#the lyrics are from “meat is murder” by the smiths :3

[sillygoosegosling]

anxceit my beloveds (they despise eachother)

(close ups under the cut)

#sanders sides #virgil sanders #janus sanders #anxceit #my art #the lyrics are from “meat is murder” by the smiths :3

[earthbovndmisfit]

🎶✨ when u get this u have to put 5 songs u actually listen to, publish. then, send this ask/tag 10 of your favourite followers (non-negotiable, positivity is cool)✨🎶

@die-lerche Thank you so much for tagging me!! (and sorry this is a bit late!!! 🥲)

I’m doing more artists than songs tbh, because it’s easier for me to pick bands/artists than single songs (i have a shit ton of fave songs). Basically: All these artists are 100% recommended, I’m just going with the songs that I’m brainrotting the most over as of late.

1.- Ramones - Oh Oh I Love Her So. Catch me changing pronouns to the lyrics and thinking about Jonawagon scenarios in modern AUs with this song.

2.- Judas Priest - Sinner. If anyone ever tells you that rock and metal are “the str*ightest” genres ever, tell them to stfu and listen to Judas Priest. Rocking hard and gaying harder since the late 70s

3.- Austin TV - Shiva. One of my fave songs from this band. These guys break the language barrier by making amazing instrumental rock. Their costumes and concepts are awesome, too.

4.- The Smiths - This Charming Man. I could have picked almost any other of their songs (lbh their Meat Is Murder song is preachy trash), but I really like the guitar and bass in this one. Also, can’t go wrong with all those flowers and all that homosexuality

5.- I’m using the last spot as a bit of a wildcard so, rather than a song, I’d recommend this entire mix. Yes, it’s all Vaporwave, and yes, I like Vaporwave and p much all it’s genres/subgenres unironically.

I’m tagging @icouldbemoreclever @atlantianchronicle @everye @schadenfredde @tempest-loupnoir @starchild2807 @hellboundhimbo and everyone else who would like to give this a shot! If you see this, consider yourself tagged >:D (also, no need to do this, so no pressure at all!)

#i love this type of tag games but i'm also always tempted to list 43546576879809 artists and songs lol #i listen to music a lot what can i say

[twoinchreview]

1985 Albums

Friday 20th March 2020.

On the way home from work (for the last time in a while I think, thanks Covid-19) Radio 2 played The Whole of the Moon by The Waterboys. I loved and love that song from their album, This is the Sea. I knew the album was released in 1985. It’s a year I won’t forget in a hurry for lots of reasons; the main, unbearably sad one is losing my mum, but, also, for other reasons that were not at all sad. The aforementioned album being one, another being another album - Kate Bush’s Hounds of Love. (Another was Knebworth opening its gates to music for the first time in a few years….what a gig that was!) So, did I listen to any other albums that year? I seriously couldn’t tell you, for certain, the name of any other album released in that year….with aging memory it seems to me my turntable’s time was equally divided by Mike Scott and Kate - six months apiece. I decided to check it out. A quick search on Google and the first hit I clicked was this one from the NME that lists 50 albums.

I decided to listen to each in turn, from its count of 50 down to 1. I posted a one line review on each on FB. Here are those one-liners below, with supplementary comments as and when.

50.  ABC, How to be a Zillionaire. I didn't learn that actual trick but I did learn to love Martin Fry's delivery once again.

49.  Sade, Promise. Smoooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooth.

48.  Sheila E – Romance 1600. One I missed posting about of FB, probably because it was that forgettable. I can’t remember one track from it and it was only a couple of weeks ago!

47.  Alex Chilton, Feudalist Tarts. Who knew? Seriously never heard of him before!

46.  George Clinton, Some of My Best Jokes Are Friends. Funky. Another new one on me.

45. The Replacements, Tim. Never heard or heard of them b4 today. Shan't bother again!

44.  Run DMC, King of Rock. Dunno why I like this album, just do. It's like that and that's the way it is.

43.  Cameo, Single Life. I've already forgotten about it.

42.  New Order, Low Life. The first album on NME's 1985 list that properly rocks all thru. 

It’s a proper ‘of its time’ album and yet timeless. This gets the bold review ‘cos I would definitely take time out to listen to this again. First one of the NME list!

41.  Robert Wyatt, Old Rottenhat. Out there. A defo doob album.

40.  The Style Council, Our Favourite Shop. I recall this album & it's better than it was.  Weller has a voice that sometimes sounds like it’s going to break at the sterner test but then he carries it off. It adds to the originality.

39.  Sonic Youth, Bad Moon Rising. Proper industrial punk. I like it.

38.  Dexys Midnight Runners, Don't Stand Me Down. Not one track had I heard before. Fab.

I really enjoyed this. I like the fact it’s a real deviation from what I remember Dexys for - all denim and oddly-antifashion fashionable. This album showed real confidence in their own ability, quite rightly.

37.  Husker Du, New Day Rising. 'Salright.

36.  Bobby Womack, So Many Rivers. “Let Me Kiss You Where It Hurts.” 😂😂😂 Yep - the only thing I wanted to post about this album, having listened to it (like so many others, for the first time) was the name of one track which still, as I type, makes be chuckle like a school boy. Sorry Bobby.

35.  The Fall, This Nation's Saving Grace. I never really got The Fall. This album doesn't help. This post on FB attracted some comment - Ralph White (fellow Posh and music fan) was, I sensed, a little perplexed at my opinion. But, I can’t lie, the band, and Mark E Smith, just didn’t, and still don’t, do it for me. I’m too old and long in the tooth to persist. Sorry Ralph.

34.  Propaganda, A secret Wish. If you had to guess the time of this album's release from its sound, it couldn't be anything other than slap bang middle of the 80s. I mean it is sooooo eighties. It’s the sort of record that will be used for educational purposes - in history lessons.

33. Scritti Politti, Cupid & Psyche 85. I feel I should be more impressed than I am.

32.  The Pogues, Rum, Sodomy and the Lash. What an album, what a fucking album.

I listened to this while out walking and it really took me by surprise just how much I enjoyed it. Of course, I’d heard a lot of the songs before but, as a collection, along with the tracks new to me, it really stands out.  

31.  The Cure, Head on the Door. The Cure does easy listening.

30.  The Cult, Love. What's there not to love? No sudden death, just love.

Contains one of my favourite all time tracks. Can you guess?

29.  Nick Cave and the Bad Seeds, The Firstborn is Dead. Interesting. Definitely a band you have to be in the right mood before the needle hits the record.

28.  David Sylvian, Alchemy: An Index Of Possibilities. Music to have acupuncture to.

By that, I mean it was very, very, very Japanese-y.

27.  Suzanne Vega, Suzanne Vega. Singer song writing by numbers.

To be perfectly blunt, I found it boring.

26.  The Smiths, Meat is Murder. The Smiths are an enigma to me. Good music, good musicians but, that condescension. Morrissey, Geldof, Thunberg....peas in a high & mighty pod.

All that being said a few days ago now, I’m sure I’ll listen to this (and maybe other a records of theirs) again. I fucking hate that it was that good.

25.  Bryan Ferry, Boys and Girls. Slick as you like. Is he the coolest man in music? I think he is.

24.  10000 Maniacs, The Wishing Chair. I can take this or leave it. When I posted this on FB there were a couple of posters encouraging me to try In My Tribe - it’s on as I type and it’s a little better.

23.  Whitney Houston, Whitney Houston. I like this debut album. What a voice she had!

22.  A-Ha, Hunting High and Low. Not bad song writing in a second language.

Nice enough album...but this band will always just be ‘nice’ and, memorable for a video, not much else. 

21.  Grace Jones, Slave to the Rhythm. A mess of an album.

Worst one on the list so far even if it has got David Gilmour playing on it.

20.  Simple Minds, Once Upon a Time. I always felt, & feel, this band are wannabes to U2's crown. Nice enough album though.

19.  The Colourfield, Virgins and Philistines. A gem of an album. 

Terry Hall reminds me of Bowie. So talented, so prolific.

18.  Everything but the Girl, Love not Money. Pleasant enough but won't be on repeat. 

17. Loose Ends, So Where Are You? Hmmmm, not quite Color Me Badd. Very Delia Smith. The Delia Smith comment was because I found this album was an embarrassment much like Delia that fateful night at Carrow Road. If you don’t know to what I am referring, Google it.

16. Killing Joke, Night Time. Great album, cracking band.

15. Tears for Fears, Songs from the Big Chair. A big collection of comfortably accomplished songs. 

The first album on the list I had definitely played, in its entirety, before...just not in 1985. 

14. Dire Straits, Brothers in Arms. By no means their best. Tbf, you’d have to go some to best a debut or 3rd or 4th albums of the quality Dire Straits had under their belt. And, a side note, I think probably the best name for a band, ever. 

13. The Sisters of Mercy, First and Last and Always. A moody, gothic masterpiece. I reckon the growling vocals are the stuff of genius and nightmares.  12.  Prince, Around the World In A Day. Prince is brilliant, this album isn't. Like a few on this list, the decade’s half-way point didn’t see his finest hour.

11. Felt, Ignite the Seven Canons. I've never heard of this band before, nor heard a single track from this album, until now. I like them, I like it.

And I reached the Top Ten....I found myself really looking forward to the next 6-7 hours of the supposed mid-80s finest.... 

10. The Jesus and The Mary Chain, Psychocandy. Mentally sweet. 

It is a great album by a seminal band but I didn’t really get on the band wagon back then, and I don’t have the time nor the inclination to now. That’s gonna piss some people off, I’m sure! 9. Microdisney, The Clock Comes Down The Stairs. Never heard of them before, probably never listen to them again.

This album left me feeling nothing. It’s the most nondescript one of the list thus far and I doubt that will change.

8. REM, Fables of Reconstruction. This band were good before they got massive. 

Fucking brilliant. I had never listened to this album before and it’s such a precursor - we all know how massive they became and one or two of their later albums were residence, for a time, in my CD player. I reckon this one could become a real favourite of mine. Not just of REM stuff but in general.

7.  Lloyd Cole & The Commotions, Easy Pieces. Easy listening and first rate easy listening, at that. 

‘Brand New Friend’ is the stand out track.   

6.  Prefab Sprout, Steve McQueen. I don’t switch the radio off if this band are played, but I never play them. This album doesn’t alter that.

5. Madness, Mad not Mad. Who'd thought the stalwart rude boys would be so innovative? Another cracker from this list. It really stood out for me, they way the band changed things up a notch with this record. I can imagine some long-time fans would have baulked at this at the time of release but now, 35 years on, it smacks of progression. I’ve just asked Alexa to play it as I’m typing. 

4.  Talking Heads, Little Creatures. A wonderful, totally original band and album. This album reminded me that I do not spend enough time listening to Talking Heads. 

3. The Waterboys, This Is the Sea. Marvellous. This is an album I know and love. So, here it is, one of the aforementioned two. It’s is still one of my favourite albums, definitely, but, just a little bit, the metaphors grate - there’s enough of the fuckers on this album - the sea, the moon, the spirit. But I will always love this album and I will revisit many more times, I wager (and hope).

2. Tom Waits, Rain Dogs. Not really a musical masterpiece, more a lyrical one.

I found this a unusual choice for number 2. That’s subjectivity for you, I’d have picked many others before this one for the runner’s up slot.

1. Kate Bush, Hounds of Love. One of my favourite ever albums. The best of 1985, maybe of the 80s, very close to of all time. It’s number 1 for the NME and it most certainly is for me.

So, I listened to all of these NME listed albums in turn and it was, in the main, an enjoyable musical journey

And I reminded myself that, in 1985, I did indeed only put two albums, that first saw the light of day in that year, on my turntable (Kate Bush and The Waterboys). Any other releases didn't get a look in. 

#1985 #albums #music #eighties #twoinchreview

[inarian]

Rules: put your music on shuffle, list the first 9 songs and your favorite lyrics from each.

Thank you, @thedragonbreath for tagging me dear <3

1) The Smiths - Meat is Murder

“ It's not "natural", "normal" or kind The flesh you so fancifully fry The meat in your mouth As you savour the flavour Of murder No, no, no, it's murder No, no, no, it's murder Oh ... and who hears when animals cry ?”

2)Rufus Wainright- Memphis Skyline

“ In the gaslight of the morning Then came hallelujah sounding like Ophelia for me in my room living So kiss me, my darling stay with me till morning Turn back and you will stay Under the Memphis Skyline”

3)Queen-Who Wants To Live Forever

“ But touch my tears with your lips Touch my world with your fingertips And we can have forever And we can love forever Forever is our today”

4) David Bowie - Cracked Actor

“ I've come on a few years from my Hollywood Highs The best of the last, the cleanest star they ever had I'm stiff on my legend, the films that I made Forget that I'm fifty cause you just got paid”

5)Johnny Cash-Hurt

“ What have I become My sweetest friend Everyone I know goes away In the end And you could have it all My empire of dirt I will let you down I will make you hurt”

6)David Bowie-Five Years

“And it was cold and it rained so I felt like an actor And I thought of Ma and I wanted to get back there Your face, your race, the way that you talk I kiss you, you're beautiful, I want you to walk “

7)Morrissey-Angel Angel Down We Go

“Angel, Angel don't take your life tonight I know they take and that they take in turn and they give you nothing real for yourself in return and when they've used you and they've broken you and wasted all your money and cast your shell aside and when they've bought you and they've sold you and they've billed you for the pleasure and they've made your parents cry I will be here”

8) The Black Eyed Peas-Anxiety

“My soul feels stained I can't explain Got a itch on my brain Lately my whole brain Lately my whole aim is to maintain And regain control of my mainframe My blood's boilin' it's beatin' out propane My train of thoughts more like a runaway train I'm in a fast car drivin' in the fast lane In the rain and I might just hydroplane”

9)The Script-I’m Yours

“You healed these scars over time Embraced my soul You loved my mind You're the only angel in my life The day news came my best friend died My knees went week and you saw me cry Say I'm still the soldier in your eyes”

I am not tagging anyone in particular :) Feel free to just do it for fun

#tags

[boymeetsworldthings]

They Still Don’t Care About Us: Michael Jackson’s Song and How It Has United the Black Community

This is an essay I wrote in 2017 for my Heavy Music university class:

An artist’s goal in creating music is often to express themselves by producing music that they like and that they think people will enjoy; nobody did this as well as Michael Jackson, whose fun and catchy music remains timeless. Michael J. Jackson was born in 1958 to African-American working-class parents. At a young age, as a member of Jackson 5, Michael stunned audiences with his “ability to convey complex emotions”, and would continue to do so with his solo career that would propel him to unimaginable fame (“Michael Jackson Biography.”). He garnered many awards, and much praise for his work in the late 70s and early 80s; but he became a target for a new kind of attention in the late 1980s when controversy surfaced about his strange behaviour, his experimentation with plastic surgery due to burns he had suffered while filming a commercial, and whether or not he was deliberately lightening his skin (“Michael Jackson Biography.”). The decline of Jackson’s career began in the 90s, when more controversy surfaced, this time concerning child sexual harassment allegations, more eccentric behaviour, loss of finances, etc. Michael’s life was then cut short in 2009, when he suffered a heart-attack, brought on by a lethal combination of drugs, something that would later be ruled a homicide.

Although the 90s were not a good time for Michael, he continued to remain active in the music industry, releasing Dangerous and HIStory: Past, Present and Future Book I (“Michael Jackson Biography.”). Both these albums saw Jackson become more vocal about social and political issues through his lyrics and music videos, but the latter album more so. He became a voice for an array of issues, from the environment, to war and AIDS; but he also acted on things he believed in, such as giving aid to his country after 9/11 through charity and concerts, and helping Sarajevo during times of war by doing the same (Anderson). He also became a voice for race relations, and was important to African-Americans. He broke down racial barriers, becoming one of the first African-American global icons (Alban). Even amid the controversy of his skin becoming lighter (which turns out to have been the result of the skin condition vitiligo) - a sign for many that he was trying to erase his blackness or heritage- he still remained extremely important to African-Americans, because “his work was always in conversation with black culture both in the United States and more globally” (Alban), which served as a voice for the black community around the world. A song in particular that displayed such passion and awareness from Michael, is the song “They Don’t Care About Us”, off of his HIStory: Past, Present and Future Book I 1995 album. The song speaks about the injustice and violence that African-Americans face(d) at the hands of law enforcement, the American government and judicial system. Although one would usually not think of Michael’s music as “heavy”, this song is different from Michael’s usual upbeat dance songs or beautiful ballads. Its powerful beat and angry vocal delivery, make it sound “heavy”, and more importantly, if “heavy” is defined as being important or serious in nature, the lyrics can also be seen as such, since they deal with the delicate issues of racial violence and mass incarceration. These issues are still present in society today, and are in fact on the rise since the 1990s (Kyriacou) (N. Smith). This is not just the case for the United States, but also other countries, like Brazil (Alves 231). The recent and growing violence and murder of black men has therefore led to the formation of the group Black Lives Matter (“About the Black Lives Matter Network.”), who has used “They Don’t Care About Us” at protests in different countries (Caulderwood) (Kyriacou). Groups like Black Lives Matter feel frustration, anger and passion because of what is happening, and so did Michael when he wrote and sang the song. Part of the reason why this song remains timeless, and why groups like Black Lives Matter might feel it’s useful, is because both Michael’s use of heavy lyrics and sound to convey shared and potent emotions, along with ambiguous lyrics, contribute to the feeling of unification and strengthening of the protesters, and anyone else active in anti-black racism movements.

There are three different versions to the song, the original recorded version, the Brazil music video version, and the prison music video version; they are all quite similar, except for the length and some added or omitted sounds. In the Brazil version, the song starts off with collective chants and claps from girls saying “all I wanna say is that they don’t really care about us”. This is proceeded by sounds that can be described as stretched out and distorted, which lead the listener into the meat of the song: a pattern of orderly beats that continue throughout the whole song, where emphasis is placed on the middle beat. These beats that mimic clapping provide the structure to the way Michael choppily and coarsely sings some of the lyrics, as if each middle word is a punch, perhaps indicating or mimicking the violence of which the song speaks about. For example, in the opening lyrics (which get repeated), “skin head, dead head/everybody gone bad”, emphasis is placed on “dead” and “gone”. These two words are of course significant, both synonyms for each other, meaning something no longer exists, which would be the worst-case scenario for a violent situation between a citizen and member of law enforcement. Although there is only emphasis on some words, which give off that punchy feeling, the whole tone of the song is angry and Michael sounds aggravated, almost spitting and growling the lyrics, even yelling at some points. At the 0:31 mark, a police scanner can be heard in the background; and at the 1:08 and 1:11 mark, a distorted sound breaks through. Starting at the 0:52 mark, when Michael sings “all I wanna say is that they don’t really care about us”, melancholic music is heard in the background, and this becomes the case each time these lines are sung. This music becomes more prominent starting at the 1:24 mark, and at the 2:09 mark it plays for the remainder of the song. Both at the 1:33 and 2:04 marks Michael screams, and at 2:57 sonic chaos ensues: a blast of sound is heard, along with screaming, distorted guitar playing, and rapid keyboard playing. At the 3:43 mark, there is collective singing and clapping. At 4:19 more guitar playing is heard; and at 4:37, Michael screams one last time to finish off the song. While most of the lyrics contain the word “me”, they also contain the word “us”; and although “me” would refer to Michael since he wrote the song, “me” can actually refer to anyone since anyone can sing the song. Perhaps Michael intended to personalize the lyrics for everyone who felt like they could relate. Using both singular and plural forms, allows a single person to feel like they are part of a collective, and not the only one feeling a particular way. Essentially, since the lyrics remain ambiguous, almost anyone who feels like they’re a victim can sing the song and feel connected to anyone else who feels victimized.

Michael felt growing racial tension in 90s, both because of what was going on around him and his own experience. Michael was a victim throughout much of his life for many different reasons, one of them being the controversy surrounding his lightened skin. And so he too was attacked, in some form or other, because of the colour of his skin, much like Rodney King was in 1991. Four white Los Angeles police officers severely beat Rodney- a black man, striking him about 50 times, nearly killing him, and used racial slurs in the process. The acquittal of the police officers by an all-white jury, and the violence itself, caused many riots in Los Angeles; eventually, two of the police officers were found guilty and sentenced (“Rodney King dead at 47.”). This event is believed to have inspired Michael Jackson to write “They Don’t Care About Us” (Anderson), since it was released four years after the incident, and part of the footage of the beating is featured in the song’s prison version music video. The prison video came out after the original video, which was filmed by Spike Lee in a favela (meaning “slum” in Portuguese [“Favela- definition.”]) in Rio de Janeiro, Brazil (“Michael Jackson’s 20 Greatest Videos: The Stories Behind the Vision.”). But much like everything else in Jackson’s later life, it generated its own controversy. Many Brazilians, politicians, representatives, etc., said that having the video filmed there would “damage the city’s image”, because it would be “show[ing] the bad side [of Rio]” (Schemo). But it would end up having a much more positive effect. The filming of the video brought excitement to the lives of the residents, and some much needed publicity (Schemo). After the filming, the conditions of the favela started to improve, the “[drug dealers disappeared and] a massive social project [began]”, and this is mostly credited to the publicity that Michael Jackson provided (“Michael Jackson’s 20 Greatest Videos: The Stories Behind the Vision.”). The song’s tie to Brazil is much more important than a music video though. Some residents were right in saying that what the government really didn’t want was for people to see the conditions in which favela residents lived in, one resident saying that “they really don’t care about us” (Schemo). Therefore the residents of the favela were able to relate to the song then, and black residents in particular, are now able to do so even more. Brazil, like the United States, has always had a problem with black men and women being targets for police brutality and mass incarceration (Alves 230-231) (Chaney 481). But in recent years, it has gotten worse. The black prison population in Brazil, as of 2012, stood at 53 percent, and 60.48 percent of women placed behind bars are black (Alves 231-232). Brazil’s Black Movement, which perhaps can be seen as Brazil’s own kind of Black Lives Matter, has said that “police violence is one of the primary threats facing the black Brazilian community today” (C. Smith), and according to a study, Brazilian “men of African descent with the darkest skin, are 2.4 times more likely to be victims of police abuse than any other subset of the population across the country” (C. Smith). As can be seen, the statistics stack up to prove how disproportionate the numbers are, meaning blacks in Brazil must be racially profiled. Brazilian “black activists have identified permanent violence against blacks as an essential dimension of Brazil’s regime of exclusionary citizenship” (Alves 231). This brings to mind the situation in the United States whereby wrongfully imprisoning blacks allows for them to be criminalized, and therefore stripped of their rights and treated as second-class citizens (Alexander 12-13). Michelle Alexander states that “one in three African-American men will serve time in prison if current trends continue” (Alexander 9), a staggering amount which shows how urgent and important this issue is. Alexander argues that since the judicial and legal system allow for people to be denied their rights once they are convicted, and since blacks are more likely to serve time, and/or are wrongfully imprisoned, this system serves as “the New Jim Crow” (Alexander 12-13). And mass incarceration is not the only thing that elicits Jim Crow era times; police violence towards blacks is also reminiscent of the era (N. Smith). Where public lynching, beatings and general violence towards blacks was frequent during the 1960s, young black men killed by American police has climbed to its highest rate in 2015 (Kyriacou). Again, the beating of Rodney King in 1991, was largely what inspired Michael to write “They Don’t Care About Us”; but that was just one instance of violence between blacks and white law enforcement officers, as the War on Drugs in the 80s and 90s put a lot of police officers on high alert for black offenders. The War on Drugs saw drug-related arrests and convictions rise, most importantly in the black community, and it was the War on Drugs that made prison inmate numbers drastically increase (Alexander 6), implying that the mass incarceration of blacks is largely due to the War on Drugs. Many theorists and activists liken this War on Drugs, and the violence that accompanies it, to genocide. They do so because they believe it is a government plan to get rid of the black community (Alexander 5-6). For example, crack-cocaine was the drug that ran rampant in inner-city black neighborhoods during these times, and in 1998, the CIA admitted to allowing illegal drugs to be smuggled into the United States (Alexander 6). So if the government was allowing drugs that they knew were making their way, largely into black communities, who is to say it was not on purpose so that blacks could be arrested and prosecuted? The police violence itself towards the black community today, and the poverty- that a long history of racial discrimination and segregation has created- that plagues the black community, have also been compared to genocide (“About the Black Lives Matter Network.”). In fact, the Brazilian Black Movement also calls police violence towards blacks, a form of genocide as well (C. Smith). Perhaps this is why Michael Jackson uses the controversial lyrics “Jew me/kike me” in his song: to liken the experience of racial discrimination the Jews faced upon immigrating to the United States (Pearson), to that of blacks. And he could have been likening the experience of Jews who have experienced genocide, to the genocidal conditions that blacks experienced when they were (and still are) killed and imprisoned based on the colour of their skin. While extreme, the derogatory term elicits the slurs that are used to refer to blacks, thus bringing to attention what is going on in the black community.  As has been shown, the experiences that the American black community faces are not solely unique to them; the Brazilian black community deals with very similar issues. By having filmed the music video in Brazil, particularly in a favela, a place where the residents feel like they’re not cared about, Michael unites the Brazilian black community with the American one, at the same time bringing to light these issues that both communities face. And once again, the ambiguous lyrics that do not specify place, time or anything else of the matter, allow both Brazilians and Americans to make themselves the subject of the song, thus uniting themselves. The expressing of this shared experience is facilitated through the use of heavy lyrics and sound. It doesn’t need to sound like a typical pop song to be liked, because its purpose is to be heard, and to transmit a message, which it does perfectly, or else it would not be listened to, much less used for political and civil rights reasons. When the song plays at Black Lives Matter protests, they can be sure that they will be heard, with the songs heavy drum beat that also helps to rile up the protesters. Although there have been no known instances of black Brazilians using the song, they are still connected to it through the music video, a connection that will remain eternal, in the hearts of the Brazilians who were there for the filming, and through the preservation of the music video. The song thus comes to represent a connection between targeted black communities, and the fight that will not stop until justice is served and these issues no longer exist. The song itself through its sounds and lyrics also represents and portrays the violence the black community has to, and has endured. The sounds heard are not soothing, and can be said to “assault” the ears; perhaps reflecting the literal assault that occurs when a blow or gun shot is delivered to the body of a black person. This feature makes people who hear the song pay attention to it, hopefully getting them to listen to the lyrics, which include several words that denote violence, such as “dead”, “shot”, “beat”, “kill”, “kick”, “hit”, etc., along with Jackson’s use of the onomatopoeia “bang bang” to mimic a gun shot. All this is used to paint a graphic picture, one that is very real to the black community of Brazil and America, who through this song can unite, fight and come out stronger than if they were not united.

Ultimately, through the display of growing violence and injustices that the black community faces in places like Brazil and the United States, the title of Michael Jackson’s song is confirmed. It seems that if they did care, the problems that Michael Jackson sang about in the 1990s would no longer be a problem today in the 21st century, or at the very least, there would be a stronger effort from the government and law enforcement to aid in the curtailment of them, instead of contributing to the worsening of them. For now, Michael’s song will have to serve as a reminder, and as a tool to keep fighting.

#michael jackson black history month music

[poetyca]

The Smiths- Hatful Of Hollow (1984)

[youtube https://youtu.be/ymwJBgcYrIM]

Gli Smiths sono stati un gruppo alternative rock inglese, formatosi a Manchester nel 1982.

Raggiunta la popolarità nel corso degli anni ottanta, hanno avuto grande influenza nello sviluppo della musica rock degli anni successivi ed un notevole seguito di pubblico. Il gruppo si è sciolto nel 1987.

I componenti erano Morrissey alla voce, Johnny Marr alla chitarra, Andy Rourke al basso, e Mike Joyce alla batteria.

https://it.wikipedia.org/wiki/The_Smiths

The Smiths were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke and drummer Mike Joyce. Critics have called them the most important alternative rock band to emerge from the British independent music scene of the 1980s.[1] Qmagazine’s Simon Goddard argued in 2007 that The Smiths were “the one truly vital voice of the ’80s”, “the most influential British guitar group of the decade” and the “first indie outsiders to achieve mainstream success on their own terms”.[2] The NME named the Smiths the “most influential artist ever” in a 2002 poll, even topping the Beatles.[3]

Based on the songwriting partnership of Morrissey and Marr, the group signed to the independent record label Rough Trade Records, on which they released four studio albums, The Smiths (1984), Meat Is Murder (1985), The Queen Is Dead (1986) and Strangeways, Here We Come (1987). Four of their albums (including three studio albums) appeared on Rolling Stone’s list of the 500 Greatest Albums of All Time. They have also released several compilations, and numerous non-LP singles.

The Smiths had several singles reach the UK top twenty and all four of their studio albums reached the UK top five, including one which topped the charts. They won a significant following and remain cult favourites, although they had limited commercial success outside the UK while they were still together. The band broke up in 1987 and have turned down several offers to reunite.

The band’s focus on a guitar, bass, and drum sound, and their fusion of 1960s rock and post-punk, were a repudiation of synthesizer-based contemporary dance-pop – the style popular in the early 1980s. Marr’s guitar-playing on his Rickenbacker often had a jangly sound reminiscent of Roger McGuinn of the Byrds.[4] Marr’s guitar-playing influenced later Manchester bands, including The Stone Roses and Oasis. Morrissey and Marr’s songs combined themes about ordinary people with complex, literate lyrics delivered by Morrissey with a mordant sense of humour.

https://en.wikipedia.org/wiki/The_Smiths

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[poetyca]

The Smiths- Hatful Of Hollow (1984)

[youtube https://youtu.be/ymwJBgcYrIM]

Gli Smiths sono stati un gruppo alternative rock inglese, formatosi a Manchester nel 1982.

Raggiunta la popolarità nel corso degli anni ottanta, hanno avuto grande influenza nello sviluppo della musica rock degli anni successivi ed un notevole seguito di pubblico. Il gruppo si è sciolto nel 1987.

I componenti erano Morrissey alla voce, Johnny Marr alla chitarra, Andy Rourke al basso, e Mike Joyce alla batteria.

https://it.wikipedia.org/wiki/The_Smiths

The Smiths were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke and drummer Mike Joyce. Critics have called them the most important alternative rock band to emerge from the British independent music scene of the 1980s.[1] Qmagazine’s Simon Goddard argued in 2007 that The Smiths were “the one truly vital voice of the ’80s”, “the most influential British guitar group of the decade” and the “first indie outsiders to achieve mainstream success on their own terms”.[2] The NME named the Smiths the “most influential artist ever” in a 2002 poll, even topping the Beatles.[3]

Based on the songwriting partnership of Morrissey and Marr, the group signed to the independent record label Rough Trade Records, on which they released four studio albums, The Smiths (1984), Meat Is Murder (1985), The Queen Is Dead (1986) and Strangeways, Here We Come (1987). Four of their albums (including three studio albums) appeared on Rolling Stone’s list of the 500 Greatest Albums of All Time. They have also released several compilations, and numerous non-LP singles.

The Smiths had several singles reach the UK top twenty and all four of their studio albums reached the UK top five, including one which topped the charts. They won a significant following and remain cult favourites, although they had limited commercial success outside the UK while they were still together. The band broke up in 1987 and have turned down several offers to reunite.

The band’s focus on a guitar, bass, and drum sound, and their fusion of 1960s rock and post-punk, were a repudiation of synthesizer-based contemporary dance-pop – the style popular in the early 1980s. Marr’s guitar-playing on his Rickenbacker often had a jangly sound reminiscent of Roger McGuinn of the Byrds.[4] Marr’s guitar-playing influenced later Manchester bands, including The Stone Roses and Oasis. Morrissey and Marr’s songs combined themes about ordinary people with complex, literate lyrics delivered by Morrissey with a mordant sense of humour.

https://en.wikipedia.org/wiki/The_Smiths

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#WordPress

[poetyca]

The Smiths- Hatful Of Hollow (1984)

[youtube https://youtu.be/ymwJBgcYrIM]

Gli Smiths sono stati un gruppo alternative rock inglese, formatosi a Manchester nel 1982.

Raggiunta la popolarità nel corso degli anni ottanta, hanno avuto grande influenza nello sviluppo della musica rock degli anni successivi ed un notevole seguito di pubblico. Il gruppo si è sciolto nel 1987.

I componenti erano Morrissey alla voce, Johnny Marr alla chitarra, Andy Rourke al basso, e Mike Joyce alla batteria.

https://it.wikipedia.org/wiki/The_Smiths

The Smiths were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke and drummer Mike Joyce. Critics have called them the most important alternative rock band to emerge from the British independent music scene of the 1980s.[1] Qmagazine’s Simon Goddard argued in 2007 that The Smiths were “the one truly vital voice of the ’80s”, “the most influential British guitar group of the decade” and the “first indie outsiders to achieve mainstream success on their own terms”.[2] The NME named the Smiths the “most influential artist ever” in a 2002 poll, even topping the Beatles.[3]

Based on the songwriting partnership of Morrissey and Marr, the group signed to the independent record label Rough Trade Records, on which they released four studio albums, The Smiths (1984), Meat Is Murder (1985), The Queen Is Dead (1986) and Strangeways, Here We Come (1987). Four of their albums (including three studio albums) appeared on Rolling Stone’s list of the 500 Greatest Albums of All Time. They have also released several compilations, and numerous non-LP singles.

The Smiths had several singles reach the UK top twenty and all four of their studio albums reached the UK top five, including one which topped the charts. They won a significant following and remain cult favourites, although they had limited commercial success outside the UK while they were still together. The band broke up in 1987 and have turned down several offers to reunite.

The band’s focus on a guitar, bass, and drum sound, and their fusion of 1960s rock and post-punk, were a repudiation of synthesizer-based contemporary dance-pop – the style popular in the early 1980s. Marr’s guitar-playing on his Rickenbacker often had a jangly sound reminiscent of Roger McGuinn of the Byrds.[4] Marr’s guitar-playing influenced later Manchester bands, including The Stone Roses and Oasis. Morrissey and Marr’s songs combined themes about ordinary people with complex, literate lyrics delivered by Morrissey with a mordant sense of humour.

https://en.wikipedia.org/wiki/The_Smiths

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#WordPress