It really is the most fabulous Britney has looked in a long time. She looks incredible. But the track somehow manages to be more dire than the original. Britney is even more out of place and has less to do, will.i.am sucks as always, and what the fuck is Diddy doing in this? His contributions are a joke.
Muse's "The 2nd Law" album is only 2.99 for the MP3 download on Amazon.
ETA. I'm sure most of you have this one already, but The Black Keys "El Camino" is 2.99 as well.
I could listen to this all night. Indeed, I have.
Originally Posted by VSW
I love, love it. Her mid-range is so good. Her voice sounds so clear and great.
It think it's great that she has gotten everything together and looks awesome again, but considering the song involved, it's kind of like admitting you think your garbage collector is hot.
WE'RE GONNA FIGHT!
This weekend...one last chance to save Halle's career from complete oblivion. Oh, wait...
"...it's already done."
#THECALL.
Yeah, she's looking great!
New Phoenix single
I can't believe I subjected myself to nearly 6 minutes of that trash. I mean by comparison, the original is a friggin' masterpiece.
Britney indeed looks great and better than she's ever been in a long time. Shame it's such a shit song. Also, why was her "turn this shit up" censored when everybody else was cursing their asses off.
LMAO, what happened to Lil Wayne? He's like the new Nelly. One massive album one moment and then barely relevant the next. Which is a shame, because he actually had potential to be a great artist, I mean his flow was sick and witty but he kept whoring himself out to guest rap for whoever irrelevant artist. Now, Nicki and Drake are eons more relevant (although Nicki's rep has significantly diminished, and Drake is just getting better).
So my suitemates and I today somehow ended up finding a list on Wikipedia of all the TRL #1s, and decided to start watching all these crazy boy band music videos. (We had a lot to do today clearly.) But man oh man, this one kind of blew our collective minds:
Like, the level of crazy in this video is off the charts, but the band's level of commitment to this nutso premise makes it something really special.
This has been a dispatch from 1998.
There was a time when I actually thought TRL mattered.
WE'RE GONNA FIGHT!
This weekend...one last chance to save Halle's career from complete oblivion. Oh, wait...
"...it's already done."
#THECALL.
I only distinctly remember watching it two times - once to see the debut of *NSYNC's "It's Gonna Be Me", and a second time at my cousin's house. We ended up having a dance party to D12's "My Band". TRL wasn't ever a fixture in my life, mostly because you really couldn't see the punkier/more alternative music videos until like two in the morning on MTV (when you could see them at all).
My teenage afternoons lived and died on things like whether Madonna/Beyonce/Kelly Clarkson moved up or down on the chart.
This probably should have foretold something incredibly sad and defective about my life...
WE'RE GONNA FIGHT!
This weekend...one last chance to save Halle's career from complete oblivion. Oh, wait...
"...it's already done."
#THECALL.
Apparently a lot of bands I liked were popular on TRL, by looking at this list. I just apparently watched them past midnight to seem more hardcore or something. ???
Yessss to this Tumblr poster regarding Macklemore:
http://pussyharvest.tumblr.com/post/...ckemore-song-iMackleless works with the same sort of view that society tends to have when discussing homophobia in music: hyperfocus on hip-hop/rap, vague/zero mentions of other genres. I shouldn’t have to point out that homophobia is virulent in hard rock, metal and country music/fanbases, and even in pop music. He talks about how [hip-hop/rap] ignores it, as if other genres do not ignore their homophobia or otherwise fails to comment on it.
He compares gay rights to civil rights and says there’s “no difference” between the two, cause it’s not like Black queers didn’t exist in those times and don’t exist today! I swear to God, this is the hardest point to drum into white queers/white heterosexual people. I am queer and Black, but my Blackness is not my queerness and oppression either identity face IN-TER-SECTS.
Oh, and he's a sellout:
http://www.slate.com/blogs/browbeat/...a_sellout.html
Elena
I think that tumblr post is a pretty poor criticism, honestly. I seriously can't stand arguments like, "it bothers me that a song written about (sic) a straight man about queer people is getting so much play, especially over voices in the queer community who, you know, actually live these lives and shit." Like, seriously. That sort of shit just rubs me the wrong way. Whether you're gay/straight/bi/queer/whatever-the-fuck you can have an absolutely valid viewpoint on homophobia, and how homophobia operates. Would it be nice if more queer voices were getting play? Yes. But that's not a valid criticism of this song. That's a criticism of the institution.
Being a song by a straight man for straight people isn't a bad thing, it's just a specific worldview that's being articulated and examined (and one that needs examined). Macklemore is very upfront and honest about his social locus; it's clear whose pov we're getting, and he never pretends anything else. A song by a straight man for straight people? That's more a flat, no-duh observation than a criticism. Having straight voices willing to speak up (especially as matter-of-factly as Macklemore does in Same Love) is as vital as also recognizing more queer voices.
The paragraph complaining about him singling out hip-hop is also poorly argued. Just because there's homophobia in country music doesn't mean that it's Macklemore's obligation to address that as opposed to the homophobia in hip hop. Going by this blogger's logic, if he's not gay, and therefore not supposed to write songs about homophobia, why should he write songs where he tries to discuss country music, since he's not a country musician? Of course he could, and, just like as a straight man he could have valid views about homophobia, he could have valid views about homophobia in country music. But we can't punish him for not making a song about that. Any more than we can punish any artist for not making a song about any socially important issue. None of these criticisms actually address this song. They simply punish it for not being about homophobia in other genres, and for not being written by a queer artist. The post is just largely a complaint that this ideal song the blogger has imagined doesn't exist, not actually a critical evaluation of this song.
The one criticism that I do think is valid and compelling is that Macklemore's comparison of oppression based on sexuality and oppression based on race is problematically simplistic, as it can reduce people's understanding of the incredibly complex web of social interaction and identity. No two oppressions are the same. Rather, they inform one another, compound one another, intersect, overlap, and on and on. But even here, the point of the analogy is clear (though simple): it's a matter of human rights; that's what people were fighting for during the Civil Rights movement, and that's what people are fighting for now. Which, again, is a pretty simple and maybe not a terribly insightful statement, but not an untrue one. He probably could have approached this issue more thoughtfully/carefully, but what he ends up saying is pretty clear, and I don't find it all that objectionable.
I like that a LOT.New Phoenix single
And Kupo, I agree 100% RE. Macklemore.
The new Phoenix single is just... alright.
But Scott Walker's Bish Bosch album is definitely outstanding!
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