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lianawrites350 · 1 year

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Into the Shadows: An Analysis of BTS’s “Black Swan” Music Video

Read the full essay here or on The Medium! https://medium.com/@bethalal5813/into-the-shadows-an-analysis-of-btss-black-swan-music-video-c71c5008bbbe

What if I no longer love my art? Every artist has, at some point, asked themselves this question. It’s a question fraught with fear, shame, pressure and doubt, asked in the deepest, darkest moments where no one else can see. South Korean boy band BTS, and one of the biggest musical acts in the world, also asks this question except they confess this fear to their global audience. In their 2020 single “Black Swan” from their album Map of the Soul: 7, RM, Jin, Suga, J-Hope, Jimin, V, and Jungkook examine their relationship with music and the fear of losing their passion for it. As American dancer Martha Graham said “a dancer dies twice — once when they stop dancing, and this first death is the more painful.” This struggle with their fears is like death to them, tearing at their certainty of who they are, and they must find a way to overcome their fears or risk losing themselves entirely.

“Black Swan” is a raw, vulnerable insight into the insecurities and pressures BTS face as musicians and artists. Whereas their previous track, “Dionysus” is a delirious high, showing an artist’s intoxicating passion for their art, “Black Swan” and its corresponding music video is the bleak hangover. This R&B trap ballad admits the pressure and fears they face and how that interferes with their love for music. The title’s allusion to both Tchaikovsky’s evil character in the Swan Lake ballet and the 2010 thriller Black Swan hints at this duality of passion and fear, perfection and insecurity. The title could also reference the term “black swan”, an event, in this instance falling out of love with music, that happens unexpectedly, has extreme impact, and is of human nature. The music video, shot at the Los Angeles Theatre and released on March 4, 2020, captures these dualities by incorporating motifs of shadow and light, on-stage and off-stage, and black and white to explore the lyrics’s themes of fear and overcoming fear.

“Do your thang with me now. What’s my thang? Tell me now” This intro directs BTS to keep doing their passion, except they’re struggling to remember what their passion is. This struggle is at the core of the first verse, which introduces the shadows that haunt them. Suga raps “The heart no longer races when hearing the music play”. As a rapper, idol, musician, and producer, music is deeply intertwined in Suga’s life. His love for it is detailed in his 2016 song “First Love” which described the piano as the first love in his life, there for him throughout his life whenever he needed it. In this verse, however, he fears losing this passion for music one day, confessing it would feel like death. RM raps similar sentiments, admitting a deep fear that what if this first death is happening right now.

The music video articulates shadows through its lighting. Reflecting his opening lyrics, Suga crouches by himself on an elegant, empty stage that is half-submerged in shadows. In the music video, the stage is a metaphor for their relationship with music, and currently Suga’s love for music is submerged in darkness. The camera is pulled back in a long-distance cut, making him appear even smaller on the stage. Projected onto the background behind him, a huge shadow awakens and flexes like a bird stretching its wings. The shadows are awakening and actively overtaking him. The next scene is RM standing alone in a hallway of the theater, staring at the camera. The hallway is more clearly lit than the stage, but a daunting shadow is projected on the ceiling, looming over him. This shows that they are still being followed by their fears even when they leave the actual stage. As he raps about his “first death”, he momentarily turns his back from the viewer, hesitates, before looking into the camera directly, rubbing his throat.

This gesture of suffocation and death and the fear being realized in the present is reflected in the music video’s costuming and choreography. For most of the music video, the members are in fully black outfits, signifying their descent into the shadows. Black-and-white costuming is featured, however, in the choreography scenes that are intercut throughout. These scenes take place on a blacked-out stage with a single spotlight, symbolizing the shadows they are facing. Two dances take place here: the group’s official choreographed dance and Jimin’s solo dance. The costumes are designed to look mid-transformation from white swans to black swans. Jin and RM are in white suits but have black undershirts and black jacket linings. Further along the transformation, Jungkook has black trailing up his coat sleeves while Suga and J-Hope have black color on their tailcoats. V wears a black undershirt with actual feathers on his collar, and Jimin, the primary character in this music video, has black feathers running down his white jacket. The black represents the shadows, and the gradual overtaking of black, particularly around the neck, suggests the shadows suffocating them. In the group choreography, as Suga raps, Jungkook dances around him as a representation of Suga’s struggle against the shadows before offering his hand which Suga accepts. In RM’s verse, Jimin and V mimic RM’s moves behind him, amplifying his fears. In his solo scenes, Jimin performs a modern dance with the shadows nearly completely obscuring him. A clear shot of his face is not seen until nearly the start of the chorus, suggesting intense private turmoil.

The chorus section drags them deeper into the fear itself. The pre-chorus lyrics describe a muffled silence, impenetrable by songs or their cries for help. The silence is filled with only their heartbeat. This cavernous emptiness represents their fears of falling out of love with music, most likely brought on by the intense pressure, expectations, and scrutiny they face as global superstars as well as possibly anxiety and burnout from constant musical output. In the music video, V looks down at the camera, like a human to an insect, as it circles around him. This reflects the lyrics of trying to escape from the maw, evoking the voraciousness of this fear and the danger of being eaten alive by it. In the pre-chorus line “Do you hear me”, Jimin is alone amongst the audience seats, the room completely dark except for a large spotlight on him. The camera is held at a long-distance and Jimin is crouched away from the camera, reinforcing the isolation and the disconnect BTS feels. Jimin slowly rises but never looks at the camera.

To understand the main chorus, we need the context of BTS’s discography. In 2017, BTS released a hidden track called “Sea” where they described their journey as a group like walking through a desert, which represented their struggles and failures, as they tried to reach the sea, which represented success. The same metaphor is used in “Black Swan” except now they have reached the sea, or the ocean in this case, but find themselves at the bottom of the ocean with no light or sound. The success they have achieved through their struggles has come now with new fears. Rather than swimming in the ocean of success they are drowning in its depths. Further, on the same album as “Black Swan” is “Interlude: Shadow” in which Suga discusses the pressures he feels from his immense success by using the metaphor of shadows to describe his fears of failure, self-doubt, anxiety, and loss of control. Though “Black Swan’’ focuses specifically on the fear of losing their love for music, all these fears and pressures and doubts manifest themselves in the shadows heard and seen in “Black Swan”. In the music video, Jimin dances solo, succumbing to the shadows. As he sings that he is crying out silently, he drops out of the frame, and the scene cuts to the group dance.

During the chorus, the music video contrasts the darkened stage and a brightly-lit lobby, signifying the song’s focus on the group’s internal struggle behind the scenes. In the lobby, Jimin slides across the floor while the others prostrate themselves, reaching out for help. The movements are large and expressive, showing how they are trying to escape and failing. They struggle to rise but their feet are held in a rut on the ocean floor, and it is “killin’ me now, killin me now.” At this line, the scene switches to the stage where the members wear their white-and-black outfits; they are trying to perform, but the shadows are overtaking them. The camera is at a long-distance, disassociating them from the stage. When V sings “Struggle but it’s all ocean floor” the scene returns to the lobby, their metaphorical ocean. It feels like eternity being trapped at the bottom of the ocean, and they direct the listener to “Film it now, film it now”. The scene cuts back to them on the stage to be filmed for the world as Jin drops his arm from head to belt like taking a snapshot. As global superstars, BTS have every move, word, and decision scrutinized by millions across the world. Through this song, they surrender even their darkest moment to these millions of eyes, knowing there is no escape from the pressures and fears. The irony of their journey they discover is that at the bottom of the ocean is more sand: they never escaped the desert.

To be free, BTS has to confront their shadows and, somehow, overcome them. The ending of the chorus shows close-up shots of the members on the stairs. Jimin stands slightly away from the others, and instead of a close-up shot for him, it cuts to him on the stage. The camera curls around him as black wings burst forth from his back, signifying him turning into the black swan but also alluding to a hidden meaning. BTS’s 2016 album Wings, explored the growth and struggles of the group as they became adults. Their song “Outro: Wings” spoke about how BTS’s fandom ARMY are the wings to BTS that enable them to have freedom and success. The motif of wings returning here foreshadows how grappling with this fear will allow them new freedom and new heights.

After Jimin’s wings spread, the music video cuts to J-Hope, wearing all-black, in a new foyer. The light in the room is almost completely extinguished except for a floodlight-like light on him, as if he is in the ‘belly of the whale’. J-Hope raps about sinking deeper into the shadows. This time, however, instead of being pushed there, he tells the darkness to let go and walks himself into the deepest depths to face his own shadows. Throughout their discography, BTS have emphasized the importance of facing your fears. To them, fears are not a weakness to hide or something to run from but an essential part of growth. Fears can be overcome if only we’re willing to acknowledge them and push through them. This fear of their music and passion may be their deepest, darkest moment. Nonetheless they face it head-on. J-Hope dances near a fountain, symbolizing the ocean he is trapped in, and the camera begins to move closer to him, closing the previous emotional distance.

The reward of confronting his fears is seen in J-Hope’s final words of his verse: “I saw myself”. Struggling past the insecurities, pressure, and doubt, BTS have remembered the true reasons why they love music. They don’t specify these reasons because it is private to them, but by remembering why they do this, they realize that music is an essential part of who they are. Their fears were not a negative thing trying to destroy them, but an opportunity to grow deeper into themselves. As J-Hope raps, the scene cuts to a large, window-lit practice room. This time, the behind the scenes don’t suggest inner turmoil but inner peace and familiarity, a place they use to prepare to go back on stage. We now get a close-up of J-Hope’s face, cutting out any emotional distance, as he grabs and faces Suga.

Suga’s verse signals the return journey from the ‘belly of the whale’. J-Hope mirrors Suga’s movements like a shadow as they circle around each other. When Suga raps that he’s found himself, J-Hope leaves, alluding to Suga finally escaping the darkness. As if from a dream, Suga says, he wakes up in his studio, and realizes that no matter how violently the waves throw him, he won’t get dragged away because his love of music is in himself. Similar to the stage, the studio has at times been a burden to them, as seen in their 2015 song ‘Dope’, where the studio is the place where their youth rots away while they work; here, however, it goes from being a place of work to a place of love. The music video returns Suga to the stage where he first started the song. The camera now closely circles around him as opposed to the long shots in the first verse, and the shadow projected behind him is much smaller than it was in the first verse. Their fears held them down on the ocean floor, but openly acknowledging these fears and finding the reasons they truly love music means that they could never lose their passion again. He reaches out to his shadow like a friend.

The second chorus section references their 2018 song “Fake Love”, which features musical motifs repeated in “Black Swan”. “Fake Love” describes a bad relationship where they are masking their true selves. The lyrics “a forest of just us…I forgot the route that I came along”, shows how they have lost themselves in an effort to save the relationship. “Black Swan” continues the themes by describing them being in a bad relationship with music where masking their insecurities causes the death of their passion. The second pre-chorus section finds them waking up from their ocean nightmare in a forest. In the music video, Jin is in a dressing room, perhaps the most well-lit set of the video, surrounded by mirrors. In a different scene, Jungkook stands in the balcony section, where the whole theater is in darkness except the stage. Doolsetbangtan.wordpress.com notes that in Kafka on the Shore by Haruki Murakami the forest is a kind of labyrinth that represents “the understanding of the self”. RM is a known fan of Haruki Murakami and is a main songwriter on both songs, so this is likely the forest he is referring to. In “Fake Love” they’ve lost themselves in the forest, but in “Black Swan” they’ve woken up in the forest, knowing once again who they are. Jin chooses to look himself in the mirror, and thus his shadows, as the lyrics contrast being swallowed by the jaws of fear with “nothing can devour me”. Overcoming the silence around them, they “shout with ferocity”, and Jin turns to stare into the camera. Though millions of eyes are on him, he is just as free to stare back at them. The mirror images don’t move with him, a homage to the film Black Swan, but also symbolizing that by looking into his shadows, he is no longer controlled by them. From the balcony, Jungkook has metaphorically risen above the fears of the stage. BTS know who they are and thus know the route through the forest. Jungkook leans back far over the balcony. Arms spread wide, he has found his wings and is not afraid to fall.

The final group dance takes place on the stage; however, unlike earlier, the camera moves from the audience’s perspective to BTS’s perspective. BTS are silhouetted against the spotlight, and their backs are to the audience, removing the control that the world has on them. They dance and sing for the love of it alone, and here, wearing all black, we see the transformation of the black swan completed. The black swan side of themselves at first appeared dangerous; like in Tchaikovsky’s ballet, it seemed evil, seductive, deceptive, as opposed to the white swans in them who were good, pure, but vulnerable. In truth, though, the appearance of the black swan as the sudden appearance of fear, is a good thing. Like in the 2010 film, the black swan side of themselves is raw, emotional, and in touch with the art, as opposed to the white swan character who is obsessed with perfection, technicality, and therefore afraid. The black swan is good because it is in touch with the deepest part of their souls and who they are as people and artists. Jimin’s solo, from the same stage and perspective, is a silhouette against the bright spotlight. He dances freely, expressing being broken by the pressure and rising once more again with faith in himself.

The difficulty of creating art, however, is that the insecurities, doubts, and pressures never quite fully leave. The outro of “Black Swan” shows the cyclical nature of these fears in BTS’s lives. BTS’s songs are typically structured as 3-verse, 3-chorus with a thesis-antithesis-synthesis approach showing their problem, revelation and growth through the progression of the song. “Black Swan”, however, is condensed into a 2-verse, 2-chorus structure, and the lyrics repeat for the second chorus and the outro. This repetition and break from their three-part structure indicates that their fears are not entirely gone. Producer and Youtuber Joey Nato noted that the synth of the outro sound follows the “What’s my thang” melody of the intro, and the music sounds submerged as if underwater. This suggests the ever-presence of their fears lurking at the edge. On the stage, they dance in a line behind Jimin, who reaches out for help and drags his feet across the floor as they sing about the sound being shut off and their feet held in a rut. Joey Nato points out, though, the “Do you hear me” is more aggressive in the outro. They have gained the ability to confront these fears.

In a solo shot, J-Hope is again surrounded by shadows. He stares into the camera before descending into the darkness. As he does so, Jimin, in his solo dance, collapses, and the camera pulls away, leaving him to the darkness. Though we don’t see the conclusion, we see a post scene of Jungkook in the balcony section. A large shadow has overtaken the stage. As he watches, the shadow shrinks and disappears. Satisfied, he walks off. It’s interesting to note here that a behind the scenes clip revealed that the looming shadows were performed by Jimin and J-Hope, adding a deeper layer of intimacy and familiarity to the shadows plaguing them. In the group dance on the stage, as they block the light, their shadows loom large in front of them. In the final formation, however, their silhouettes become interlaced with their shadows. They have confronted and overcome their fears and recognized that these fears are a natural, ever-present, and vital part of who they are as humans and artists.

BTS’s discography openly talks about their personal challenges, including growing up, mental health, and contending with injustices in society. Throughout these struggles, music remains a vital source of strength carrying them through it. “Black Swan”, however, rocks this security as they question their love for music. The song is spectacularly raw and its intense vulnerability makes it a definitive entry to BTS’s discography and the music industry as whole. But this struggle is not theirs alone. “Black Swan’s” various performance concepts reimagine the song in different contexts of art and shadows. In the premiere performance on The Late Late Show with James Corden, BTS danced barefoot and dressed in black on a stage designed like a fairytale forest at night. This performance paid homage to Tchaikovsky’s Black Swan and the ballet’s theme of good vs. evil. The Korean music show performances had them dancing in both black and white costumes amongst ruined classical architecture. These performances evoked imagery of grandeur decaying, of the art itself being broken because of their shadows. On The Tonight Show Starring Jimmy Fallon’s “BTS Week”, they introduced a new spin on this struggle and performed on a stage designed like an abandoned church, alluding to the disillusionment of belief, in institutions but also in themselves, as their core identity is being called into question. Their Japanese promotions on NHK Songs modernized the theme. BTS performed in flowy, loose modern clothes on a simple stage, evoking an image of a performance student dancing alone in an abandoned auditorium as they struggle with their inner demons. No matter the interpretation, these performances and the song itself speak to the struggle of the soul decaying under pressure, shadows overcoming the light, and an artist fighting against all odds to keep the love of their art alive.

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butterscotch-goat · 3 hours

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uhm oc ask game............

1 for literally anyone/everyone i know you love your motifs... 10 also for anyone/everyone because i know i love music. and ocs... and 28 for taylor manor trio

1 you're so right I do love my motifs.im doing everyone

so we got the classic Escapism motifs:

Aster- Lamb, Beatrice- Mourning dove, Charles- honeybee, Grace- deer, Martha- praying mantis, and Eli- crow

(OOH and if they had music theme songs, these characters would have some kind of dies irae motif in it: Grace, Charles, Aster, and Martha :3)

And some very lowkey motifs that I mostly used to help the character design process for Dawn characters:

Dawn- SHARP. SHAPES. They are a Triangle

Chigs- the sky :3 and bluebirds :3

Ron is loosely (and I mean loosely) based on a goat, and Gene on an owl

Juno is based on a peacock which is a little more obvious

For 10 I'm gonna avoid Escapism characters until I can familiarize myself with 19th century composers....so Dawn characters again bc I miss them(I'm very bad at classifying music genres please forgive me)

Dawn likes classic rock n roll and listens to white noise casually

Chigs likes k-pop and lighthearted indie stuff? Like YouTube video with one girl and a ukulele type beat

Frappe likes 80s pop + rap and some modern day alt rock

Ronnette likes jazz (last time she was on earth before The Plot Happens was the 20s, so it has a special place in her heart) and 2000s pop

Gene likes classical music, some operas (nessun dorma type shit ykyk) and dabbles in show tunes from the golden age of theater

Lucy really really tries not to listen human music because he hates humans and stuff but when he does he probably listens to a lot of blues and sappy love songs from every era. He would like Will Wood. He's not doing so well,

Aaaaand for 28: Beatrice is definitely a dog person (she befriends every stray dog she comes across), and Aster & Charles like cats more

THANK YOU FOR ASKING!! <33

#buttersketch escapism #buttersketch dawn

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brn1029 · 2 years

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On this date in music history. A couple of these names…you’ve never heard of, probably…

May 4th

1956 - Gene Vincent

Gene Vincent recorded the classic rock 'n roll song 'Be Bop-A-Lula', at Owen Bradley's studio in Nashville, Tennessee. The song went on to be a US & UK Top 20 hit in this year. Vincent has said that he wrote the words to the song after being inspired by a comic strip called "Little Lulu".

1961 - The Marcels

The Marcels were at No.1 on the UK singles chart with the Rodgers & Hart song from the 1930s 'Blue Moon', their only UK No.1.

1967 - Young Rascals

The Young Rascals started a four week run at No.1 on the US singles chart with 'Groovin.' Atlantic Records head Jerry Wexler did not want to release the song. US disc jockey Murray the K heard the track and encouraged Atlantic to release it.

1968 - Mary Hopkin

Mary Hopkin won her heat on the ITV talent show 'Opportunity Knocks'. She later signed with The Beatles owned Apple Records, Paul McCartney produced her UK No.1 single 'Those Were The Days', which also made No. 2 in the US. Hopkin later married record producer Tony Visconti.

1970 - Neil Young

Four students at Kent University were killed and eleven wounded by National Guard troops at a campus demonstration protesting the escalation of the Vietnam War. The incident inspired Neil Young to compose 'Ohio' which became a hit for Crosby Stills Nash & Young.

1973 - Led Zeppelin

Led Zeppelin opened their 1973 North American tour, which was billed as the 'biggest and most profitable rock & roll tour in the history of the United States'. The group would gross over $4 million from the dates, flying between gigs in 'The Starship' a Boeing 720 passenger jet, complete with bar, shower room, TV and video in a 30' lounge and a white fur bedroom.

1974 - Abba

ABBA were at No.1 on the UK singles chart with 'Waterloo', the group's first of nine UK No.1 singles was the 1974 Eurovision song contest winner for Sweden. The song was first called 'Honey Pie'.

1974 - Little Eva

Grand Funk Railroad started a two week run at No.1 on the US singles chart with their version of the Little Eva hit 'The Loco-Motion.' It was only the second time that a cover version had been a No.1 as well as the original.

1978 - Bee Gees

'Night Fever' by The Bee Gees was at No.1 on the UK singles chart. The group's third No.1 and the theme from the film 'Saturday Night Fever.' The song was a US No.1 for over two months.

1985 - Phyllis Nelson

Phyllis Nelson was at No.1 on the UK singles with 'Move Closer', her only UK hit making the American singer a One Hit Wonders.

1987 - Paul Butterfield

American blues vocalist, harmonica player Paul Butterfield, who fronted The Paul Butterfield Blues Band, died at his home in North Hollywood, California, of drug-related heart failure, he was 44. Gained international recognition, as one of the early acts performing during the Summer of Love, at Monterey Pop Festival and Woodstock festival.

1989 - Stevie Ray Vaughan

Stevie Ray Vaughan set out on what would be his last ever tour at the Orpheum Theatre, Vancouver, British Columbia. The guitarist was killed in a helicopter crash on 27th Aug 1990 after a concert at Alpine Valley Music Theater in Wisconsin, after playing 107 of the 110 dates.

2000 - Metallica

Metallica were demanding online music service Napster cut off 335,000 users who they claimed had been illegally trading their songs. The band had passed on the names of all those they considered to be "stealing" their material over the internet in the latest development in an ongoing battle over the protection of music copyrights on the web.

2008 - Martha Reeves

Thieves broke into the childhood home of Motown star Martha Reeves and stole about $1 million worth of uninsured recording equipment, including speakers, microphones and karaoke machines. A suspect was arrested at his home later in the day after he tried to sell the goods to a pawnshop for $400.

2016 - Rolling Stones

After Donald Trump's campaign played ‘Start Me Up’ following his victory speech celebrating his path to the Republican nomination, The Rolling Stones asked him to stop using their music, joining several other artists in decrying his use of their songs.

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garudabluffs · 4 years

Photo

https://cherylwilfong.com/2018/10/19/water-water-everywhere/#more-769

Garrison Keillor quote

youtube

Martha White self-rising flour with Hot Rize

Little known fact: The male announcer on this (and many other) Flatt & Scruggs televised Martha White commercials, T. Tommy Cutrer, ran for Congress in 1976. He was beaten by a newcomer on the political scene: Young Al Gore, Jr. Later, Al Gore helped T. Tommy get elected to the Tennessee state senate.

youtube

Martha White Theme (Live) by Niwot,CO. band Hot Rize

Arranger, Work Arranger: Lester Flatt Arranger, Work Arranger: Earl Scruggs

#human body water content %#music video Martha White Theme Song

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rockcrow20 · 4 years

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Reasons I Still Believe in Kaylor - (Updated 3rd March)

Observations since the red “wedding” that make me still believe that Kaylor are still together.

Thank you to everyone in this fandom for there contributions, posts, observations and secret government agency level clue finding skills. (X = links to relevant posts).

Oct 22nd 2018 - Taylors forget me knots flower t-shirt while in OZ..X

Oct 31st 2018 - New Video in Karlie’s Kitchen and she still had the Kaylor photos up.. X

Nov 9th 2018 - Tay sings out of the woods on Tour and Karlie and co post photos in the woods.. X

Nov 16th 2018 - Taylors matching Karlie Clutch at the AMA’s.. X. also kinda matching outfits..X

Jan 15th 2019 - Karlie’s Astrology post with Sagittarius book shown underneath.. X

Feb 25th 2019 - Karlie rocking a Tye Dye t-shirt at Paris Week with Gigi in tow, hello lover merch and also similar to a shirt Tay was seen in also another PR episode themed tye dye (in 2020).. X X X

Feb 28th 2019 - Hanging out with Gigi at PFW X X X X

March 3rd 2019 - Karlie was in Paris for fashion week - Off White walk on 28th Feb then mysteriously posts that she was passing through NY on the 3rd of March before appearing back in Paris for the Stella McCartney show on the 4th March. Where did she mysteriously fly to and why point it out that she was back in America for some unknown reason - plus we know beginning of march is significant for them aka Big Sur or Love locked down...X X X X

March 14th 2019 - Taylor leaving/disappearing early from the Iheart awards the same night Project Runway Premiered..X

March 14th 2019 - Watch what happens live - Karlie getting asked about Taylor - there is a smirk..X

March 14th 2019 - Interesting anon telling Kaylors not to give up.. X

March 31st 2019 - Tay and KK liking the same Ciara post - X

April 2019 maybe??- The i need to make a phone call when filming ME when adopting Benjamin..X

April 16th 2019 - The Lover Butterfly Mural - 2 lady birds, giraffe print, similar previous to karlie VS wings..X X

April 2019 - Berlin video of karlie playing piano with “a interesting” female voice laughing at the end and saying you always.. X X

April 2019 - The man in the umbrella in the ME music video - looks like someone covered up with makeup, could potentially to be karlie?? Or is it Taylor giving us a nod the the Man music video?? X

May 18th 2019 - Tays ‘we’ slip on the Ellen show then saying its just me and the cats.. X X

May 30th 2019 - Karlie using ME! and 2AM in a story.. X X

June 3rd 2019 - Tay wearing a yellow T-shirt with her Wango Tango rainbow outfit.. X

June 6th 2019 - Karlie using a BBF vogue video gif.. X X

June 17th 2019 - THE HAND in the YNTCD teaser video - no one can convince me this isn't Karlie’s hand.. X X X X X

June 17th 2019 - Lover straw in the YNTCD video similar to Karlie’s bride straw. Also the Mint mojito it’s sitting in linking to Karlie’s 73 Question video where she says Mojitos are a favourite..X X

June 2019 - YNTCD with Taylor carrying out a Daisy from her burning trailer plus Daisies making a number of appearances.. X X X X

June 2019 - Taylor wearing the french fries suit in the YNTCD video then karlie saying in reply to a fan “not pregnant just love french fries!!!!” X

June 25th 2019 - KK’s Dad liking certain comments on the Wyoming stunt..X

July 4th 2019 - Abigail liking a KK insta post after the SB drama started.. X

Aug 3rd 2019 - Tay posts Lover Heart crispies pic on KK’s birthday.. X

Aug 16th 2019 - Release date of Lover Track being 13 days after KK’s bday and also track 3 aka KK birthday day also its 3.41 long (3+4+1=8).. X X X

Aug 16th 2019 - Lover lyric video with the kaylor sparklers video plus potential daises and big sur falcon pic.. X X

Aug 18th 2019 - Karlie listening to lover track on her Spotify X X X X

Aug 22nd 2019 - Lover video fishbowl scene X Also the snow-globe imagery and selling it in her merch.” dancing in a snow-globe round and round “ VSFS 2013 X X X

Aug 23rd 2019 - Lover release date may coincide with a certain date range where Kaylor may have gotten engaged.. X X

Aug 23rd 2019 - Lover album in general - Cornelia street, Lover, False God etc etc we all know it plus the release letters all over NY..X X

Sept 9th 2019 - The E news rundown video X

Sept 10th 2019 - Lover Paris Concert Mural ummm a polaroid, locket..X X X X

Nov 14th 2019 _ Karlie’s off the wall post during when SB was not letting Tay perform her songs - which i think is her being off the wall angry.. X

Nov 14th 2019 - Selena liking a Hung Vanngo post of Karlie..X

Nov 13th 2019 - Lover remix released on the anniversary of their first meeting VS2013 - “the girl in my story has always been you”..X X X

Nov 21st 2019 - The orange girl In YNTCD along with the Karlie Vogue cover in orange with cactus jewellery.. X X

Nov 25th 2019 - Use of a ballerina for her Lover AMA performance and then karlie also mentioning said ballerina months later in a insta story.. X X

Dec 4th 2019 - Taylor Wearing the VS angel ring on the kiss gate anniversary X X X X X

Dec 6th 2019 - Christmas Tree Farm song lyrics and happiness

Dec 12th 2019 - Taylor posting a pic of her with the huge cats door and then low and behold the following PR episode Karlie walks through a giant door for a Cats promo episode.. X X X X

Jan 2020 - PR episode with Cyndi Lauper aka photo with Taylor at Billboard Women awards and also having Laverne Cox as a guest too..X X

Jan 2nd 2020 - Martha liking KK’s post celebrating her vogue covers which includes the Kaylor one..X

Jan 23rd 2020 - The use of the song Karlie what you want, (karlie would you want to) song in Miss Americana when talking about her partner also the home video.. X X also this X

Jan/Feb 2020 - The cake recently that Karlie brought to a party that looks exactly like Taylor’s birthday cake from her pic in the studio with Jack plus the cake in Miss Americana X X X

Feb 6th 2020 - The song release of the Man and KK having a suits themed PR episode..X X X

Feb 12th 2020 - KK’s Daisy coat X

Feb 18th 2020 - The drawn Bethany Richards picture of the rainbow dress Taylor wore to the NFL draft on KK’s Galantines insta story..X

Feb 19th 2020 - KK scrapbook present has it open on a page featuring a daisy and giraffe in her thank you video X X

Feb 20th 2020 - Martha - Lily Ashley liking a Gigi disposable acct post of Bella with karlie in the background X X X

Feb 25th 2020 - Potentially the orange hand in the Man promo pic being Karlie’s X

Feb 27th 2020 - Photographed backstage chatting to Gigi at PFW off white walk X X X

Feb 27th 2020 - Taylor posting the picture of the Man scene where she leaves a brunette female in bed X X X X X

Feb 27th 2020 - The man video - “secret moments in a crowded room” with two women secretly touching each other on the train X X

Feb 27th 2020 - The similarity or shade with the wedding scene aka fake wedding no celebrant bride not happy during the cake scene X X X X X X

Feb 27th 2020 - Louboutin shoes - karlie at a show (24th feb), the man MV Tylers shoes, kimbys workplace X X X

Feb 29th 2020 - Hanging out with Cara at PFW after Cara has been quite vocal in her support of Taylor. X X X

Feb 29th 2020 - Cara twice posting pics with Karlie X X X X Also previous post of Cara’s featuring Tay liked by Karlie X

Karlie Being seen with Cara Lily and Gigi in recent times X

Lily mentioning Karlie in youtube videos and liking her posts. X

Feb 29th 2020 - iwanthermidnights getting a taylor like (her second one) X X X now getting a karlie like on a insta comment

Mar 2nd 2020 - Karlie replying to youtube comments made by kaylor/taylor acct names X

General -

These Karlie wine photos just give me kaylor feels X X X X X

Karlie continuously latergraming and the Fiordland spelling mistake incident plus always periods of days where she is MIA aka christmas and coming back looking a bit sun reddened and wearing jumpers, posting dark pictures.. X

Often posting and tweeting within minutes of each other eg kobe posts etc

Karlie’s taking a lot photos from the rooftops in New York City and posting them after Lover’s release. X Her saying she picks gold over silver and that stating NYC is her favorite city vs Joe saying London is his favorite city.

OTHER posts to note..X X X X X X X X X X X

Thank you to everyone who responded with things i missed much appreciated!

#kaylor

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dweemeister · 3 years

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2020 Movie Odyssey Award for Best Original Song (preliminary round)

Yup, it’s back (bullet indentations are not working, so this post will look very ugly on your dashboards)!

Tagging a few folks who have participated before in this annual tradition/folks who I would like to extend an open invitation to (please contact me if you’re interested so I can sort you in a group ASAP... you will also be tagged for the final unless you tell me you are not interested): @birdsongvelvet, @bitch-genius, @dog-of-ulthar, @idontknowmuchaboutmovies, @loveless422, @lvl9gay, @neverwasastoryofmorewhoa, @phendranaedge, @poncho-honcho, @sayaf, @shadesofhappy, @thethirdman8, @uncoolforelimb, and @wehadfacesthen.

Hello everybody. For my fellow Americans, I hope your Thanksgiving was a good one. For the non-Americans reading things, I hope you are doing well, as always! Many things have fallen to the wayside in this unforgettable year. So in hopes of providing some sense of continuity and normalcy, here - as you have agreed to - is the Preliminary Round for 2020's Movie Odyssey Award for Best Original Song (MOABOS). This is the eighth time it has been contested and the seventh consecutive year it has been open to involvement from family, friends, and tumblr followers.

For those new to this, my classic movie blog traditionally ends the year by honoring some of the best achievements from movies that I saw for the first time this calendar year (the "Movie Odyssey") with an Oscar-like ceremony. I choose all the nominees and winners from each category, save one: Best Original Song. It is the only category I can think of that does not require you to watch several movies in their entirety. I consider MOABOS as a sort of cinematic-musical thank-you for your moral support in various ways.

An unspecified number of songs have already advanced to the final round. 24 songs will contest this prelim in two groups - Group A and Group B. In a year when COVID-19 has closed theaters (and which I refused to go to an indoor theater even when they reopened), a year that I did not feel compelled to watch the newest releases on streaming services, there is not a single 2020 entry for 2020's MOABOS. That is, obviously, a MOABOS first - no other MOABOS edition has lacked a shortlisted song from a film released that same calendar year. And as of writing this sentence, I have not seen a single film released in 2020. Despite the lack of 1930s songs, this year's shortlisted songs might be the oldest on average. In other news, this year's field is a modest improvement from the record monolingual field of last year's (which contained only English and two Vietnamese-language entries). 2019's preliminary was the most chaotic we had ever seen, with shocking last-day stumbles and surges from certain songs ("I Dug a Ditch" from Thousands Cheer) that riled up a lot of participants. It's 2020 - will there be a repeat or even more drama at this stage?

INSTRUCTIONS Please rank (#1-12) at least six of your group's songs. Please consider to the best of your ability: how musically interesting the song is (incl. and not limited to musical phrasing and orchestration); its lyrics; context within the film (contextual blurbs provided for every entry for those who haven't seen the films); choreography/dance direction (if applicable); and the song's cultural impact/life outside the film (if applicable, and, in my opinion, least important factor). Imperfections in audio and video quality may not be used against any song. I encourage you to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself! The top five songs in each group automatically advance to the final round. I reserve the right to pick 0-2 songs from one or both groups that finished outside the top five in their respective groups to contest the final round.

The deadline for submission is Saturday, December 12 at 11 PM Pacific Time. That is 9 PM Hawaii/Aleutian Time. That deadline is also Sunday, December 13 at 1 AM Central Time / 2 AM Eastern Time / 7 AM GMT / 8 AM CET / 9 AM EET. This deadline - as we have seen in the last few years - may be pushed back if there are a large number of people who have not submitted in time. However, I very much do not wish to extend the deadline because the final round is more intensive and usually involves more participants. Tabulation details are in the “read more” below.

Please participate in the group you have been sorted into, if you have not yet been sorted into a group and would like to participate, please contact me. You can access most, not all, of your group’s songs in these YouTube playlists: (Group A) / (Group B). Again, please note that not all of your group's songs are in the playlist for various reasons.

Happy listening. Feel free to listen as many times as you need, and I hope you discover music and movies that strike your interest. The following is formatted... ("Song title", composer and lyricist, film title):

GROUP A

“Blue Shadows on the Trail”, music and lyrics by Eliot Daniel and Johnny Lange, Melody Time (1948)

Performed by Roy Rogers and the Sons of the Pioneers

This is the introductory song to the final segment of Melody Time. That segment is dedicated to the legend of Pecos Bill, and this atmospheric song leads into the telling of that story.

“Born Free”, music by John Barry, lyrics by Don Black, Born Free (1966)

Performed by Matt Munro

Winner of the Academy Award for Best Original Song

This version with lyrics appears in the end credits. The main theme in the song is introduced in the opening credits and is incorporated extensively in John Barry's score across the film. Born Free, based on the non-fiction book of the same name is about two white Kenyan conservationists who raise an orphaned lion cub and eventually release her into the wild.

“But the World Goes 'Round”, music by John Kander, lyrics by Fred Ebb, New York, New York (1977)

Performed by Liza Minnelli

In this musical, USO singer Francine Evans (Minnelli) has been performing in New York City nightclubs, hoping to someday become a major recording star. This song appears as she is recording that very hit that will propel her to stardom.

“Exsultate Justi”, music and lyrics by John Williams, Empire of the Sun (1987)

Performed by orchestra and chorus under the direction of Williams

Lyrics in Latin

In this historical epic, affluent British school boy Jamie Graham (a young Christian Bale) is living with his parents in Shanghai when the Japanese invade. Jamie is separated from his parents and placed in an internment camp. Soon before the end of WWII, the prisoners are moved elsewhere, but Jamie hides and stays put. This song plays as Jamie bikes around the empty camp and continues to play as he encounters liberating U.S. troops. Jamie is dirty and malnourished when found; one can argue that this song is used ironically. It plays once more over the end credits. "Exsultate Justi" is a variation on a theme John Williams develops over the course of the film and harkens back to Jamie's past, attending Anglican services with parents.

"Farewell to Storyville", music by Louis Alter, lyrics by Edgar De Lange, New Orleans (1947)

Performed by Louis Armstrong and his band, Billie Holiday, and company

In New Orleans, the Storyville district was a den of drinking, gambling, jazz, and prostitution. The district was the home to a heavily black populace. The U.S. military, about to establish a Naval base nearby, forces the city to close the district for good. This song is a jazzy dirge to a center of jazz - a musical genre looked down upon by many of the city's upper-class whites due to its ties (real and imagined) to crime.

"Hawaiian Sunset", music and lyrics by Sid Tepper and Roy C. Bennett, Blue Hawaii (1961)

Performed by Elvis Presley

In a musical packed end-to-end with songs, Chadwick "Chad" Gates (Elvis) has taken a job with a tour guide agency - and this includes performing during a luau for tourists. "Hawaiian Sunset" appears as one of the dinner show's numbers.

"Is There Still Anything That Love Can Do?", music and lyrics by Yôjirô Noda, Weathering with You (2019, Japan)

Performed by RADWIMPS

Lyrics in Japanese (translation)

Weathering with You is a romantic fantasy anime about a high school boy who runs away from his rural home to Tokyo, where he meets a girl who can manipulate the weather. It has been inexplicably raining for weeks without interruption in Tokyo, so they form a business to help clear the inclement weather for special events. The melody of this song is heard throughout the film's score. It does not appear with lyrics until late in the film. The song is played under the boy's seemingly impossible attempt to save her from an unwilling human sacrifice.

There is so much plot in this damn film (it's all Makoto Shinkai's fault) - I can't explain the context of the song or this movie in a reasonable amount of space.

“Mad Monster Party”, music by Maury Laws, lyrics by Jules Bass, Mad Monster Party? (1967)

Performed by Ethel Ennis

(opening credits version) / (soundtrack version with no sound effects)

In this Rankin/Bass stop-motion animated film, Baron Boris von Frankenstein (Boris Karloff in his final Frankenstein-related role) has discovered a formula that can destroy matter. Dispatching his bats to send the news, he summons the various members of the Worldwide Organization of Monsters to inform them of his discovery. This song is performed over the film's opening credits and the various introductions for the monsters as they receive their summons.

“My Dream Is Yours”, music by Harry Warren, lyrics by Ralph Blane, My Dream Is Yours (1949)

Initially performed by Doris Day; later reprised by Hal Derwin

Singer Martha Gibson (Day) has abruptly left New York City for Los Angeles to become a star on the radio. In a film where personal sacrifice is central, she stresses over how to bring her son out west with her, the direction of her career, and her tumultuous love life. "My Dream Is Yours" is the song that makes Martha a star, laying out the film's themes in its lyrics. I was unable to find Derwin's reprise, but no matter as the reprise is rather inconsequential.

“Ride the Wild Surf”, music and lyrics by Jan Berry, Brian Wilson, and Roger Christian, Ride the Wild Surf (1964)

Performed by Jan and Dean

Ride the Wild Surf is a surfing film that, unlike most surfing films of this time, is a drama. It follows three surfers (Fabian, Tab Hunter, Peter Brown) who have come to Oahu at the end of December to ride the large waves of Waimea Bay (made famous internationally by this song, this movie, and the Beach Boys' "Surfin' USA"). This song appears in the film's closing credits. The video provided is a montage of surfing footage that appears in the film.

“That’ll Do”, music and lyrics by Randy Newman, Babe: Pig in the City (1998)

Performed by Peter Gabriel

Nominated for the Academy Award for Best Original Song

This song begins at the end (and through the end credits) of Babe: Pig in the City, the second and last film in this series about a sheep-herding pig who perseveres amidst other animals and humans with ulterior agendas. The title is derived from the famous quote said by Arthur Hoggett (James Cromwell) to reassure Babe: "That'll do, pig. That'll do."

“Waqt Ne Kiya Kya Hassen Sitam”, music and lyrics by S.D. Burman, Kaagaz Ke Phool (1959, India)

Performed by Geeta Dutt (dubbing Waheeda Rehman)

Lyrics in Hindi - roughly, "Time Has Inflicted Such Sweet Cruelty On Us"

Song begins at 1:03:31 and ends at 1:07:51

Make sure to turn on the video’s English captions

In this romantic tragedy told in flashback, Suresh Sinha (Guru Dutt) is a director looking back on his life. Suresh is unhappily married to a woman whose in-laws look down on him because, to them, working in films is contemptible to their social class. Suresh meets a woman, Shanti (Waheeda Rehman), on accident and she is soon cast as the lead for his next film. They fall in love, but it is never consummated for various reasons. This song is the most explicit statement of that love in this film. How much of the scene's set-up is observable by the characters is up to the viewer's interpretation.

Group A participants include: @addaellis, @introspectivemeltdown, @memetoilet, @myluckyerror, @plus-low-overthrow, @shootingstarvenator, @themusicmoviesportsguy, @theybecomestories, @umgeschrieben, @underblackwings, @yellanimal. Seven others - including myself and my sister - are currently slated to be voting in Group A.

GROUP B

“Angela”, music and lyrics by José Feliciano and Janna Merlyn Feliciano, Aaron Loves Angela (1975)

Performed by José Feliciano

(English-language version) / (Spanish single version)

Played over the opening credits to this teenage drama that is partly a blaxploitation film, partly an interracial coming-of-age romance. The movie wasn't a hit, but the Spanish-language version of this song was received well in Latin America.

“Aren’t You Kind of Glad We Did?”, music by George Gershwin, lyrics by Ira Gershwin, The Shocking Miss Pilgrim (1947)

Originally performed by Betty Grable and Dick Haymes

(soundtrack version with Judy Garland and Haymes) / (modern arrangement far more faithful to how song sounds in the film)

Cynthia Pilgrim (Grable) is the top typewriting student from a business college in this period piece where the typewriter is the newest invention to sweep the business world. This song appears as Pilgrim and her boss, John Pritchard (Haymes), are about to go out on a date for dinner after talking about how society looks down on women in public without a chaperone.

“The Blues are Brewin’”, music by Louis Alter, lyrics by Edgar De Lange, New Orleans (1947)

Performed by Louis Armstrong and his band and Billie Holiday

(in-film version) / (Billie Holiday single)

After being evicted by the U.S. military from the historic Storyville district of New Orleans (the Navy had just opened a base in the area, and would not tolerate places of gambling, jazz, and prostitution nearby), the characters played by Armstrong and Holiday tour the country with a jazz band in tow. This song appears within a montage showing the passage of time.

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, music by S.D. Burman, lyrics by Kaifi Azmi, Kaagaz Ke Phool (1959, India)

Performed by Mohammad Rafi (dubbing Guru Dutt)

Lyrics in Hindi - roughly, "I Have Seen How Deeply Friendship Lies / I Have Seen People Abandon Me One by One"

Part 1 (3:44-8:27) / Part 2 (2:16:29-2:20:42)

Make sure to turn on the video’s English captions

In this romantic tragedy, Suresh Sinha (Dutt) is a washed-up director looking back on his life. In the first part, the song leads into the rest of the film - which is almost entirely a flashback. In brief, Suresh is unhappily married to a woman whose in-laws look down on him because, to them, working in films is contemptible to their social class. Suresh meets a woman, Shanti (Waheeda Rehman), on accident and she is soon cast as the lead for his next film. They fall in love, but it is never consummated for various reasons. Eventually, his career crashes after a box office bomb and her career is ascendant. Leading into the second part of the song, Suresh is penniless and working as an extra at the movie studio. Shanti recognizes him, wants to help, but he refuses to revive his career on the back of her success. Kaagaz Ke Phool has elements of autobiography, and Suresh's fate has parallels with what happened to Dutt after this film was released.

“End Theme from Lone Wolf and Cub: Baby Cart to Hades”, music by Eiken Sakurai, lyrics by Kazuko Koike, Lone Wolf and Cub: Baby Cart to Hades (1972, Japan)

Performed by Tomisaburo Wakayama

Lyrics in Japanese (translation)

Video provided is not safe for work (NSFW) due to stylized violence

Ogami Ittô (Wakayama) is a former, disgraced executioner for the Tokugawa shogunate who wanders the land with his young son. He is intent on exacting revenge on the clan that murdered his wife. This song is played non-diegetically after Ittô has slain dozens of a corrupt governor's bodyguards and walks onward, pushing his son in a babycart, away from the dead left in his wake. This is the third of six films in the Lone Wolf and Cub series.

"Happy Endings", music by John Kander, lyrics by Fred Ebb, New York, New York (1977)

Performed by Liza Minnelli and company (that's Jack Haley - who played the Tin Man and was, at the time, Minnelli's father-in-law - roughly seven minutes in)

(use in film) / (soundtrack version)

It is highly recommended one sees how this song is used in the film. Bear with me: this song is part of a movie within a movie. Within that movie within a movie, there is another movie. "Happy Endings" is the title end song to a film called Happy Endings within New York, New York. Singer Francine Evans (Liza Minnelli) has made it big as a recording artist and caps off her hit film, Happy Endings, with this song. We see Francine's ex, played by Robert De Niro, in the audience as the film ends. "Happy Endings" is a homage/deconstruction to midcentury Metro-Goldwyn-Mayer (MGM) musicals. It serves the film as "The Broadway Melody" does to Singin' in the Rain (1952) or the 17-minute ballet does to conclude An American in Paris (1951).

"Here They Come (From All Over the World)", music and lyrics by P.F. Sloan and Steve Barri, The T.A.M.I. Show (1964)

Performed by Jan and Dean

The link above provides the entire film. You only need to watch from 0:00-4:11. If you like music from this era or want to hear more, this film is highly, highly recommended.

This is the opening credits song to a concert film recorded over two days in Santa Monica, California on October 28 and 29, 1964. The Teenage Awards Music International (T.A.M.I. - yes, I know it's an awkward name) Show included many of the most popular musical stars of that time - almost all of them name-dropped in this song. Jan and Dean, a surf music duo, served as hosts (and performed during) the show. You folks are lucky that this is the only original song from this film!

“Moonlight Swim”, music by Ben Weisman, lyrics by Sylvia Dee, Blue Hawaii (1961)

Performed by Elvis Presley

In a musical packed end-to-end with songs, Chadwick "Chad" Gates (Elvis) has taken a job with a tour guide agency. On his first day, he drives his first clients - a school teacher (who not so secretly is attracted to Chad) and four teenagers (one of whom becomes smitten) - to their destination.

“On the Boardwalk (in Atlantic City)”, music by Josef Myrow, lyrics by Mack Gordon, Three Little Girls in Blue (1946)

Performed by Carol Stewart (dubbing for Vera-Ellen), June Haver, and Vivian Blaine

(original soundtrack) / (Dick Haymes single)

In this rarely-seen musical (20th Century Fox wasn't very good at promoting its back catalogue compared to some other studios, and the situation is worse now that they are owned by Disney), three chicken farmer sisters (Vera-Ellen, Haver, and Blaine) decide to travel to Atlantic City in hopes of marrying a rich husband after learning their aunt's inheritance is not nearly as much as they want. They sing this song as they arrive and check into their hotel suite - which they apparently have not looked up the rate for.

Those who listened to the soundtrack version... FYI, $9.25 in 1902 is $280 in 2020.

“Personality”, music by Jimmy Van Heusen, lyrics by Johnny Burke, Road to Utopia (1946)

Performed by Dorothy Lamour

(in-film performance) / (live radio performance)

In the fourth film of the Road to... comedy series, Bob Hope and Bing Crosby's characters have just overpowered two Alaskan thugs with a history of murderous violence. As they enter a saloon dressed up as those two thugs, all of the patrons - in a town that only knows the thugs by reputation - shut up in terror. They are treated to a performance by Sal (Lamour), who is trying to find a map of a gold mine that the real outlaws supposedly have. A visual narrator (Robert Benchley) interrupts the scene before the song briefly.

“Please Don’t Stop Loving Me”, music and lyrics by Joy Byers, Frankie and Johnny (1966)

Performed by Elvis Presley

(in-film performance) / (single version)

Johnny (Elvis) and girlfriend Frankie (Donna Douglas) work on a Mississippi River riverboat as performers. Johnny is addicted to gambling and believes that another woman is spurring on his recent run of good luck. During a fit of jealousy-as-acting, Frankie accidentally shoots Johnny during a bit of musical theater (someone switched out the blanks for real bullets). This song occurs after Johnny has recovered from the accident.

"Wichita", music by Hans Salter, lyrics by Ned Washington, Wichita (1955)

Performed by Tex Ritter

This is the opening title song to this Western. It is one of many Wyatt Earp movies set before the famous Gunfight at the O.K. Corral. Earp (Joel McCrea) arrives in an otherwise lawless town of Wichita, Kansas where gunplay is rampant. In a radical move, Earp orders to seize the firearms of anyone living in or entering town - which doesn't sit well with some outlaws. This song is incorporated throughout the film's score.

Group B participants include: @cokwong, @emilylime5, @halfwaythruthedark, @maximiliani, @thewolfofelectricavenue, and @voicetalentbrendan. Twelve others - including me and my sister - are slated to be voting in Group B.

Contact me however you wish if you have questions or comments regarding MOABOS' processes or something specific about a song or a few. Please let me know as soon as possible if you are having difficulty accessing one of the songs (especially if it is region-locked) or if there is an error in the playlist.

I thank you all for your support for the Movie Odyssey, the blog, and for me personally - no matter how long I’ve known you or in what capacity. You will be contacted for the final round regardless of your participation here. If turnout in one group is lagging behind compared to another, I will ask some of the more senior participants to participate in the other group, too. No pressure if you cannot get to this, although I will be checking in as the deadlines get close. Stay safe and socially distanced, everyone.

TABULATION This preliminary round uses a points-based, ranked choice method which has been used since the first time I asked friends, tumblr followers, and family to help out. A respondent’s first choice receives 10 points, the second choice receives 9, the third choice receives 8, etc. The winner is the song that ends up with the most total points. The tabulation method used in this preliminary is used only as a tiebreaker in the final round (more on how the final is tabulated when we get there).

This tiebreaker will look slightly different this year.

Tiebreakers for above: 1) total points earned; 2) total #1 votes; 3) average placement on my and my sister's ballots; 4) tie declared

#2020 Movie Odyssey Awards

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smallpressdistribution · 5 years

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8 SPD Books Regarding Song

In This Month's SPD Clickhole by Lizzy Lemieux

The other day I saw that Lana Del Rey's Summertime Sadness had made its way back onto the (or at least, some) charts, despite coming out SEVEN years ago. This begs important questions, namely "Is Hot Girl Summer canceled???", and if so, "How many Reese's Peanut Butter Cups can I eat in bed while rewatching Euphoria before summertime sadness turns into year round chronic depression?"

Basically, good music has a staying power. Even bad music has a staying power. (I just saw EW put out a "Friday" themed playlist to celebrate Rebecca Black's viral video released in 2011.) I'm not sure why. Maybe because we project our emotions onto it and factor it into our personal identity. Maybe because it marks important life events, i.e. weddings, breakups, funerals. Maybe because some songs trigger certain memories. For me, Hozier recalls the Staten Island Ferry. Dynamite conjures a middle school assembly.

Which brings us to this month's handpicked theme: Song. From John Lennon to Buzzcocks to Nicki Minaj to Bob Dylan, these 8 books will get lyrics stuck in your head and help you ace Lana Del Rey trivia bowls (if they aren't already a national event, can anybody get on that?)

Lana Del Rey: Her Life in 94 Songs (Squint Books, 2016): Lana Del Rey is elusive. She seems to inhabit an "violently kitsch" other-world. As Mannan, whose thesis was on "academic notions of authenticity in 'Born to Die'", writes in his forward, "I find myself in [her world] too-- sad and sexual and slipping between reality and another time." The book feels like liner notes, if liner notes traced the artist's origin back to demos and Elizabeth Grant and considered how the music industry and her poetic predecessors shaped her verse.

Leadbelly (Verse Press/Wave Books, 2005): From Pulitzer Prize winning author Tyehimba Jess comes Leadbelly, a poetic unearthing of the blues and folk singer Huddie William Ledbetter, better known as Leadbelly. Voices of multiple speakers weave together and layer the narrative, beginning with Leadbelly's mother and father and moving to his wife Martha and folklorist John Lomax. Poems which appear as dialogue allow the reader to listen in on conversations between famous artists, and others innovative forms, like the contrapuntal, invite the reader to lend their voice in personal performance.

Collected Lyrics: Pete Shelley (Eyewear Publishing, 2018): For the first time Pete Shelley's lyrics, from both Buzzcocks and from his solo career, are collected in a single volume. Spanning over 40 years, allowing readers to return to Punk's first wave and to the singer himself who passed in 2018. Collected Lyrics also includes an introduction by Buzzcocks’ seminal designer Malcolm Garrett.

Cuntry (Trembling Pillow Press, 2017): Entirely uncensored and graphically shameless, Kristin Sanders poetry collection considers the nearly universal objectification of the female body, rendering the seemingly separate worlds of country music and porn as parallel universes. Sanders identifies each genre's female ideal, or, female "object". "The cuntry object has to a good one-- a very good girl", Sanders writes, making us to wonder, what makes a girl good? Many of the poems in "Cuntry" respond to existing country songs while responding to our questions about the female object herself. In "Daddy's Money Sung by Ricochet", Sanders upacks the hidden criteria for goodness found in the lines, "She's got her daddy's money, her mama's good looks. More laughs than a stack of comic books." Among those criteria? A cuntry girl must be: American, White, a child of a two parent household, etc.

Album (Wendy's Subway, 2019): Album is a Mariana Valencia autobiographical solo-performance encapsulated in a book, compiling song, dance, and text. The reduction of an auditory and visual experience to a singularly visual creates a unique form in which musical direction floats in the margins and an entire section, entitled "THIS IS WHAT I LOOK LIKE WHEN I DANCE FOR MYSELF IN FRONT OF YOU", is devoted to black and white cut-and-paste freeze-frames on pale pink paper.

Elizabeth Ellen Poems (Short Flight/Long Drive Books, 2018): Elizabeth Allen muses on music's saturation of our daily lives. From driving with the radio on, to asking our dates their favorite song, and judging them accordingly. In this 400 page collection Elizabeth Ellen riffs off songs by Nicki Minaj, Bob Dylan, Elliott Smith, and Riot Grrrl, using them as abstract entrance points into personal narrative on marriage, motherhood, and mental illness.

UnNatural Music: John Lennon and Yoko Ono in Cambridge 1969 (Allardyce, Barnett, Publishers, 2016): "I do not have to tell you have disgraceful John's attitude was and Yoko's is", opens Anthony Barnett's concise tell-all on the famous coupling who bridged the avant-garde and pop-worlds. Barnett has long kept silent on the experience of producing Lennon's first public performance away from The Beatles, "UnNatural Music". This book serves to "set the record straight" though personal narrative, contemporary documents and ephemera.

Yr Skull A cathedral (Publishing Genius Press, 2018): Param Anand Singh's Yr Skull A Cathedral is cacophony/symphony, an amalgamation of voices sourced from Hellraiser to Rumi in internet acronyms and traditional poetic forms. At the risk of being reductive, it is a collection of poetry which takes the form of sapphics, ghazals, translations and song lyrics. Among the source material are poems by Lorca, Alfonsina Storni, Gurdas Maan, Rumi, Bhai Nand Lal Ji, Caetano Veloso, Cesar Vallejo, and the authors own band, Nuclear Power Pants.

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perfectly-speechless · 7 years

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Paris.

#Paris #the chainsmokers #music video #song lyrics #Martha hunt #background #theme #white words #something beautiful #i know theres some parts that sound so wrong

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papermoonloveslucy · 6 years

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BOB HOPE'S LOVE AFFAIR WITH LUCY

September 23, 1989

Produced & Directed by Ellen Brown

Written by Robert L. Mills, Martha Bolton, Jeffrey Barron

Lucille Ball (Archival Footage) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in April 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon, which was not a success and was canceled after just 13 episodes.

TRIBUTES BY

Bob Hope (Himself, Host) was born Lesley Townes Hope in England in 1903. During his extensive career in virtually all forms of media he received five honorary Academy Awards. In 1945 Desi Arnaz was the orchestra leader on Bob Hope’s radio show. Ball and Hope did four films together. He appeared as himself on the season 6 opener of “I Love Lucy.” He did a brief cameo in a 1964 episode of “The Lucy Show.” When Lucille Ball moved to NBC in 1980, Hope appeared on her welcome special. He died in 2003 at age 100.

George Burns (Himself) was born Nathan Birnbaum in New York City in January 1896. He married Gracie Allen in 1926 and the two formed an act (Burns and Allen) that toured in vaudeville. They had their own hit show “The George Burns and Gracie Allen Show” first on radio then on CBS TV from 1950 to 1958, airing concurrently with “I Love Lucy.” He appeared as himself on “The Lucy Show” (S5;E1) in 1966 as well as doing a cameo on “Lucy and Jack Benny's Biography” (HL S3;E11) in 1970. After Allen’s death in 1964, Burns reinvented himself as a solo act. In 1976 he won an Oscar for playing one of The Sunshine Boys. He was also known for playing the title role in Oh, God! (1978) and its 1984 sequel Oh, God! You Devil. Burns and Ball appeared on many TV variety and award shows together. He died at the age of 100.

Danny Thomas (Himself) was born Amos Muzyad Yakhoob Kairouz in 1912. His screen career began in 1947 but he was most famous for appearing on television in the long-running show “Make Room for Daddy” (1953-64), which was shot at Desilu Studios. When the series moved from ABC to CBS in 1957, Thomas and the cast starred in a rare TV cross-over with “The Lucy-Desi Comedy Hour” titled “Lucy Makes Room for Danny.” In return, Lucy and Desi turned up on Thomas’s show. Fifteen years later, Lucy and Danny did yet another cross-over when Lucy Carter of “Here’s Lucy” appeared on “Make Room for Granddaddy.” In addition, Thomas also played an aging artist on a 1973 episode of “Here’s Lucy.” Thomas is fondly remembered for founding St. Jude Children’s Research Hospital. He is also father to actress Marlo Thomas. He died in 1999.

Betty White (Herself) was born in 1922 and has the longest career of any female entertainer. She is probably best known as Rose Nylund on “The Golden Girls” and Sue Ann Nivens on “The Mary Tyler Moore Show.” Although White and Ball never acted together, the two appeared several times on “Password,” one of Lucy's favorite game shows. It was originally hosted by White's husband, Alan Ludden. She last shared the “Password” panel with Lucy in November 1988, just six months before Ball's death.

Kirk Cameron (Himself) was the star of ABC's hit show “Growing Pains.” He appeared with Lucille Ball on three other Bob Hope specials from 1986 to 1988.

Les Brown and His Band of Renown (Orchestra) were the musical guests on the 1956 “The Bob Hope Chevy Show” that satirized “I Love Lucy” with Hope playing Ricky Ricardo.

John Harlan (Announcer)

ARCHIVE FOOTAGE

Doris Singleton (as Doris from “The Bob Hope Christmas Special” ~ December 9, 1973)

Gary Morton (as Himself from “The Bob Hope Christmas Special” ~ December 9, 1973)

Bobby Jellison (as a Gangster from “The Bob Hope Show” ~September 24, 1962)

Desi Arnaz (as Fred Mertz from “The Bob Hope Chevy Show” ~ October 6, 1956)

Vivian Vance (as Ethel Mertz from “The Bob Hope Chevy Show” ~ October 6, 1956)

William Frawley (as Captain Blystone from “The Bob Hope Chevy Show” ~ October 6, 1956)

Vitto Scotti (as Carlo from The Facts of Life)

Peter Leeds (as Thompson from The Facts of Life)

Joe Ploski (as Man at Drive-In from The Facts of Life)

Mary Jane Saunders (as Martha Jane Smith from Sorrowful Jones)

This special aired on a Saturday evening at 10pm, traditionally a difficult time for television programs. Luckily, its lead-in was the season 5 premiere of the phenomenally successful “The Golden Girls” (also featuring Betty White) which led the evening with a 23.5 share. “Bob Hope's Love Affair With Lucy” came in second, with a respectable 19.3. It was up against College Football on ABC. Because the special was 90 minutes and started on the half hour, its competition on CBS was the last half hour of “Tour of Duty” (season 3 premiere) and the series premiere of “Saturday Night With Connie Chung.”

Because this special aired on NBC, no scenes from any of Lucille Ball's CBS sitcoms (or “Life with Lucy” on ABC) were included. Kirk Cameron was an ABC star, but worked on several of Hope's NBC specials. Although Betty White never acted with Lucille Ball, the pair enjoyed an off-stage friendship. White also was a perfect tie-in to keep “The Golden Girls” fans tuned after the sitcom's season opener. Although Burns and Thomas both worked on screen with Lucy, no clips of their collaborations were used. Also conspicuously missing is Gale Gordon, who was part of Lucille Ball's career since her days on radio.

[For more information about the clips, click on the hyperlinks, where available.]

BOB HOPE

The special opens with a montage of clips of Lucille Ball's entrances on Bob Hope's specials, underscored by the “I Love Lucy Theme.” After a quick commercial break, Bob Hope enters to the sounds of his theme song “Thanks for the Memory.”

Hope: “Lucy handled the media and television like she handled everything else, with grace and style and a richness of color that didn't need any help from the peacock.”

The ‘peacock’ Hope is referring to is the NBC logo. Lucille Ball left CBS for NBC in 1980, but the move resulted in only one TV special (“Lucy Moves To NBC”), one failed pilot (“Bungle Abbey”) and multiple appearances on Bob Hope's specials.

The first clip in the 90-minute tribute is from “The Bob Hope Christmas Special” (December 9, 1973). Ball and Hope play themselves in a sketch about a misunderstanding surrounding an expensive ring he's bought for his wife, but sent to Lucy's home for safe keeping. Naturally, Lucy thinks it's for her. The clip features appearances by long-time Lucy character actress Doris Singleton and Lucy's husband Gary Morton.

DANNY THOMAS

Danny Thomas calls Lucy his 'landlady' because “Make Room for Daddy” was shot at Desilu Studios. He tells a funny anecdote from when Ball appeared on his short-lived sitcom “The Practice” in 1976.

Thomas: “When I worked on her show, she did most of the directing. And when she did my show... she did most of the directing.”

Thomas talks about of their working relationship. He says that despite their great friendship, Lucy would not divulge her age, even to him.

In a voice over, Bob Hope introduces a black and white clip of a sketch from “The Bob Hope Show” (October 24, 1962). In it Lucy plays a District Attorney and Bob a gangster named Bugsy Hope. The 1962 clip edits out a bit that was frighteningly prescient. A spray of gunfire comes through the window and Lucy remarks “Just what I wanted, a Jackie Kennedy hairdo.” Considering the tragic events of November 1963, this clearly could not be aired in 1989. Another change involves music royalties: in the original, Lucy makes her entrance into Bugsy's flat to the tune of David Rose's “The Stripper” (released in 1962) but in 1989 it is replace by a similar sounding piece of music.

Bugsy Hope: “I don't usually go for flatfeet, but the rest of you kind of makes up for it.” DA Lucy: “I don't usually go for hoods, but you could use one.”

In the sketch, Hope makes Lucy laugh and drop character several times, a rarity for Ball.

KIRK CAMERON

Kirk Cameron (who had just turned 18) says that the first time he met Lucille Ball on a May 1987 Bob Hope show at an Pope Air Force Base in North Carolina. On a subsequent Hope special, Lucy needed a stand-in to take a pie in the face and chose Cameron. He was unsure if it was an honor or payback for making her wait outside her dressing room to meet him the year before.

Cameron: “I think that I speak for a lot of people my age when I say that I love Lucy.”

The next clip is the satire of “I Love Lucy” featuring the entire original cast (plus Hope and Tommy the trained seal). In “The Bob Hope Chevy Show” (October 6, 1956), Hope introduces the sketch as himself wondering what it would be like if he had married Lucy instead of Desi. It is presented in its original black and white, although it was later colorized for a video release. Not coincidentally, five days earlier the sixth and final season of “I Love Lucy” began airing with “Lucy and Bob Hope” (S6;E1).

GEORGE BURNS

George Burns affectionately recalls how Lucy was in show business 24 hours a day. He says that he was married to a comedienne (Gracie Fields) but she couldn’t have been more different than Lucy.

Burns: “Lucy was all of show business wrapped up in this charming lady.”

He remembers an appearance with Lucy when they sang “Lazy” by Irving Berlin. He sings a few bars. Burns says that he's booked to play the Palladium in London when he turns 100. Although he did live to 100, his health declined at age 98 and this booking never came to pass.

Bob's voice over introduces a couple of scenes from The Facts of Life, a black and white film that Hope and Ball did for United Artists in 1960. In the scene Larry (Hope) and Kitty (Lucy) are on a fishing boat remembering old times when they realized they went to the same high school together. In the second clip, Kitty and Larry realize they can't play cards without their glasses, but they can't kiss with them on either. Finally, Larry and Kitty are kissing at the drive-in when they are spotted by the local dry cleaner. Lucy had just finished playing Lucy Ricardo, with the final episode of “The Lucy-Desi Comedy Hour” airing in April 1960.

BETTY WHITE

To the accompaniment of “Thank You for Being a Friend” Golden Girl Betty White is introduced. She lists three-word TV titles of the '50s, “Our Miss Brooks,” “I Married Joan,” “Life with Elizabeth,” “Father Knows Best,” and “I Love Lucy.” White remembers that she shot her second series “Date With the Angels” at Desilu Studios and that is where she first met Lucy.

White: “I can still see her. Tall and built and she had a navy blue dress on with white polka dots and this hair that made it look like her head was on fire.”

White credits Lucille Ball with filming comedy using the three camera system and a studio audience. White's mother Tess and Lucy's mother Dede were great friends. Betty recalls the last time she saw Lucy, a week before she went into the hospital. She says she can still recall Lucy's deep and abundant laughter that night. White let's the audience know that they shoot “The Golden Girls” at the old Desilu lot.

Bob's voice introduces a clip from the film Fancy Pants (1950) with Bob Hope as Humphrey the butler and Lucy as Agatha, the daughter of the man he works for. This movie was made just before Lucille Ball got pregnant with her daughter Lucie, and before “I Love Lucy” was in development. At the time, Ball was starring on radio in “My Favorite Husband.”

Next is a dramatic scene from Sorrowful Jones, a film Hope and Ball did in 1949. Ball played Gladys and Hope was Sorrowful (aka Humphrey).

A clip from “Happy Birthday, Bob: 50 Stars Salute Your 50 Years with NBC” (May 16, 1988) has Lucy singing “Comedy Ain't No Joke” by Cy Coleman and James Lipton.

This leads directly into Lucy as Sophie Tucker singing “Some of These Days” from “Bob Hope's All Star Comedy Tribute to Vaudeville” (May 25, 1977).

Lucy and Bob sing “I Remember It Well” by Frederick Loewe from “Bob Hope's High-Flying Birthday Extravaganza” (May 25, 1987). The song (originally from the film Gigi) has special lyrics with references to their legendary partnership including Fancy Pants and Facts of Life.

Finally, a clip of Lucy and Bob's last appearance together at the 61st Annual Academy Awards telecast (March 29, 1989). This was also Lucille Ball’s last public appearance.

In his final remarks, Hope works in mentions of two of Lucy's most memorable comedy bits from “I Love Lucy”: “Hollywood at Last!” (S4;E16) and “Lucy's Italian Movie” (S5;E23).

Hope: “Whether her nose caught fire or she was stomping grapes, Lucy got us all to laugh. Thanks Lucille, for making life a ball.”

The closing credits appear over stills of Lucy and Bob on TV, some of which were not included in the special.

This Date in Lucy History – September 23rd

“Mod, Mod Lucy” (HL S1;E1) – September 23, 1974

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savetopnow · 6 years

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2018-03-26 10 MUSIC now

MUSIC

Brooklyn Vegan

What's going on Sunday?

March For Our Lives: Paul McCartney, Kanye, NYC pics & more

Jeff Rosenstock playing Silent Barn on Sunday?

What's going on Saturday?

tours announced: Essaie Pas, Ringo, Leon Bridges, Sword/Atomic Bitchwax, more

Consquence of Sound

Semisonic’s Dan Wilson reflects on the 20th anniversary of Feeling Strangely Fine

Pearl Jam perform Jane’s Addiction’s “Mountain Song” with Perry Farrell: Watch

Donald Glover’s Deadpool TV series has been canceled

Nardwuar’s interview with Steve Albini lives up to the hype

Live Review: Jack White Celebrates Boarding House Reach at Brooklyn’s Warsaw (3/23)

Fact Magazine

Talking heads: 6 of the best smart speakers

The Icelandic electronic music renaissance: Sónar Reykjavík reviewed

The Defiant Ones’ Jimmy Iovine on the future of streaming and “stepping back” from Apple Music

Go behind the scenes of Air producer JB Dunckel’s stunning studio

Toni Braxton – Confessions

Fluxblog

The Middle Of A Cold Premonition

The Moon Right Behind Me

Make Me Feel Right

I Loved And I Lost

Very Nice Very Nice

Idolator

Christina Aguilera Reveals “Infatuation” Was Inspired By A Gay Lover, Talks “Fighter” During ‘Untucked’

Pentatonix Unveil A Vibrant Reimagining Of Charlie Puth’s “Attention”

Shawn Mendes’ “Lost In Japan” Is An Atmospheric Smash

Sia Reunites With David Guetta On Their Tropical-Tinged “Flames”

Ryan Tedder Talks Working With Selena Gomez, Shawn Mendes & More

Listen to This

WildLife -- Nintendo Boys (Feat. Freddie Gibbs, MF DOOM, Notorious BIG) [Hip-Hop/ Future Bass] (2018)

Nekrogoblikon — Dressed as Goblins [Folk Metal] (2018)

Runaway Ricochet — Instead [Ska/Punk] (2017)

IDLES — Mother [English punk rock] (2017)

A Tripe Called Red -- Electric Pow Wow Drum [Dubstep/Native American] (2013)

Popjustice

NONONO’s new one is v excellent and here’s the video

New Music Friday: all hail Let’s Eat Grandma’s miniature pop symphony

Paloma Faith’s branded content is better than your branded content

Saluting the artwork for PRETTYMUCH’s Healthy

Louisa Johnson interview: “We went, ‘oh, fuck it, let’s just get drunk’”

Reddit Music

blind Melon - No Rain [rock]

When Beethoven was challenged to an improvisation duel by one of his rivals named Steibelt, Beethoven took a piece of Steibelt's music, turned it upside down, played it, then improvised on that theme for over an hour. Steibelt simply left halfway through.

Fatboy Slim -- Weapon of Choice [Electronic]

Cyndi Lauper -- Time After Time [Soft Rock]

Fleetwood Mac with the USC Marching Band - Tusk [rock]

Rolling Stone

On the Charts: XXXTentacion Nabs First Number One, Metallica Finish Second

Unseen Beatles Photos From 1964 Sell for $358,000 at Auction

Run the Jewels' Killer Mike Defends Gun Ownership in NRATV Interview

See Jennifer Hudson's Powerful Bob Dylan Cover at March for Our Lives Rally

Watch Ariana Grande Sing 'Be Alright' at March for Our Lives Rally

Slipped Disc

Death of a Russian contender, 45

Welcome to the Slipped Disc book club

Martha Argerich plays a world premiere

Fidelio gets remade in US jails

Did anyone really know José Antonio Abreu?

Spotify Blog

Spotify Launches Integration with New and Existing Cadillac Models

Spotify Launches ‘Louder Together’ with First Multi-Artist Spotify Single Collaboration from Independent Stars Sasha Sloan, Nina Nesbitt and Charlotte Lawrence

Spotify Launches Self-Serve Advertising Platform in the UK and Canada

Spotify Announces Launch of Line-In

John Hancock and Spotify Give Runners Everywhere Access to Custom Playlists and Tips from Some of the World’s Fastest Marathoners

We Are the Music Makers

Does anybody know what synth/settings they used for the bass line of this chorus? Help would be appreciated!

Gussie Larkin from Wellington (NZ) band Mermaidens talks about her live setup, signing to Flying Nun Records and being self sufficient.

Anyone got any advice for chord progressions?

Mic suggestions for acoustic guitar?

Alternative to Logic's Alchemy

#music

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lipwak · 5 years

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VHS #385

South Bank Show: Khalid & Rachid, New Orleans music in Exile, PHC on New Year’s Eve 2006/2007, James Brown at Montreux 1981, BBC Crown Jewels - The Faces (Small Faces, Rod Stewart) *** South Bank Show: Khaled & Rachid (Taha)49:00dull sound Khaled, Didi in concert (https://youtu.be/Oao8tr2OiGg) not this clip, his adoring crowd outside the house he grew up in, was a hippy, king of rai, Steve Hillage, Aisha (https://youtu.be/wIsJbDZDNpo) this clip, in concert, Brian Eno, Rachid and band rehearsing!, rai is the blues and techno, Barbes, likes cosmopolitan Paris, Duce France (https://youtu.be/BRwpjFW82G8) this clip, rehearsing Barra Barra, rai is twist music, Khaled visits his primary school, with his teacher, more flamenco-sounding song, with uncle, Ya-Raij?, a club, rai is the same as the “debauchery” that was rock and roll, Rachid - Voila, Voila rehearsal, about fascism, live (https://youtu.be/wiubfahYD1c) This clip!, rehearsing H'asbu-Hum, Khaled eat spinach growing wild in his neighborhood, Hmama live, there’s nothing he can’t do with his voice, with Blaoui Houari (https://www.dailymotion.com/video/x4c37u) This clip, Rachid - Rock El Casbah rehearsal, live, Ya Rayah rehearsal! *** NO music in ExileRobert Mugge2hrsStarz (first 5 min: https://vimeo.com/68174146): Kermit Ruffins, Irma Thomas amidst the destruction, Eddie Bo, Dr John, Theresa Anderson - Like A Hurricane (Neil Young), Humanity St sign, Dr John - Right Place, Wrong Time, Jan Ramsey, David Freedman, Keith Spera, Cyril Neville, Hey Pocky Way (Threadgills), Congo Square, Big Chief Monk Boudreaux - Lightning and Thunder with outfit from suitcase, Jan tells of the hurricane, Irma at the Lion’s Den and ruins, see how high the water was, inside ceiling falling down, True Beliver documentary Christmas lights still up!, Smoke Filled Room segment from that! (https://vimeo.com/204912757) this clip!, her house stripped bare, w/ National Guard, Mark Samuels - Basin Street Records, his office, his home, free meals, clothes outside, Theresa Anderson - It’s Gonna Be OK (https://vimeo.com/69449239) This clip, she tells of her experience fleeing the storm, 17th St Canal levee, car in swimming pool, how to rebuild community of WWOZ, Eddie Bo playing piano - My Dearest Darling (https://vimeo.com/69868071) Not this clip, they go to their coffee shop to see the damage, Marcia Ball - That’s Enough of That Stuff (https://vimeo.com/216103917) this clip, Louisiana 1927, Kermit Ruffins - When The Saints, playing in Houston, got a lot of love, Rebirth Brass Band - Lord, Lord, Lord, Continental Club owner, The Iguanas - Mira?, another, Papa Mali, Cyril Neville and Tribe 13 - blues, I Will Survive (https://vimeo.com/69869198) this clip, Steve Rehage? Voodoo festival, World Leader Pretend in Memphis (https://youtu.be/iADvC23lsjQ) this clip, Cowboy Mouth, Paul Sanchez, Musicares, Hurricane Relief Fund, beatinpath, Band On The Run, Tipitina’s, Amzie Adams, Rebirth with a curfew, Jon Cleary, National Guard moved the fridge that hadn’t been opened in 2 months in 90 degree heat, Moonburn, Maple Leaf Bar, Papa Grows Funk, John Gros, Dr John - Gilded Splinters, voodoo priestess - Day of the Dead ceremony!, the lights come on!, Dr John - Sweet Home New Orleans. *** Great Performances: PHC on New Year’s Eve 2006/2007breaks edited out2:32 Notes on the whole show here: https://www.prairiehome.org/shows/57093.html w/ The Old Crow Medicine Show, Sam Bush, Stewart Duncan, Buddy Emmons, Emmylou Harris, Jerry Douglas, Cowboy Jack Clement, Suzy Bogus, Doyle Lawson, Robin and Linda Williams, Rhonda Vincent and The Rage Garrison intro outside the Ryman, printing press posters, another intro by Garrison outside the Ryman, seeing a show there inspired him to do PHC, history of the Grand Ole Opry, Uncle Dave Macon, WSM, Hello Love, we endure, Garrison - You're The Top updated, Guy's cash Shoes, Nashville Pickin’, Rhonda Vincent and the Rage - All American Bluegrass Girl, You're Running Wild, Beeboparebop Rhubarb Pie w/ Fred Newman!, Old Crow Medicine Show - Are You From Dixie, Duct Tape - Jerry Douglas and Fred Newman, opera singers sang here, Old Crow Medicine Show - Wagon Wheel, Sam Bush - Wabash Cannonball, Doyle Lawson and Quicksilver - I Don't Care (Just As Long As You Love Me), Sadie's Got A New Dress, Thompson Tooth Tinsel - listen to that smile, Suzy Bogguss - Outbound Plane, What Are You Doing New Year's Eve, Coffee Bean Society - Brothers Against Drunk Dialing, Cowboy Jack Clement - No Expectations, I Guess Things Happen That Way w/ Garrison, Emmylou Harris - If I Could Only Win Your Love, Strong Hand, Walls of Time, Garrison talks about New Year's Eve in Lake Wobegon as intro to Robin & Linda Williams - Rollin' & Ramblin’, Garrison - A Dialogue of Watching by Kenneth Rexroth with the words on the screen, remembers bad New Year’s Eve’s, wishes everyone well, Happy New Year!, all - Auld Lang Syne audience slowly gets to their feet, Garrison and Pat Donohue - Leaves That Are Green updated, Jerry Douglas - Emphysema Two-Step, Doyle Lawson used to drop cats from the rafters in the barn for New Year’s Eve, Doyle Lawson and Quicksilver - The Hard Game of Love, Cowboy Jack w/ Emmylou - Let's All Help the Cowboys Sing the Blues, Cafe Bouef in Nashville, Garrison, Emmylou, Doyle and Robin - Calling My Children Home (Emmylou hits the high notes), Robin (singing) & Linda Williams (playing) - Ramblin’ Man, Sam and Emmylou - River's Gonna Run, Rhonda Vincent and the Rage - Jolene, Martha White Theme, Suzy and Garrison - Lovesick Blues, Old Crow Medicine Show and Emmylou Harris - We're All in This Together, Garrison w/ Fred go over what the tv audience will miss, all - Lighthouse (cut off). *** James Brown at Montreux 1981 Club J24 min w/o commercials2006 (missed beginning) unknown song endIt’s a Man’s Man’s Man’s World (https://youtu.be/sLvDU9vXjzY) This clip. Cut short.I Got The Feelin’ (https://youtu.be/pbfTH5UU-OI) This clip.Hustle (https://youtu.be/9yjOco5gSOo) This clip.Papa’s Got A Brand New Bag (https://youtu.be/GAp7uqnUYSA) This clip.I Got You (https://youtu.be/1DI1WJz9eA0) This clip.Please Please Please (https://youtu.be/-SZkdWWldXE) This clip.unknown song (different outfit, gold jacket now)Sex Machine (https://youtu.be/Fav0cE3JnDQ) This clip. *** BBC Crown Jewels - The Faces (Small Faces, Rod Stewart), 4/1/72, Sounds on Saturday programme, in concert28:00VH1 Maybe I’m Amazed, (https://youtu.be/SLhoLkTyNkM) this clipLove In Vain, Stay With MeI’m Losing Youhttps://youtu.be/1xHBjeiqzkQ?t=1308 (This is the whole show, cued up to the first song on the video.)

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benito2world-blog · 7 years

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Rap Music

Rap Tunes: Then and Now

Rap new music, which traces its origin for the African-American culture, is now allegedly a chaotic-sounding-genre of songs with provoking lyrics and movies showing random violence, gang intimidation and these themes.

The earlier Hip-hop-rap scene of the 50s as well as the 60s spoke about hopes, dreams, ideals and aspirations of both equally the black and white teens while in the high quality tunes via the artists of that period. Early black new music united the American youth as well as the country's selection of audio was almost parallel. There have been some rebellions however they did not down-rightly develop immoral and degrading information. The sooner rap-era had artists like Stevie Wonder, Smokier Robinson, Lionel Richie, the Temptations, the Shirelles, Mary Wells, the Supremes, Martha along with the Vandellas, the 4 Tops and their likes who gave the typical teenage romance and romance. More Information Here www.rap-trends.com

Radicalism was introduced in rap with Beastie Boys' amusing "Fight to the Right to Party" as well as physical appearance of extra radical rappers like Vanilla Ice and Eminem. Rappers progressively emerged and began shouting and ranting terms that featured intimidation, course conflict, hatred of authority, defiance, insolence, animosity and conflict.

The rap-music currently is top the listeners inside of a relatively disturbing route. It appears as though this full tradition usually takes pleasure in being notorious. As an illustration, it is almost like staying in jail is usually a "status symbol" although using drugs and indulging in beefs is something "cool". Earlier mentioned this, the portrayal of ladies within the rap video clips is again a matter of worry. The perception appears to typecast the lady as an item. On humanitarian grounds, this isn't a really form image to produce. These elements coupled with suggestive lyrics can easily manipulate the susceptible youth.

The blockbuster charts say a story a lot more evidently, although it is difficult to concur with. It truly is a choice-demand predicament. Men and women are seeing, adapting and adopting this sort of a lifestyle which is why the top-hits are often the songs you can't hear together with your mom. What saddens another is definitely the further more insufficient creativity. The poetry only goes in terms of a lousy vocabulary as well as tunes is way, much from inspiring. What use is these manifestation of electricity and ability to produce admirers if no great can be done to culture? If Rap songs offers of a technology stuffed with followers, then it also needs to recall that with recognition and admiration, comes responsibility. Rap has a obligation in the direction of its audience and it really is time now that the artists appear forth and take it up significantly.

Get to know more about French Rappers

#Rap Music Hiphop Rappers French Rappers Dutch Rappers American Rappers www.rap-trends.com American Rap Music

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macypavelockuwrt1102-blog · 7 years

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2. Major Assignment 2

Taylor Swift: 1989

Since releasing her first album, self titled “Taylor Swift,” Taylor Swift has become a household name. From being a young girl in Nashville, TN, to becoming one of the highest paid female artists, Taylor Swift exemplifies the American dream. While most of her previous songs being about love, Taylor decided to try something different with her album 1989. The album is named after the year she was born, and is filled with songs about the highs and lows of her life. Throughout the 1989 concert movie, music videos, and songs themselves, Taylor shows many examples of the American Identity. I believe Taylor Swift is using her impact on American identity to try and promote a stronger view of feminism, the American Dream, and being yourself freely.

TRACK 1: WELCOME TO NEW YORK

The first song on the album is “Welcome to New York.” This song is a perfect example of the American Dream. Taylor states in the first verse, “everybody here wanted something more, searching for a sound they haven’t heard before.” This line is talking about all the people who move to New York in search of their dream and to make it a reality. Being one of the largest cities in the world, filled with opportunities, New York has become an American symbol. In addition to talking about New York’s potential for new beginnings, Taylor also includes the line “you can want who you want, boys and boys, and girls and girls.” This line shows Taylor’s support for the LGBTQ community, which is welcomed and supported in New York. Gay rights is currently a huge topic in America and Taylor recognizing this in a song helps to show America’s freedom of speech and helps develop a deeper meaning of an American identity. As shown in the 1989 concert movie, while performing “Welcome to New York,” Taylor is dressed in a blue outfit with white sparkles, as well as her signature red lip. Although not directly stated by anything, I personally believe this was Taylor’s way of subtly representing America while performing this song. The concert from the movie was filmed in Sydney, Australia, so after welcoming them to the concert, Taylor says “we begin our story in New York.” This is symbolic because it shows that New York is such a prominent beginning to so many bigger things, like dreams and goals.

TRACK 2: BLANK SPACE

The second track on Taylor’s 1989 album is a song called “Blank Space.” In the 1989 World Tour movie, Taylor shares that the premise of this song was to kind of create a parody of how the media portrays her. The media and all of social media constantly talks about how Taylor Swift is a “serial dater” and basically just dates a bunch of different men as a sport. Taylor being portrayed in the media like this has caused the occasional uproar on social media due to her getting criticized for dating a bunch of guys, but guys dating a bunch of girls instead receiving praise. I believe this heavily can be related to American identity because feminism is something that is becoming talked about very heavily in our society. Many women believe this treatment of Taylor is unfair and that if she were a guy, the circumstances would be perceived much differently. In the music video, Taylor acts out exactly what the tabloids say about her. She begins with a guy, they have a great relationship, she turns obsessive, goes insane, and then he leaves and a new guy comes.

TRACK 6: SHAKE IT OFF

The sixth song, “Shake it Off,” is a feel good song that is all about “shaking off” the haters and just doing your own thing. While the song is just a fun anthem, the music video created some controversy. Taylor Swift is known for awkwardly dancing at awards shows or just in public, so she decided to use the criticism from that as inspiration from the song. To go with this inspiration, the music video exemplifies Taylor and many different types of dancers performing. The types of dancers range from ribbon twirlers, to ballerinas, to twerkers. Before getting into the controversial part, I think twerking is also a very dominant American aspect, thus proving the American identity in this music video. But, many people on social media had things to say about the twerking scenes. Although there are girls of many ethnicities in each scene, the fact that a generous percentage of the “twerkers” were African American caused some people to claim Taylor is a racist. This helps to show that racism is still a large topic in America, and causes controversy on social media quite frequently.

TRACK 8: BAD BLOOD

The last song I decided to analyze was track 8, “Bad Blood.” This song is all about an enemy of Taylor’s and talks about revenge, etc. The most popular part of this song, though, is definitely the music video. In addition to herself, Taylor decided to get some of her best friends (who are also widely popular in American pop culture), to star in the music video. This cast consists of Selena Gomez, Lena Dunham, Hailee Steinfeld, Serayah, Gigi Hadid, Ellie Goulding, Martha Hunt, Cara Delevingne, Zendaya, Hayley Williams, Lily Aldridge, Karlie Kloss, Jessica Alba, Mariska Hargitay, Ellen Pompeo, and Cindy Crawford. After the music video was released, it started the trend of a “girl squad.” I believe Taylor could most definitely be credited with the creation of the whole “squad” trend that is currently all over social media because of this music video. In the video, their whole squad has super powers and are taking each other down, exemplifying the whole idea of revenge and having bad blood. This also is a great example of the trend of “girl power,” which relates back to feminism.

I believe Taylor Swift’s 1989 album, world tour, and music videos, are all perfect examples of the American identity. Although I only analyzed four, I believe many of the songs on the album show a bunch of different themes and are examples of the American Identity. In addition to being known as just “America’s sweetheart,” I believe Taylor is using her fame to draw attention to other things and promote different controversial themes through her music.

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