#đ¤ Music Artistsâ Composition and Communication
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đ¤ Music Artistsâ Composition and Communication
Overt and Subliminal Tactics and Techniques
Intro
This essay is an update of The Collective (Un)conscious in Music & Media. It is more concise and directed in light of newly developed information like ETM, ETM2, The Blue Treatise, etc. As you will come to see there are different forms of linguistics, lyrics, music, imaging and cinematic semantics and mirroring. What we will explore are the various forms those semantics and mirroring portray themselves and try to make sense of what most people donât even know occurs or exists.
Influence
âIf I have seen further it is only by standing on the shoulders of giants.â - Sir Isaac Newton
When we think about music we think of our favorite composers. Â No matter what genre though your favorite artist got their start learning from someone that came before them. Doing things like learning another artist's songs and what their favorite cords, words, phrases, or metaphors are, will mold the proceeding artist in their image. As with anything familiar, their artistry will be âimprintedâ in their mind.
Recognizing Similarities
I will be focusing on hip-hop but as long as I know the proceeding artist I can tell how the succeeding artist has been influenced. For an example, in song, you can tell Avril Lavigne was heavily influenced by Alanis Morissette; just listen to âHead Over Feetâ and then âComplicated.â As an example in rap, Asher Roth talks about how he thinks heâs been successful because he sounds like Eminem as described in the track âAs I Em.â Those are vocal examples, musically some artists and bands use other bandâs work explicitly and deliberately. For example, Crazy Townâs âButterflyâ is just a riff from The Red Hot Chili Peppers âPretty Little Ditty.â
I heard âButterflyâ when I was in grade school but never knew it was from TRHCP until College. I knew the first time I heard âPretty Little Dittyâ though that it was the same musical riff as âButterfly.â Iâve shown this to a couple people that have heard both songs and they couldnât tell it is the same musical progression. If the lay-person doesnât recognize this, as we go deeper into the human mind, it should become more and more self evident that the similarities between various musical and lyrical associations become harder and harder to see!
Musical Samples
What most people donât see are music similarities known as âsamplesâ which are small snippets of work from anotherâs artistry. Some examples of obvious samples are Kid Cudi sampling Lady Gagaâs acoustic version of âPokerfaceâ in âMake Her Sayâ or Mac Miller sampling Nas in âNikeâs on my feet.â
Music artists often take a certain sounds and create a whole new musical piece, creating an original work from a classic or a classic from an otherwise unknown original work. Often the sampled classic become a classic. Kid Rockâs âAll Summer Longâ sampled from Lynyrd Skynyrdâs âSweet Home Alabamaâ is a great example. Â
Copyright
Musical sampling happens so often certain sounds (and phrases) are considered intellectual property and are copyrighted by the originator. If you do not credit or pay for the rights to use the sampled sound of a copyrighted work the originator can sue for damages. The most quintessential example of this is Vanilla Iceâs âIce Ice Babyâ and Queenâs âUnder Pressure.â
Less noticeably, Mac Miller was sued for "Kool Aid & Frozen Pizza" because he didnât clear samples from Lord Finesse's 1995 single "Hip 2 Da Game." More famously, controversial, and recent this type of copyright infringement sampling happened to Robin Thicke who âripped offâ Marvin Gaye's 1977 hit "Got to Give It Up" when he wrote the smash hit "Blurred Lines" with Pharrell Williams and T.I.
These examples are either obvious, identifiable, or published in the news because itâs protected and institutions get involved in protecting their property. But to people or the regular person, they canât tell, donât care, and/or have no idea (Robin Thicke sampled Marvin Gaye, for example)! ...and why should they?
Understanding Metaphors in Hip-Hop
There are other ways artists share without having to worry about copyright. For example, besides creative commons, in hip-hop, artists use metaphor and samples to communicate in music. The following are common metaphors, themes, tropes, or cliches in hip-hop that are (pretty) universally used (to show talent and ability).
The âLabâ = Producing Hip-Hop, example:
âWhat, cause I been in the lab, wit a pen and a pad, try���na get this damn label offâ - Forgot about Dre by Dr. Dre
âBack to the lab again yo, this whole rhapsodyâ - Lose Yourself by Eminem
âI be in the Labâ by G-Eazy
âWhippingâ it in âthe Kitchen,â example:
âCatch me in the kitchen, like a Simmons whippin' pastryâ - Empire State of Mind by Jay-Z
âI throw down in the kitchen might hit your mom with my omeletteâ - Despicable by Eminem
"Woke up in the kitchen and I started mad whippin'" - Whippin' by Gucci Mane
Voltron/Weapons Capabilities of Transformers, example:
âCome on, you know the 'Tics connect like Voltron Collect so much grass, popo thinking we mow lawns.â - Shake Ya Tailfeather by P. Diddy
âBut I form like Voltron and blast you with my shoulder missilesâ - Just Donât Give a F#$k by Eminem
"We form like Voltron, and GZA happen to be the head" - Can It Be All So Simple by Wu-Tang
âI'm a beast when you turn me on into the future cybertronâ - Boom Boom Pow by The Black Eyed Peas
âSleep on Meâ is so cliche I donât need any examples.
To identify metaphors you need to be able to recognize certain words and phrases and how they associate to one another. Another factor is the music. Like what is the tone/mood, is it reflecting another work, etc.? If youâd like to know how rappers use and write metaphors watch this video from the pro Novi Novak himself!
Lyrical Samples
There are musical samples but there are also lyrical samples. When it comes to âsamplingâ you have to be able to recognize patterns! Lyrical sampling is when you take another artistâs cadence (i.e. flow) and make your own (new and original) lyric progression. This typically starts with the first line from the original, sampled lyric followed by original lyrics in the same cadence (flow) as the sampled work. Some examples of sampling are as follows.
Drake samples Dead Prezâs âItâs bigger than Hip Hopâ in âOverâ starting with the lyric, âOne thing bout music when it hit you feel no pain.â G-Eazy samples Kanye Westâs âStrongerâ in âLetâs Get Lostâ starting with the lyric âLetâs get lost tonight.â Rita Ora is sampling Biggie Smallsâs âParty and Bullshitâ in âHow We Doâ ...and 50 Centâs is sampling 2pacâs âPicture me Rollânâ in âPlaces to Go.â
Artistic Communication
In music, especially in hip-hop, there is a form of artistic communication in musical, linguistic, and visual mirroring or responding. Sampling is usually a sign of respect and admiration. Some examples of positive linguistic artist communication is how Sublime honors KRS-One in their song âKRS-One,â Royce Da 5â9â honors Eminem in âLighters,â Eminem honorâs Dr. Dre in âI Need a Doctor,â Taylor Swift honors Tim McGraw in âTim McGraw,â or The Notorious BIG and Macklemore honors all of hip-hop in âJuicyâ and âAt the Partyâ respectively. Â An example of positive visual communication is how Justin Timberlake honors Michael Jackson posthumously in âLove Never Felt So Good.â
Biting
Biting is when you sample but âflipâ the words/sentiment to make them negative or pejorative (i.e. a diss). Â Biting is more of a competitive condescending back-talk. Biting or negative artistic communication is all too common especially in hip-hop where itâs rampant and (almost) expected. Â Some historic examples of negative linguistic artist communication are 2Pacâs âHit Em Upâ and The Notorious BIGâs âWho Shot Ya,â Nasâs âEtherâ and Jay-Zâs âThe Takeover,â Ja Ruleâs âLoose Changeâ and Eminemâs âHailieâs Revenge.â
A less serious (showboating) example of negative visual artistic communication is how Hopsin makes fun of Tyler The Creatorâs âYonkersâ in âIllmind of Hopsin 4.â Then The Game copyâs Hopsinâs look in âMartians Vs. Goblinsâ and Hopsin âcalls-outâ The Game for it in âHop Madness.â
Subliminal Artist Communication
The previous examples in the âArtistic Communicationâ section were examples of overt artist communication. This makes sense because why would you subliminally honor an artist, if you like or love that fellow artist? You wouldnât, youâd want to make it known. However, when it comes to biting (in contemporary artistry) the negative communication turns subliminal.
To be explicit, notice how Hopsin makes his communications overt and says the artistâs names and mirrors them while the mainstream artists never official say they are talking to Hopsin although itâs obvious once pointed out. This is done so the bigger mainstream artist (Tyler The Creator and The Game) doesnât give attention to the independent artist (Hopsin). If you think about it, a mainstream artist gains (almost) nothing by mentioning a smaller independent or underground artist. These are the reasons why I believe subliminal artistic communication overwhelmingly, if not always, is negative and artistic communication between mainstream and independent artists remain subliminal.
Subliminal Examples
Another example of subliminal artist communication is how Immortal Techniqueâs âReverse Pimpologyâ is (in my profession opinion) a response to 50 Centâs âP.I.M.P.â for reasons that should be/sound obvious in the songs similarity, region, and lyrical insinuation. An example of an obvious but subliminal mainstream negative visual artist communication is when Taylor Swift literally bites Kanye West visually in âLook at What You Made Me Doâ by making fun of his bottom row of diamond encrusted gold fronts. Â
There are other reasons to keep your influences, mirroring, and âartistic theftâ hidden and subliminal. Lady Gagaâs âBorn This Wayâ famously and controversially came from Madonnaâs âExpress Yourself.â Bruno Mars definitely is insinuating the word âpleasureâ in his song âTreasureâ but probably only used that choice of words as to not be restricted from radio or other airplay for being explicit or obscene (because America sees it obscene to give women pleasure). Finally, Eminemâs Despicable is a freestyle over Drakeâs âOverâ beat and was Eminemâs way of protecting his throne at the top of the chart and showing he was a better artist than Drake who was a threat on the charts and awards at the time when both âRecoveryâ and âThank Me Laterâ were released in the same year.
Eminemâs Subliminals
The most famous example of overt artist communication turned subliminal is between Mariah Carey and Eminem. After Eminem and Mariah Carey were done dating Eminem came out with a few songs mentioning Mariah, notably "Bagpipes from Baghdad." In what can only be deemed as a response Mariah put out "Obsessed" which features a shady character (pun intended) that looks just like Em in a room with posters full of Mariah obviously obsessing over her. Although Mariah never mentioned his name, Eminem responded with "The Warning" where he says "I'm obsessed now? Oh gee, is that supposed to be me in the video with the goatee?" ...which it obviously is.
People saw this subliminal communication and went, âduhâ but would you have noticed it if Eminem wouldnât have responded so overtly? What if you didnât know who Eminem was? The only reason people see the subliminal communication here is because they are both big name artists, Eminem made it obvious, and the events surrounding the communication were closely connected in time and suspect.
Taylor Swift Visual Sampling Example
We started with auditory sampling and we have now graduated into visual sampling as just discussed starting with the âBitingâ section. The most recent and relevant example of visual âsamplingâ in a music video is to look at what TIME magazine is saying about Taylor Swiftâs âLook What You Made Me Do.â I picked this article TIME wrote about Taylor visually sampling other artists to show it doesnât get any more normal and mainstream to connect and associate visual similarities and references. For example, TIME talks about what the dollar bill means in Taylorâs bathtub of diamonds and I agree with their assertion.
In other articles there are a lot of people saying that Taylor copied Beyonce because she has a bat in the âbank sceneâ like Beyonce does in âHold Up.â I personally see that as a stretch because the bat is an independent association with no other references (to âHold Upâ)! What would strengthen that argument is that people think the V formation in Taylorâs dance scene is actually copying Beyonceâs Superbowl dance formation but thatâs a stretch. Â Itâs more likely Taylor is copying the âVâ formation for âThe Mighty Ducks.â There are other articles about how Taylorâs cage scene is referencing Lindsay Lohanâs âRumorsâ but itâs just as likely she reflecting the cage scene from Miley Cyrusâs âCanât be Tamed.â However, I do agree with the consensus that Taylor is more likely referencing âRumorsâ IF she is reflecting either of them at all. Â
Visual Sampling
The best representation of a similar music video is Nick Jonasâs âChainsâ and Jay-Z and Kanye Westâs âNo Church in the Wild.â The music composition and the visual themes are very similar. They are both shot in widescreen, same style, hue/shade, and have the same props and characters. The music videos are so similar (in fact) I expect that both (music videos) were made by the same creator. They were both made by the same label, Universal Music Group (UMG).
Two other music videos that are also from the same parent label (UMG) and are in the same style, hue, and have the same themes are Taylor swiftâs âTroubleâ and Eminemâs âLove the Way You Lie.â Demi Lovatoâs music video âSorry Not Sorryâ is in the same style and format as âBeauty and the Beatâ by Justin Bieber. Â If you take away the fact that one is in black and white, thereâs a lot of similarities between G - Eazyâs âCalm Downâ and Drakeâs âThe Mottoâ which is unintentional due to the production coming from different labels (UMG and Sony respectively). Â Â
Canât Keep My Hands To Myself
The question becomes what does all this reflecting mean considering itâs coming from the same label, UMG? This isnât just mindless, random mirroring. Thereâs a deeper metaphor and narrative that UMG is creating/painting. As discussed in ETM2 itâs like playing balderdash where you have to associate words without using certain words or phrases. In the same respect UMG is playing balderdash with music videos and giving people ideas without their conscious recollections, which is what semantic priming is as discussed in ETM.
For example, we assume Selena Gomezâs character in the song âHands to Myself,â is in the house of the boy sheâs obsessed with, the one with the curly blonde hair. However, Rihanna's song âStayâ could be about the same curly haired blonde boy just over at Rihanna's place singing with her while Selenaâs breaking into his place and he shows up to catch her after he leaves Rihanna. The ending scene in âHands to Myselfâ could just represent what Selena wishes the reality would be while the actual reality is Selena getting arrested for trespassing. Although confusing, this is plausible, and seems to be a semantic mirroring regardless coming from the same parent label UMG.
To add to the complexity of UMGâs message it seems that Camila Cabelloâs âHavanaâ is (also) intentionally reflecting Selena Gomezâs âSame Old Love.â The music videos are very similar in cadence and composition and at the end of the âHavanaâ music video Camila says â...if you donât like my story, go write your ownâ after, what we can assume to be Selena Gomez, ends up alone.
UMGâs Societal Painting
The point I'm making and the question we must ask ourselves is what message is UMG trying to portray with all these similarities between music videos? What psychological conditions are UMG trying to create with the similarity between âNo Church in the Wildâ and âChains,â âTroubleâ and âLove the Way You Lie,â and âBeauty and the Beatâ and âSorry Not Sorry.â For example, both Taylor and Eminem have poor romantic reputations and their videos are similarly about the dismantling of love.
Considering The Fascist Capitalist Nazi Ideology journal we can assume the motivation and goal is pejorative. Its seems intuition and common sense would assume UMG is boguarding love and having these artists create their own mental blocks. As I ask in the Leo's Inception journal, Â why are the majority of these artists not married with a family?
Next Level
To be able to see the aforementioned itâs all about pattern recognition of all the various forms. However, there's a whole nother level in writing lyrics where you say something that sounds similar, imply it, omit it, say it without saying it, or give a double meaning. Â
An example of a double meaning is Uncle Kracker's âFollow Me.â Is it about love or cocaine? An example of just omitting words is in Eminemâs âToy Soldierâ when he says âI went my whole career without ever mentioning ___.â Itâs clear heâs talking about âSuge (Knight)â by the rhyme scheme in relation to his history and what heâs talking about, but he doesnât say it.
As an example of saying it without saying it (more subtle, but [what should be] just as obvious) is Taylor Swiftâs âPicture to Burn.â She says âSo go and tell your friends that I'm obsessive and crazy. That's fine, You wonât mind if I say... By the way, I hate that stupid oldâŚâ Itâs obvious sheâs implying she's going to âsayâ heâs âgayâ because what else would she tell everybody thatâs gonna hurt him and rhymes with say and way?
An example of saying something that sounds similar is when Taylor Swift says âmake fun of our axesâ in 22. She clearly means âaccents.â One of the most famous examples (thatâs probably unintentional) is from Taylor Swiftâs âBlank Spaceâ when she says âI have a long list of ex loversâ because everyone thinks she is really saying âstarbucks lovers.â Â
Some examples of songs that imply what you are saying is Miley Cyrusâs âWrecking Ball.â I swear everyone I tell this to says they see it and canât get it out of their mind afterwards! In her music video âWrecking Ballâ Miley is naked and crying as it sounds like sheâs saying âyou Ra-a-aped me.â Itâs almost as if the producers of the music video deliberately wanted the listener/viewer to make that connection in their head between her vulnerability, tears, and what it sounds like sheâs saying without saying it, and used those similarities to such a tragic event to (balderdash [as discussed in ETM2 and) sell records.
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