the Midwest's Next Hip-Hop Princess

Cincinnati is a blue collar town, known as the home of the Bengals, the Reds, Skyline Chili, and Procter & Gamble. But despite a bustling scene, the Queen City isn't really known for its hip-hop. Enter rising rapper Skylar Blatt, who has the talent and charisma to put her city on the rap map. Her crushing bars and knack for easy melody has earned her co-signs from some of the biggest artists in the game, and with ILWT/Saint Ka$h/Arista Records at her back, the sky is the limit.

Raised by a single mother as one of six kids, Skylar learned early lessons about the high stakes of life on the Cincinnati streets. When her mom lost her job, she moved in with her Grandma–who Skylar describes as a "gangsta"–who taught her how to survive on her own. She found a safe harbor in hip-hop, escaping her troubles by listening to rappers from all regions–she learned free associative rhyming from Lil Wayne, picked up feminine fury from Nicki Minaj, took notes on the creative use of melody by artists like Young Thug and Future, and implemented plenty of the tough-talking bravado she learned from NY rappers like 50 Cent, Juelz Santana and Jadakiss.

With 10,000 hours of hip-hop study in the bank and a style that she knew stood out from others in her city, she started to embark on her own hip-hop dreams. At first, she uploaded freestyles to her personal Facebook and Instagram pages, and when those gained traction, she started writing her own songs.

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After gaining an early co-sign from Meek Mill, and a glowing profile from Lyrical Lemonade, the young rapper started collaborating with many of the Midwest's finest rappers, connecting with Babyface Ray and fellow Cincinnati rapper Midwest Milly for "Exactly," racking up over 800k YT views, and teaming with Icewear Vezzo for the sinister "God Forbid." A lifelong Bengals fan, she teamed with fellow Ohioan Doe Boy to craft "BENGALS (SUPER BOWL)," an anthem meant to cheer on Joe Burrow and company as they played in Super Bowl LVI. In October 2023, Skylar shared her mixtape Blatt SZN, home to "God Forbid" and ten other Cincy slappers. The tape won her a fan in Lola Brooke, who hopped on a remix to her song "F*ck Fame."

Skylar is currently riding a wave of momentum from her new single “Laughin To Tha Bank,” a hard-hitting anthem that is already beginning to impact local radio in Cincinnati. Produced by Too Dope and Akachi, “Laughin To Tha Bank” is a perfect exemplar of what makes Skylar a special talent: rhyming through a sly grin, Skylar crafts an addictive cadence, alternating rich life flexes with intimidating tough talk with effortless ease: "See I'm the type who took her on a date/Just so she can show me where she stay if you ever at her place," rhymes Skylar.

Now, as the inaugural signee to Saint Ka$h Records, the record label founded by Kendell "Sav" Freeman, Skylar is looking to become the next Midwest rapper to break things open. With more music and, "Wake Up," a major collaboration with Chris Brown coming this Friday, April 26th, the Queen City queen is ready to defy the odds. Watch this space.

Follow Skylar Blatt on socials: instagram | spotify | youtube | twitter | tiktok

Pre-save "Wake Up" ft Chris Brown: http://skylarblatt.lnk.to/WakeUpPreSave

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my-chaos-radio · 1 month

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Release: July 27, 1998

Lyrics:

You don′t have to worry, to find somebody new

Just take a good look and you'll find the thuth (right)

I′m telling you the secret, the one that you should know

Just live your life to the max, and work it slow

Stay

Oh Yeah

Aha, aha

Who you wanna see?

2-4 Family

Stay, don't runaway, please lord just one more day

Stay, don't be walking away

Jay Dogg:

C′mon!

Remember way back in the days, when you was lokin′ with the playas′

Connecting mad chips, colobarating about the capers

No love for the haters and the players of the game

Suspicious inpotane so you can't maintain

No balance of reality from sane to insanity

The traffic jigo size, is what took insanity

But you made a simple boat down to Cally

Lugin′ in the ripps, smoke chips like hally

Anyhting you want, all you have to do is ask

Gets the final person to us, to a situation statice, but

You're not sencere, what could be your future?

Live you life eveal from the highest evil

X 2

Don't be walking away

I don′t wanna leave, but still I can't stay, The same old problems day after day

Face to face, place to place, 2-4 Family

Looking find somebody calling my phone

If ain't my home, don′t wanna talk, leave me alone (aha, aha)

Should I live, should I stay? So many questions got me confused

Lord I′m confessin', I′m stressin', the physics of love are gone

To a happy home, they got me throwing shots on the dome

It′s on, but them about my mind, yo, a treasure

My family left so now I'm stuck with drastic measures

You say you love me but the feeling′s gone away

This relationchip's a lie, can't stay

X 2

Face to face, place to place, one more day, all you gotta do is stay

Songwriter: Jackson

Why you actin like you run outta time, goind down now that′s a lie

Talking bout you gotta fly, everythime I come around, Brotha how you sound

Take a chewes down, frontin like you new of this, nowin that you trigga with

I rafuse to get my heart tore, playin like a hard core, now you wanna go to war

But before, you was lovin it, talking that love shit, won′t play the dum shit, forget it

Essie: (available only in the "perfect tools remix")

And if it split it, that's indeed "m gonna miss it, but pressure by a dollar-push up

I won′t kiss it, won't you spit on me, only lies on your lips, from the lies that you keep

Bigger fish in a dish, you won′t be missed

Lil'Bit: (available only in the? special radio version?)

Deep lo, that′s how this chic rolls, try to blew my out to smoke, brother what you fontin for? (Can you find me?)

You wanna go, ain't go beg you to stay

Got no time for the games you brothas play, you can se a smile up on your face

Now there's only empty space, what I call a happy home, is not a bigger place

Can you rase the past, I repaid the last we used to have

Once I′s camin′ first, now I'm coming last

All we need to do is stay, All we need to do is pray, oh yeah

Just Stay And Pray!

Stay, all we need to do is stay, all we need to do is pray, oh yeah

C′mon

Stay, don't runaway, please lord just one more day

Stay, don′t be walking away (don't be walkin away)

Stay, don′t runaway, please lord just one more day

Stay, don't be walking away (but still I can't stay)

Stay, don′t runaway, please lord just one more day

Stay, don′t be walking away, Stay!

SongFacts:

“Stay” is the debut single from hip hop group 2-4 Family. It is her only song to feature former band member Jo O'Meara singing, as she soon left the band and joined S Club in 1999. Jo O'Meara takes lead vocals and sings dramatically. It charted at number 8 on the Viva Top 100. The video was added to YouTube on November 5, 2006. As of June 17, 2009, it had 81,707 views. It is 2-4 Family's most successful song ever released.

After the single, a Christmas version of Stay was also released.

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c-40 · 2 months

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A-T-4 048 A Marley Marl Mix

I mistakenly assume people know influential figures like Marley Marl. Nowadays Marley is know as a hip hop innovator because of what he was doing with sampling like isolating drum beats (albeit a few years after Art Of Noise and y'know Marley Marl remixes Buffalo Gals and this gets him his job with Mr Magic on New York's first all rap radio show, the remix he says changed the course of his life, so I'm guessing he's probably aware of Trevor Horn and his production outfit, but that said, within American hip hop circles who don't know any better, yep! he was a pioneer. You could say Americans being oblivious to things that happen outside America is as American as apple pie [apple pie also comes from England]). In the mid 1980s Marley Marl forms The Juice Crew and through to the end of the decade he produces a string of foundational hip hop records (including imo some of the best hip hop ever made), UNSUNG have just premiered a video on Juice Crew and their label Cold Chillin' (who Marley later sued). What is talked about less is Marley Marl's contribution to the Hip Hop and RnB sound with his dj blends broadcast on his radio show and remixes like Paula Abdul's Straight Up, Stephanie Mills' Something In The Way (You Make Me Feel) that Kid Capri made his own, and of course En Vogue's Hold On

In Hip Hop's 50th year Marley was awarded BET Hip Hop Awards' ultimate honour, the I Am Hip Hop award. It was presented by Timberland and Swizz Beats and Marley was given a tribute performance by LL Cool J and Rakim (Eric B. was Marley Marl's friend and roommate, Eric B. For President and other tracks on Paid In Full were recorded on Marley Marl's home studio setup)

High praise indeed. Marley Marl is big deal

I posted Roxanne's Revenge last week the 1984 record Marley made with Juice Crew member Roxanne Shanté but Marley Marl's name had been printed on record centre labels for a while. In 1983 he'd made a record with his then girlfriend Dimples D, an answer record to Run DMC's Sucker Mcs (yes there is a pattern). Perhaps it's his association with Mr Magic but from the get go Marley is working with some well established dance music names in New York, he mixes Glen Adam's Chicken Scratch (which was recorded at Blank Tapes) and CDIII's Get Tough which was put out by Prelude Records. The year he releases Roxanne's Revenge you can see he's working on those connections. He begins mixing records for the Aleems (both their own group Aleem featuring Leroy Burgess and Captain Rock), Marley Marl works up the Bonus Beats mix of Magic's Message for his boss Mr Magic with Davy DMX (who was a member of Orange Krush and worked alongside Larry Smith and Russell Simmons) Magic's Message was produced by Spyder D and Patrick Adams (Adams would go on to engineer most of Eric. B. & Rakim's albums) the exec producer is Steve Rifkind who is the founder of Loud Records (Wu-Tang, Mobb Deep). George Kerr also employs Marley Marl to mix a few of the early hip hop records he's making with Vaughan Mason

Carlos C. Ward - A New Way (Dub) more cowbell

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Captain Rock - Cosmic Blast (Dub) who did the beatboxing? This is one of the tracks Marley Marl mixed for the Aleem brothers

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The next two are mixed for George Kerr, both are co-written and performed by Duane Jones. Hassan & 7-11's other 1984 single City Life is mixed by Jazzy Jay and engineered by Jay Burnett, it's well worth checking out

Hassan & 7-11 - Emotions Can Be Serious (Dub)

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K'mch - Break Easy (The Free & Easy Way)

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Marley Marl mixes two records with Jim Cline for Express Records in 1984

Just Four - Games Of Life Tricky Tee is a member of Just Four

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the other is Lets Get It On by Les Love & The Love Kids

Mr. Magic - Magic's Message (Bonus Beat Mix)

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#1984 #marley marl #hip hop #mr magic #davy dmx #tricky tee #captain rock #patrick adams #spyder d #duane jones #george kerr #new york #usa #80s music

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