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struggle-but-its-all-ocean-floor · 1 year ago

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While I do enjoy bopping along to a lot of tracks on golden, I've been trying to put my finger on what makes me feel so disconnected from it. It's not just that he didn't write it, bc tae didn't write layover and it still felt like him. Even while jungkook likes this style of songs, the album says a lot about him as a vocalist but very little about him as an artist. I finally saw a review that articulated what I was feeling about it: https://www.pannchoa.com/2023/11/theqoo-jungkook-golden-izm-rating.html. Fair warning, it's pretty brutal in places (pls don't hate me for linking a critical review), but I'm linking it bc I thought it made some good points about the album and about hybe's strategy that may have led to it. Essentially what I feel is really lacking is that it doesn't bring you any closer to being able to hear a song and thinking, 'yes, that's a jungkook song.' Instead, 'that's a [insert random male vocalist] song.' Other than being sung well, they don't really feel like him at all. The closest is seven, and I think a lot of that is bc of the personality of the mv. It's vastly different from hearing my time for the first time, bc that is a quintessentially jungkook song.

It seems like jungkook was stuck in a creative rut when golden came to him, and I don't blame him for that or for focusing on growing as a vocalist rather than as an 'artist.' I do a little bit blame hybe for the disingenuousness of pulling together a bunch of songs and recording a whole album in approximately two weeks - in my mind, no matter how earnest jungkook is, which I really believe he is, that process can't really be about the music, it's about creating a product and seeing how far it can go as long as jungkook's face and voice is on it. Again, I believe jungkook when he says that he was in a bit of a rut and took this on as the performance challenge that it was, and I believe he genuinely wanted songs and an opportunity to perform for army, which this album gave him. My affection for him is unwavering despite my critique of golden, but I have a lot of criticism for hybe.

Idk, I have a lot of faith in bts as a group pulling back from whatever strategy encouraged the English trilogy - if they make more English only songs, I don't think they'll be as cookie-cutter top 40 pop as the trilogy was. Slapping bts or its members on top of a&r focus group songs are not what I want for the members and it's frustrating that hybe keeps on learning the wrong lessons

I saw a post about that review on Reddit. I'm sorry that I don't feel like reading the review - not because it's negative but because I'm being lazy - but I would give Golden 3/5 stars.

I mentioned in my own reviews of the album that it's hard to see JK in it. Seven, 3D and Hate You (because it sounds like Falling) probably sound the most Jungkook to me, especially Seven, but, like I also said once, this album is more about him as a singer and a performer than an artist. A lot of the songs sound like they were made for other people and it's a very random selection of songs. Most of them don't highlight Jungkook's best qualities, like his pretty voice and sentimentality, and his runs and harmonies and stuff. He still sounds good, but it's not very Jungkook and it makes me miss him and the feelings his other songs give me. Golden is a bit soulless for its title.

I can't only blame Bang PD and SB because Jungkook is an adult and he wanted to release an album for Army - I think he got excited about that and about just trying out being a pop star. I think the next time he releases an album it will be a lot more personal to him from a songwriting perspective, and maybe over time he'll share some reservations he had about Golden, because it feels like now he's starting to share a different side to the album production.

Bland pop songs keep outselling other ones so what is Hybe even supposed to take away from that tbh? That fans don't want Dynamite when it's BTS's biggest song? A lot of fans don't want another Dynamite but the fandom nearly doubled in size because of it. They know fans complain, but they also know what sells and as long as fans keep buying and consuming the songs, they don't care about the fans they upset...

I think the members aren't going to be interested in releasing songs like Dynamite when they come back, but I have no idea what kind of songs they want to make... I wouldn't be surprised at all by more English songs though.

#ask #bts #jungkook #golden #text #thanks for the ask!

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aspenrosearts · 7 years ago

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Melissa Reyes

Butterflies of Wisdom is a podcast where we want to share your story. We want to share your knowledge if you have a small business if you are an author or a Doctor, or whatever you are. With a disability or not, we want to share your story to inspire others. To learn more about Butterflies of Wisdom visit http://butterfliesofwisdom.weebly.com/ Be sure to FOLLOW this program https://itunes.apple.com/us/podcast/wins-women-of-wisdom/id1060801905. To find out more about Challenge Aspen go to https://challengeaspen.org. To see how Win walk and about Ekso go to http://www.bridgingbionics.org/, or email Amanda Boxtel [email protected].

On Butterflies of Wisdom today (Tuesday, September 12, 2017), Best-Selling Author, Win C welcomes Melissa Reyes. This blog is an opportunity for me to express myself creatively. This is a journal of hearing experiences and a place for her to connect with the people that Melissa meet along the way. Melissa’s vision is to help others, through friendship, guidance, coaching, consulting, and teaching while applying her gifts and talents to make a difference in our world. Melissa is learning new lessons all the time and experiencing new challenges along in her journey of life. She wishes to share her insights and light the way for others. . . in a fun and real way! Melissa does this by being open and accepting of all people and things that she encounters. She is always searching for new adventures. Melissa works full-time as an administrative assistant at a private middle school in sunny Southern California. She is married to her best friend of thirty years. Her sons are growing up fast and have become good-looking young men. Melissa’s favorite thing to do is meet people online through live streaming. She has a weekly talk show on Blab.im called Tinsel Town, where she interviews amazing people and lead discussions about positivity and living out your purpose. In Melissa’s spare time, she works on writing on her blog and on various projects. Melissa self-published her first book, This is the Sound of My Soul, in October 2013. She is looking for a publisher for a book of original poetry and MizMeliz-izms. Melissa is a certified professional life coach, and she enjoys hosting small groups and guiding people through the challenges in their lives, motivating and inspiring them to be happy and aspire for greatness. Melissa love living in Los Angeles, listening to music and watching TV and Netflix. You might see her driving along Pacific Coast Highway in her Jeep with the top down enjoying the sunshine and the sea air. To learn more about Melissa visthttp://mizmeliz.com/. To find out more about Win Kelly Charles visithttps://wincharles.wix.com/win-charles. To follow Win on Twitter go to @winkellycharles. To support Win on Instagram go to winkcharles. To assist win on Snapchat go to Wcharles422. To support win on Snapchat go to Wcharles422. To see Win's art go to https://fineartamerica.com/profiles/2-win-charles.html. Tom Cooke is Win’s new boss, and the world loves to help you. Cell: 360-556-7903 Email: [email protected]. Interview with Mel Marton: http://traffic.libsyn.com/winwisdom/LAF3494_08172017150526412_1189015.mp3. "Books for Books," you buy Win's books so she can purchase books for school. "Getting through school is a 'win' for her fans and a 'win' for her." Please send feedback to Win by email her at [email protected], or go to http://survey.libsyn.com/winwisdom and http://survey.libsyn.com/thebutterfly. To be on the show please fill out the intake at http://bit.ly/bow2017. Butterflies of Wisdom sponsored by Kittr a new social media tool that is bringing about new ways of posting on Twitter. It's fun, full of free content you can use, helps you schedule at the best times, is easy to use, and it will help you get more followers. Visit Kittr at gokittr.com. This is a 20% off code forwww.gracedbygrit.com. The code will be XOBUTTERFLIES. If you would like to support Butterflies of Wisdom go tohttps://www.patreon.com/wcharles. If you want to check out what Win’s friend, Dannidoll, is doing (a.k.a. Dannielle) go tohttps://www.facebook.com/dannidolltheragdollclown/?notif_t=page_invite_accepted&notif_id=1492366163404241. To learn more about Danielle visit http://www.dancanshred.com. For iOS 11 update: https://www.youtube.com/embed/HNupFUYqcRY. To learn about the magic of Siri go to https://www.udemy.com/writing-a-book-using-siri/?utm_campaign=email&utm_source=sendgrid.com&utm_medium=email. If you want to donate Butterflies of Wisdom, please send a PayPal donation to [email protected] or [email protected]. Please donate to Challenge Aspen or the Bridging Bionics Foundation. Please send a check in the mail so 100% goes to Bridging Bionics Foundation.

In the Memo section have people write: In honor of Win Charles. Please donate to the charity of your choice thank you in advance, Win.

Send to:

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Or donate online at https://challengeaspen.org.

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Thank you Win

Check out this episode! life of win

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wecappiam · 8 years ago

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‘Things Just Ain’t the Same’: HIP-HOP’s Reconstruction of the Gangster Rap Identity

Talib Kweli performing in Brooklyn/Red Bull Experiment (Photo credit: Wikipedia)

Gangster rap, or hardcore rap, is generally considered a sub genre of the larger category of rap music, which itself is a subcategory of hip-hop. Gangster rap is differentiable from other rap music in that it makes use of images of urban life associated with crime (Haugen, 2). According to the Encyclopedia Britannica definition of gangster rap, the top four images associated with the genre are violence, drugs, materialism and sexual promiscuity.

Gangster Rappers as Defining the Hip-Hop Social Group

As the hip-hop movement has gained recognition throughout the United States, it has established itself as one of the fastest growing social groups anywhere. In the late 1990s immediately following the murders of both Tupac Shakur and Christopher Wallace, two nationally known gangster rappers, a propaganda campaign escalated against rap music and the hip-hop culture (Slaughter). Although gangster rap only represented a small percentage of the hip-hop culture at the time, all hip-hop and rap music was instantly stereotyped negatively as being “gangter-like”. Why? Well, this gangster version of hip-hop was the highest selling and most recognized form of hip-hop music among the majority class. And many critics have determined that this is because America is in love with sex, drugs and violence (Whaley).

Hip-Hop’s Rejection of Inferior Social Group Status

Henri Tajfel, a social psychologist who developed a theory of inter-group relations and social change, argues that members of a social group deemed inferior by a majority class can either accept or reject their inferior position in society. If a group refuses to accept its inferior position in society as just, it will attempt as a group to change things (Coates, 8-9). A large number of hip-hop artists have used their musical lyrics to reject the inferior social status placed upon them by the majority class.

The Reconstruction of the Gangster Identity

I have found that hip-hop artists use lyrics, both musical and poetic, to redefine the negatives characteristics given to their culture by the majority class, and in the process, reconstruct the gangster identity. By examining these hip-hop and gangster rap lyrics as text, I will show ways in which the lyrics attempt to reconstruct the stereotyped gangster rap identity by examining different views of violence, drugs, materialism and sexual promiscuity. In the end, one tends to wonder: Who exactly are the real gangsters?

Violence

That the hip-hop culture represents gangster-like violence is perhaps the biggest disputed claim amongst hip-hop artists. In order to disprove this claim, many hip-hop artists have pointed to the violence that exists within the majority social group, and how it leads to violence all over the world.

In “Violence”, 2 Pac demonstrates his belief that violence was prevalent long before gangster rap existed:

I told em fight back, attack on society

If this is violence, then violent's what I gotta be

If you investigate you'll find out where it's comin’ from

Look through our history, America's the violent one

Here, the poet points to American society as “the violent one” and that he has to be violent in order to “fight back.”

In “Who Knew”, Eminem showed a similar viewpoint by expressing his belief that violence is a common occurrence in American society, yet not challenged in genres outside of the urban environment:

So who's bringin’ the guns in this country?

I couldn't sneak a plastic pellet gun through customs over in London

And last week, I seen a Schwarzaneggar movie

Where he's shootin’ all sorts of these bad guys with an Uzi

Here, the poet questions the existence of violence in a country that allows firearms and violent movies.

In “Casualties of War”, Rakim blames the United States government, specifically its Head of State, as the group causing the violence in society with their war-like ways:

I'ma get back to New York in one piece

But I'm bent in the sand that is hot as the city streets

Sky lights up like fireworks blind me

Bullets, whistlin’ over my head remind me...

President Bush said attack

Flashback to Nam, I might not make it back

In this text, the poet refers to our country’s decision to go to war as an example of the violence that exists amongst the majority social class.

In “The Watcher”, Dr. Dre redefines the negative characteristic of violence by pointing to the police force as the source of violence, and therefore, referring to them as “gangster-like”:

Things just ain't the same for gangstas

Cops is anxious to put people in handcuffs

They wanna hang us, see us dead or enslave us

Keep us trapped in the same place we raised in

Then they wonder why we act so outrageous

Run around stressed out and pull out gauges

Cause everytime you let the animal out cages

It's dangerous, to people who look like strangers

Here, the poet accuses the majority class of keeping them “trapped in the same place we raised in” and that the perceived violence is only due to the introduction of “people who look like strangers.”

These are examples of how hip-hop artists redefine the image of violence by showing how it exists or was created within the majority social group.

Drugs

Another common disputed stereotype of hip-hop artists is their use and distribution of illegal drugs. In attempts to redefine this negative characteristic, many hip-hop artists have pointed at the majority social group as the facilitator of drug abuse.

In “Justify My Thug”, Jay-Z speaks directly to members of government, raising questions about who has made the availability and use of these drugs possible:

Mr. President, there's drugs in our residence

Tell me what you want me to do, come break bread with us

Mr. Governor, I swear there's a cover up

Every other corner there's a liquor store - what is up?

In this example, the poet inquires as to why there is a liquor store in “every other corner” of his community.

In “I Want to Talk to You”, Nas uses the same approach to challenge the notion of drug distribution by asking his representatives what they would do in his situation:

Why y'all made it so hard, damn

People gotta go create their own job

Mr. Mayo,r imagine if this was your backyard

Mr. Governo,r imagine if it was your kids that starved

Imagine your kids gotta sling crack to survive

Here, the poet claims that the distribution of drugs is not only an effect of the poverty that exists in his environment, but also a means of survival.

In “Manifesto”, Talib Kweli actually accuses the government of being the body which allows drugs into the country:

Like the C.I.A. be bringin’ in crack cocaine bailin’ out of planes

With the George Bush connections, I push Reflection

Like I'm sellin’ izm, like a dealer buildin’ the system

Supply and the demand it's all capitalism

People don't sell crack cause they like to see blacks smoke

People sell crack cause they broke

In this example, the poet accuses the C.I.A. of flying drugs into the country, and again reiterates the point that it is a means of survival due to the “supply and demand” of a capitalist society.

In “Damn It Feels Good to be a Gangster”, the Geto Boys fully redefine the negative characteristic of drug distribution by accusing the President of being a drug dealer, and therefore, a gangster:

And now, a word from the President!

Damn it feels good to be a gangsta

Getting’ voted into the White House

Everything lookin’ good to the people of the world

But the Mafia family is my boss

So every now and then I owe a favor gettin' down

Like lettin' a big drug shipment through

And send 'em to the poor community

So we can bust you know who

These examples show how hip-hop artists redefine the image of being drug dealers and users by again pointing to the majority class as the creator of the drug problem in this country.

Materialism

Hip-hop music is also seen by the majority class as a genre dominated by materialism. Again, artists point back to the majority class in an attempt to redefine this negative characteristic.

In “Respiration”, Black Star points to all the wealth surrounding urban areas, and how it absorbs the lower class in materialism, making them want parts of that wealth:

Where mercenaries is paid to trade hot stock tips

For profits, thirsty criminals take pockets

Hard knuckles on the second hands of workin’ class watches

Skyscrapers is colossus, the cost of living

Is preposterous, stay alive, you play or die, no options

Here, the poet talks about various materialistic aspects of the majority class, and how the lower class must “play or die” to “stay alive.”

In “All Falls Down”, Kanye West actually blames this materialism on American society:

It seems we living the American dream

But the people highest up got the lowest self esteem

The prettiest people do the ugliest things

For the road to riches and diamond rings

In this example, the poet blames the “American dream” for materialism, saying it causes people to “do the ugliest things” for “riches and diamond rings.”

In “Los Angeles Times”, Xzibit also blames this materialism on the majority class, claiming that is what the youth are taught coming up in urban environments:

Welcome to L.A.

Where you can see the whole city burning

Cause the cops got Uzis and the dealers keep serving

And your kids ain't learning it, except this

Sex power and wealth, forget everything else

Here, the poet expresses his belief that certain aspects of materialism, including “power and wealth” are taught to children through occurrences in society.

These are examples how hip-hop artists redefine the negative characteristic of being materialistic by showing examples of how this materialism is prevalent in the majority class, and often created within that class.

Sex

And the final debated stereotype of the hip-hop social class is that they are sexually promiscuous, often leading to disrespectful treatment towards women. The poets also attempt to redefine this stereotype by blaming the core of the problem on society.

In “Pussy Galore”, the Roots claim that the country’s obsession with sex is pushed by sexually-driven marketing campaigns:

Lookin' out the limo window up at the billboards

200 miles, she was the only thing I saw

Promotin' everything, from the liquor to the nicotine

Cell phones, anti-histamines, chicken wings

You gotta show a little skin to get them listening

For real yo, the world is a sex machine

In this example, the poet retells a personal experience in which he saw sex advertisements as “promotin’ everything.” And in order to “get them listening”, he claims, “you gotta show a little skin.”

youtube

In “Get By”, Talib Kweli blames this sexual obsession on what we view on television:

The TV got us reachin’ for stars

Not the ones between Venus and Mars,

The ones that be readin’ for parts

Some people get breast enhancements and penis enlargers

Here, the poet expresses his belief that television creates a misconception of what people should be sexually, and that contributes to the promiscuity that is being blamed on the hip-hop movement.

Hip-hop artists have used their lyrics and poetry to influence the rejection and reconstruction of the gangster identity that plagues their social class. This is accomplished through the redefining of negative characteristics assigned by the majority class. In most cases, these redefinitions include pointing to the majority class as the real holders of these negative characteristics. The redefining of these “gangster-like” images through hip-hop lyrics helps to reconstruct the gangster identity by questioning “gangster-like” behaviors and which social class actually has these behaviors. So the question presented is: Who exactly are the gangsters?

Works Cited / Discography

2 Pac. 2Pacalypse Now. Jive Records, 1991.

Black Star. Mos Def & Talib Kweli are Black Star. Rawkus Records, 1998.

Coates, Jennifer. Women, Men and Language. Longman Publishing, New York: 1993.

Dr. Dre. The Chronic 2001. Interscope Records, 1999.

Eminem. The Marshall Mathers LP. Interscope Records, 2000.

Geto Boys. Uncut Dope LP. Interscope Records, 1999.

Haugen, Jason. “‘Unladylike Divas’: Language, Gender and Female Gangster Rappers.” Popular Music and Society: December, 2003.

Jay Z. The Black Album. Def Jam, 2003.

Kanye West. College Dropout. Roc-A-Fella Records, 2004.

Nas. I Am. Sony Records, 1999.

Rakim. Don’t Sweat the Technique. MCA Records, 1992.