Sample this song.WAIT, though, I came here just now to give y'all something to look at if you're not into American football, or to watch during halftime if you don't like The Who â?â? like say you're STILL pissed about Tommy on Broadway or you're not in a Peter Townshend type-a- mood, or if Baba O' Reilly makes you too sad now because it always reminds you of this awesome John Hughes medley video.WAIT WAIT WAIT though, that wasn't what I was gonna show y'all.Damn you, ADD! (And double damn: I hotlinked the word ADD to that David Hasselhoff recursion GIF in my first draft but it didn't work).My advice: so DVR the halftime and turn your attention to the changing face of world music.I'm not all that familiar with modern African music.And Frederic Galliano. & the African Divas.And I'm reluctant to refer to this next group as African.because they're white.Came to my attention from my friend Bruce's Facebook feed yesterday, and have apparently exploded all over due to bloggers way hipper than I, and now I'm sort of addicted to them. Fuck, this is like The coolest song I ever heard in my whole life Fuck all of you who said I wouldn’t make it Who said I was a loser They said I was a no one They said I was a fuckin’ psycho But look at me now: All up on the interweb World-wide, 2009 Futurista Enter the Ninja Yolandi Visser DJ Hi-Tek Die fokken Antwoord. NEW ORLEANS IS IN THE SUPER BOWL.
My current obsession at the moment is with the South African Zef crew Die Antwoord (or, “The Answer”). No autotune, just old-school (as in class of C+C Music Factory, a very recognizable bit of which they actually sample), four-on-the-floor acid house/rave beats topped with the surprisingly fluid and sometimes pretty funny rhymes of MC Ninja, and the cooings and chirpings of futuristically-hairdoed Yo-Landi Vi$$er, who reminds me of a really pretty troll doll.I don't know if I'm the person to answer that. Maybe I'm just highly susceptible to internet memes.But I'm enjoying the hell out of this one.Collaborators with progeria! "Dark Side of the Moon" underpants! The hell?Go to t heir website, it's really well-made and entertaining. Be sure to check out the "secret chamber."I'm not sure I understand them entirely. My Afrikaans is rusty.I do like that Ninja references Xhosa culture in the spoken into to "Enter the Ninja" (one of the most famous Xhosa was Miriam Makeeba - she sang primarily in Xhosa), though I recognize the perils of a white Afrikaaner appropriating black African culture.Partly because the incredible elasticity of hip-hop truly seems to be able to embrace anything: Die Antwoord is like an experimental project put together by Vanilla Ice, Aphex Twin and Harmony Korinne.And speaking of the "world music" angle, Die Antwoort would be good tour-mates for Gogol Bordello, if only to temper Eugene Hutz's undoubtedly awesome but somewhat self-important "I'm always angrily semi-explaining myself" celeb persona.
The tension here between aspects novelty and what’s contemporary becomes quite fertile as a mode of production. But what makes Die Antwoord so interesting is their ability to blur the distinctions between what’s real and what’s actually satire. Roger Ballen Keith Haring Die AntwoordFrom Weird Al Yankovic to Chromeo, parody is not a new device in pop music. The visual makeup of their debut video “ Enter the Ninja” is a hellish mix between the visuals of Roger Ballen and some sort of psychiatric ward version of a Keith Haring mural.
It is caught in a chain, and it’s meaning depends in part on its position in this chain.”It is within this line of thinking that I advocate for regulation married to James Boyle’s idea of purchasing copyright duration in short durations. In it, he states “with music derived from sampling, the sample no longer represents anything more than a salient point in a shifting cartography. While this notion was most famously illustrated by Roland Barthes in Death of the Author, it was made truly tangible to my generation by Nicolas Bourriaud in Post Production. Instead, it is always built from those cultural forms that preceded it. Wether in literature, film, art, music, product design, etc, etc, the product in question is never completely original.
He can say, ‘As Barbara Cartland would put it, I love you madly. Still, there is a solution. As Umberto Eco wrote in Postscript to the Name of the Rose “I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows he cannot say to her, ‘I love you madly,’ because he knows that she knows (and that she knows that he knows) that these words have already been written by Barbara Cartland. The greater the toolset made available to a generation of makers the greater the cultural output. The assertion that I could formulate my ideas centered around copyright and communicate them to you here without reference is of course absurd.
0 kommentar(er)
