#Lyrical themes: Rebellion Society Hate

[k-i-l-l-e-r-b-e-e-6-9]

𝔓𝔯𝔬-𝔓𝔞𝔦𝔫 - 𝔐𝔶 𝔗𝔦𝔪𝔢 𝔚𝔦𝔩𝔩 ℭ𝔬𝔪𝔢

[bryte-eyed-athena]

Afrofuturism in the work of Janelle Monáe

Ashley Clarke, a curator for the Brooklyn Academy of Music, defined Afrofuturism as “the centering of the international black experience in alternate and imagined realities, whether fiction or documentary; past or present; science fiction or straight drama.”

Themes of Afrofuturism can be found throughout the works of Janelle Monáe. Her previous albums like The ArchAndroid and The Electric Lady showcase this through the exploration of androids as a new “other.” Today I want to talk about one of her most recent projects, Dirty Computer, and the way it contributes to the conversation on Afrofuturism. Janelle Monáe released Dirty Computer as an album and a 48 minute long Emotion Picture to draw her audience into a visual and auditory world of her own making. The dystopian future she presents to us is very similar to our own current reality, except that the voices being amplified are those that have historically been silenced. People of color and the LGBT+ community are central in this story rather than pushed off screen. Dirty Computer is so powerful because it focuses on joyful rebellion, love, and freedom in an oppressive dystopian setting.

The project, as Monáe has shared, can be split into three parts: Reckoning, Celebration, and Reclamation.

Part I: Reckoning

gif credit: scificinema

gif credit: scificinema

The Emotion Picture begins with Monáe’s character Jane 57821 laying out how her society has begun to capture people deemed dirty in order to “clean” them of their supposed filth against their will. This is meant to produce beings that are stripped of all individuality and ready to conform to societal norms and expectations. Jane tells the audience that, “You were dirty if you looked different, you were dirty if you refused to live the way they dictated, you were dirty if you showed any form of opposition at all. And if you were dirty it was only a matter of time.” The dichotomy between dirty and clean has created a system where an entire class of people can be demonized and oppressed. This foreboding tone at the beginning prepares the viewer for the grim implications of the cleaning process in this universe.

Dirty Computers are strapped to a table and forced to undergo the “Nevermind” which is a program that deletes memories. It is a process that is horrifying because of what it symbolizes to the individual and entire communities of people. To erase someone’s memories is to erase who a person is. The character of Mary Apple 53, Jane’s love interest, shows us just how alien a person can become once their memories are gone. The horror of erasure is also something that marginalized communities have faced for centuries and continue to face today.

In an interview on Dirty Computer, Janelle Monáe said “I felt a deeper responsibility to telling my story before it was erased. I think that there’s an erasure - of us, and if we don’t tell our stories they won’t get told. If we don’t show us we won’t get shown.” Afrofuturism is a response to this erasure of black people and people of color in culture, history, and art. Monáe has made a deliberate choice to tell her story even if it might get erased because if she doesn’t do it then no one else will. Remaining silent would be to assist in that erasure and Afrofuturism is all about refusing to be erased.

This first part of the Emotion Picture is all a reckoning with the Dirty Computers and how they are pushed to the margins. The lyrics in Crazy, Classic, Life speak about how the same mistake made by two people on different ends of the spectrum of social acceptability is punished unequally. Take A Byte follows it with a more upbeat tone, but even then the lyric “I’m not the kind of girl you take home to your mama” speaks to a feeling of being outside social norms.

There are moments of light and joy that are counterweights to the dire situation Jane is in. These come in the form of her memories which are played one final time before they are erased. Jane’s life before she was captured was filled with exploration, youth, love and celebration.

Part II: Celebration

Gif credit: normreedus

Gif credit: daisyjazzridley

Gif credit: nerd4music

Dirty Computers seem to recognize that they are living on borrowed time and that any day could be the day they are forcefully disappeared. This is why they fill each moment with as much fun, life, color, and joy as they can. There are many scenes at clandestine parties where Dirty Computers live freely and openly despite the threat of drones or police that could capture them at any moment. It is important to have these scenes of celebration though because Afrofuturism is also about providing hope.

The future must be a hopeful one if we are to strive for it and Afrofuturism allows us to be creative in crafting our visions of a hopeful future. Even though Monáe’s future is dystopian, there is still room for hope and joy because those are the things that make life worth living. These Dirty Computers have to live their lives joyfully because they don’t know when they’ll be sterilized.

In the interview mentioned previously, Monáe added that “I had to make a decision with who I was comfortable pissing off and who I wanted to celebrate. And I chose who I wanted to celebrate, and that was the Dirty Computers.” The LGBT+ community, people of color, black women, immigrants, and low income people have all been mentioned as people Monáe wished to celebrate. This celebration comes intertwined with images and themes of rebellion as expressed in Jane’s memories. Screwed, Django Jane, Pynk, Make me Feel, and I Like That are the songs that embody celebration the best. Whether it's a celebration of sexuality, femininity, unity, or of self love it is all encompassed in these songs. Jane is shown connecting with others and being unapologetically proud of herself. We also see her falling in love with two people, Zen and Ché, and we see them love her in return.

Gif credit: thelovelylights

Viewing these memories and interacting with Jane seems to encourage the questioning of authority. The employee utilizing the Nevermind process seems to question why he should be deleting Jane’s memories at all. Mary Apple 53, previously named Zen, also directly questions their matriarch after speaking with Jane and realizing that she’s connected to her. It all culminates in a nonviolent escape attempt where Jane, Zen, and Ché reclaim their names, bodies, and their lives.

Part III: Reclamation

Gif credit: thelovelylights

The Emotion Picture ends with Jane 57821 and Mary Apple 53 freeing themselves, and their recently arrived lover Ché, from the facility. They escape without harming others the way they themselves have been harmed. By leaving they are reclaiming their freedom and their right to be proud of being Dirty Computers. They refuse the new names that were forced upon them and leave to rediscover the memories of the life they lived before capture.

It is a hopeful ending that plays into the themes of Afrofuturism. Even though both Jane and Zen’s memories were erased they still have the ability to create new memories and stories. Their ability to recreate their past as well as create a new future was not taken away. As they escape the song Americans can be heard in the background. The lyrics subvert the typical American patriotism expressed by racist white southerners. The trope of preserving gender roles and being a gun carrying american are satirized in these lyrics. America as a whole is being reclaimed by Janelle as a place for the people who have been marginalized.

Janelle sings “Don’t try to take my country/ I will defend my land/ I’m not crazy baby/ nah I’m American.” This sentiment is typically espoused by xenophobic americans, but when it is sung by Janelle she is saying that she won’t be forced out of America due to the bigoted beliefs of the people who hate her. She also pleads for the listener to love her for who she is which is something that has been denied to black women for centuries. The song ends with a powerful message of reclaiming America by Rev. Dr. Sean McMillan who said “Until Latinos and Latinas don't have to run from walls/ This is not my America/ But I tell you today that the devil is a liar/ Because it's gon' be my America before it's all over.”

This also shows themes of Afrofuturism since Monáe is reclaiming her history and is refusing to be excluded from it. She is asserting her presence and that of all the Dirty Computers by saying that they too have a claim to America. The Emotion Picture and the album are both a masterpiece of Afrofuturism art and music. Monáe masterfully weaves various musical genres and visual storytelling to show her pride in being a black queer woman. There is no other artist like Janelle Monáe, and I am excited to see what new worlds she will take us to next.

[funknrolll]

Michael Jackson's They Don't Care About Us: The relevancy of the unmatched protest-masterpiece still actual today.

They Don't Care About Us, was perhaps the most monumental and relevant form of audiovisual protest, which force was specifically to draw the attention to social and political issues such as hate, racism, prejudice, police brutality. The form of art is cultivating an ideological allegiance with the greater social plight for minorities. With his art, Michael became the voice of the voiceless, of the oppressed, of the neglected, of the abused. Yes, Michael Jackson was THE voice.

Hi music lovers, today's topic is Michael Jackson's They Don't Care About Us the song and the music video.

It was from September 1994 to March 1995 that Michael recorded and released HIStory, his 5th studio album. The work was one of the artist's most personal artistic outputs, where music turned into a mirror reflecting Michael's deepest sorrows, fears, anger, and frustrations. It was then when Michael let his music speak louder, providing a perfect clap back to all those who questioned and speculated. The album was a double-disc of greatest hits, HIStory Begins, and new material HIStory Continues.

Speaking of They Don't Care About Us, it is the second track on HIStory Continues, following Scream and precedent to Stranger In Moscow. The song is a straightforward response to the ruthless and ubiquitous injustices perpetrated upon him and more in general upon black people by the racist forces of the white cultural hegemony. Extremely compelling is the aura of pure rage and frustration articulated in They Don't Care About Us, both in the record and in the two poignant and groundbreaking music videos (The Prison version and the clip shot in Brazil), released to accompany the track as a single.

Personally, when I began to approach Michael's music, I did not quite understand the real deep meaning and message the song was delivering. However, as I grew up, I developed interest and curiosity regarding the significance of this timeless masterpiece. Particularly the visual interpretation caught my attention. Hence, this article will entail the information I found through my research. The two videoclips released, were, and still are, wildly exhaustive pieces of art, expressly crafted to challenge our very seldom corrupt societies, people's beliefs and mindsets.

Moreover, in these short movies, the artist did not miss the chance to channel his frustrations and rage through his distinct blueprint that turned everything he did into pure gold. There is a broad range of aspects that compose the audiovisual endeavors that are worth discussing. These elements comprehend the lyrics, the human rights violation, racism, and social injustices; all these perspectives are the fulcrum of the whole work. The acute and fierce language contributed to making the artistic output more impactful.

It is now interesting to also analyze They Don't Care About Us from a Post-Colonialism theoretical standpoint. Firstly, for those not familiar with the Post-Colonialism theories, it is a study of all the effects colonialism had on cultures and societies, concerning both European countries, that brutally conquered other nations, and how the lands and populations won responded and most importantly resisted those invasions and trespasses. Furthermore, the study of Post-Colonialism as a body of theory has and is still going through three major stages. The initial one entails the first phase of awareness of the social, psychological, and cultural unjust condition of inequality and exploitation, enforced by being in a colonized state. Secondly, a struggle for ethnic, cultural, political, and economic autonomy begins. As a consequence, there will be a growing awareness of cultural overlap. Eventually, I would say that some of the post-Colonial elements are quite evident in the two music videos.

The song and the two music videos are eloquent protests against racism. Michael speaking in the first person gives a platform to all the voiceless minorities, offering an accurate and poignant depiction of their conditions of merciless oppression, that stripped minorities of their humanity, pride, and most importantly their rights. Related to the concept of racism, with a simple yet efficacious line, Michael addresses the still hugely relevant and actual issue of police abuse and brutality, which is the central theme of the Prison Version short movie. The artistic output was magistrally filmed by the genius Spike Lee, in a real prison in Queens, New York. The opening sequence shows black schoolchildren standing behind a wire fence in the snow, chanting the chorus of the song, providing a visual accompaniment to the introduction we hear on the record. As the beat kicks in, the scene displayed is quite impressive and provocative, because it employs a poignant and immaculate montage of explicit documentary footage.

The clips complementing the short film are retrieved from the footage of the Rodney King beating and subsequent LA riots and the brutal police beatings of African American people. We then witness the swell of an atomic mushroom cloud, followed swiftly by footage of a Japanese child sitting alone and crying amid a devastated Hiroshima. Alongside, we see a close-up image of an African boy face swarming with flies, then the assassination attempt on George Wallace. Subsequently, come on the screen, some pictures of the student rebellion on Tiananmen Square in China, and finally some footage from the Vietnam War. All these footages contribute to making the video so harsh to the point of getting the audience uncomfortable. In the scenes taken in the cell, Michael appears to be haunted by the ghosts of beaten people.

his film stands out for its immediacy and accuracy, yet these clips do not incite destruction nor hatred, but rather the opposite. Indeed, those footages are stressing compassion, a peaceful reaction to a hurtful and horrible situation, and political reunification. Thus, this is another reason why there is not even a trace of violence or sign incitement to hatred or aggressive reactions. Those were not merely television images, but real-life pictures of a horrid reality of human humiliation, abuse, and suffering that sadly surround us everywhere, that break into our everyday lives through television, social media and computer screens. In the video, the tension is palpable yet, the revolt is peaceful and not suppressed by the guards. However, Michael openly expresses his anger with demonstrative insolence. For instance, he sweeps tableware off, hits a guard's baton right in front of his face. Interestingly, the artist is the only prisoner who moves freely and around the dining room, demonstrating against the disregard for human rights and laws by authorities. During the whole short film, Michael tries to convince people to fight for their rights, raising the spirit of protest against oppression and humiliation.

However, in reality, prison riots never end with prisoners slamming fists against the tables or dancing on top of them and, Michael was very well aware of it. The last scene of the video shows the artist free and running up the stairs, glancing back, running away from the penitentiary in a Brazilian favela (might this be the red thread that connects the first short movie with the second video?) while his scream still lingers in the air … Leaving eventually an open question which is asked through ASL American Sign Language: "I don't know what lies ahead… Where will this spirit of struggle lead me, where will it further manifest?" This part honestly gave me chills!

The second version of They Don't Care About Us was shot in Brazil in February 1997, precisely some parts were filmed in the central district of Salvador de Bahia. The footage where Michael is wearing the iconic Olodum t-shirt and dances with Brazilian people was taken in a favela in Rio. However, for the artist, it was quite a struggle to manage to shoot the short movie in Brazil because the local authorities intended to prohibit the filming, expressing their dislike for the project, given that it would have shown the country in an unfavorable light. Yet other authorities approved the project because it would have been an influential means to draw the world's attention to the condition of poverty. Thus, the region might have benefitted from having such a big platform offered by one of the most prominent artists on earth. However, after the Brazilian government allowed to film the video for 20 days, it changed its mind abruptly and reduced, vastly, the filming period to 5 days only. The Brazilian version opens with a girl speaking in Portuguese saying: “Michael, eles nao ligam pra gente.” which means “they don’t care about us.”, then showing the whole favela with an aerial shot. Eventually, Michael gets out of a door and starts performing.

Although this version is still impactful and manages to deliver the message impeccably, I would say that it presents some fundamental differences from the so-called prison version. Indeed, even though some policemen who look stern and indifferent are part of the short movie, in the Brazilian clip, the atmosphere is quite different from the previous one. As a matter of fact, the festive whirlwind of colors, rhythms, and dances are what reminds the audience of the social meaning of the song.

Furthermore, the vivacious and colorful performance is backed by members of the local cultural and musical group: Olodum. The organization was and still is of particular importance as one of its primary purposes was to combat racism and help cultivate a sense of self-pride and affirmed identity among the Afro-Brazilian community in the region. The organization as well provides a springboard for the promotion of civil rights on behalf of all marginalized groups. Hence, it was not a mystery the reason why Michael was aligned with Olodum, to the point that he supported the organization by wearing their merchandise in his short movie. The display of solidarity was reciprocated, through the act of the collective performance of the group’s musicians who contributed with an additional layer of live percussions and vocals, over Michael’s original studio recording.

Moreover, the language as well plays a fundamental role in this creative output. Indeed, the lyrics and the whole message delivered with this piece were not exuding revenge or aggressiveness, which were typically used to fuel accusations and rage. Au contraire, the song is the manifestation of the indignation and the energy of resistance, empowering self-control and fortitude against repressions. Hence, I would say that the song does not contain a single trace of aggressiveness, and its content and energy stay perfectly within boundaries. The language and expressions employed to address the issues are particularly relevant to explain the horrid effects colonialism and post-colonialism have had on the populations affected and thus to protest against the neglect of fundamental human rights.

Furthermore, it is interesting to point out that the element of the language expresses the manifestation of spiritual endurance and disobedience against the oppressors and lying accusers immaculately and, therefore, the dualism between the artist singing in the first person and the "Us" contained in the title and refrain of the song. Although TDCAU is addressing some social and political injustices, it may as well be true that Michael has attempted to convey his frustrations and anger in this piece, turning them into a timeless audiovisual work of art. Arguably, this could as well be the reason why the artist decided to release two variants of the short movie, the prison video featuring a crude and powerful documentary and the flamboyant, colorful Brazilian clip.

Furthermore, another element related to the Post-Colonialism discourse is how the artist and more in general black people and minorities are very seldom victims of unjust and appalling stereotypes that are addressed in the line “Don’t You Black Or White Me". This brief but straightforward segment of the song could be subjected to double interpretation. On the one hand, there is Michael Jackson, a man, a human being, a son, a brother, a father, a friend, who from the day he was born was put under the magnifying lenses of the whole world, his audience and tabloids. Most of the times he was judged, wrongly, bullied I would say, to the point that he could not even enjoy his life anymore without the anxiety of being abused, ridiculed and humiliated by people who did not take a second of their lives to do their research on his works, life, and what he stood for. Therefore, this line, specifically, is how the artist expressed his frustration towards those utterly racist reactions towards him. On the other hand, Michael decided to extend this statement to a broader scale, becoming the brave advocate who gave voice to all the voiceless people who were victims of racism, prejudice, ignorance in all their nuances and degrees.

Moreover, as Michael responded to the critiques received for the straightforward and sharp lyrics during a press release for the New York Times in 1996 " The song, in fact, is about the pain of prejudice and hate and is a way to draw attention to social and political problems. I am the voice of the accused and the attacked. I am the voice of everyone. I am the skinhead, I am the Jew, I am the black man, I am the white man. I am not the one who was attacking. It is about the injustices to young people and how the system can wrongfully accuse them. I am angry and outraged that I could be so misinterpreted." He was the voice of the angry and outraged voiceless.

To conclude, They Don’t Care About Us with its first-person narration, the refrain, and the two iconic music videos, the socially and politically challenging lyrics and message, relates to the problems minorities face every day. They don’t really care about us means they, the society, privileged white people, the governments, do not care about the minorities, about the voiceless who have been abused, oppressed, robbed of their rights. They don’t really care about the people. The challenging lyrics and footages in the prison version offer us a chance to reflect on the importance of these topics. Not to mention the actuality of the song, which is remarkably accurate and relatable to the modern world and times we are living in. This artistic output is the greatest, most compelling and influential statement against every injustice perpetrated against all human mankind, and will forever be part of Michael's and the world's legacy. Therefore, the questions my reflection generated are: is this the world we want to live in? Are these the world and the society we want our children to grow up into? Is this the world without prejudice, ignorance, abuse, oppression, no equality, and equity we want for ourselves? And for the white folks like me: are we using our privilege wisely, to uplift, amplify the voices, the needs and wants of our brothers and sisters who are part of minorities and are facing some serious major struggles and discomforts? As Michael asked at the end of the short movie: “ I don’t know what lies ahead… Where will this spirit of struggle further manifest?”

Reflect deeply.

Thank you for your attention💜 Peace. G✨

[amberlynnposts-blog]

Anastasia Blog: Breaking Societal Norms

Countless examples of patterns exist throughout modern media. The storyline formats in cinema and theater are replicated so often that they became a model pushed onto viewers. Plotlines make people crave an exciting life, and character developments cause young minds to strive toward perfection in society's eyes. Singing in the rain, Mamma Mia, Dear Evan Hansen, Phantom of the Opera, and countless others showcase characters moving forward in the plot, grasping ideal happiness, which correlates to how society perceives and portrays people. Broadway's Anastasia, however, breaks many of the unspoken rules set down by its predecessors. Class, race, and gender are portrayed not as strict guidelines for the creators but as fuel for revolutionary language. Whenever such normalities are brought to light in Anastasia, the characters refute it through their morals, actions, and of course, lyrics.

Let us break down Anastasia's rebellion against normalcy, starting with discussing the most prominent theme of the production, class structure. The opening sequence takes place in the young Anastasia's bedroom. As a royal family member, her room is filled with silk fabrics, beautiful furniture, and polished floors. Her father, Nikolai II Alexandrovich Romanov, is seen in his formal wear before attending a lavish party. Despite the elegant scene, the hungry citizens of Russia raided the palace and killed the Romanov family. In a single number, Russia's entire class structure flipped onto its back, and the story was set into motion. Beginning the plot, however, is not the only time class structure is relevant to the story. In the song "Rumor in St. Petersburg", St. Petersburg's citizens displayed how terrible the class system can truly be. With the lines "We stand beside our leaders and stand in line for bread" and "Two dozen total strangers live in two small rooms," the singers paint a country filled with hungry stomachs and a considerable gap between the wealthy and poor. 

Broadway and other American structured productions often show the government as stable or do not allude to government at all. As previously mentioned, the media shows the way viewers should act to be perceived as perfect. Rebellious behavior is not civil and, therefore, is not shown as often. If the show has other forms of breaking presenting class structure, like Mean Girls' Regina George, the show portrays people as the antagonists. However, Anastasia shows the patriarchal system and widespread belief of some above others as the real enemy. In many plays and movies, Anastasia's plot would write Gleb, the loyal Soviet military man, as the easy antagonist. Yet, this version's creators decided to direct the audience's attention toward another, the system of hate bred in government. Gleb has been granted much power in the Soviet government, and nevertheless, he doubts the morals behind it. His dilemma of trying to choose whether to kill Anya is immediate and carries through all of his thoughts. Gleb loves Russia and believes burying the past is what is best for its citizens, but he recognizes Anya as human. During the song "Quartet at the Ballet," Gleb sings in reference to Anya, "She's near at hand, yet here I stand. My heart and mind at war." In this play, morals are the friend; hate is the only real enemy. 

Fighting against class structure is not the only way Anastasia breaks society's unspoken rules. Gender roles are almost nonexistent in the central trio of characters. The only example of such roles can be seen in Demitri. He is a strong male lead who has grown up having to fight for himself. While this is a background often seen in male roles, the way Demitri handles himself contradicts many everyday perceptions of men. In "Everything to Win," Demitri sings about his insecurities for the future. He knows he may never see Anya again and is glad she will be with her family, but Demitri reveals how much he wishes to stay by her side. He fell in love with her  powerful, stubborn, and hotheaded nature. These aspects of Anya also help demonstrate how the creators of Anastasia broke traditional gender roles.

Vlad is the last member of the iconic trio and is also not how many would imagine the pinnacle of man. He is quite a diva and loves to get attention. In the song "The Press Conference," Vlad pushes Lily out of the way to speak with the paparazzi. He even spells his name out letter by letter to make sure the press can write about him. He is a knowledgeable character and made his way in the world by using his mind and socializing with the royals. The cautious one in the trio, Vlad, is older and not as athletically capable as Demitri, thus hindering him from being a toxically masculine character. 

Modern media distorts reality and pits characters against each other. Thankfully Broadway’s Anastasia does not fall to such habits. Revolution is not just portrayed in the Russian history of the play, but also in the message of the production, woven into the fabric of the production. Class and gender norms were defied in lines, actions, and lyrics. 

[tillidontneedfantasy]

'Norman Fucking Rockwell!' - Lana Del Rey REVIEW: Beautiful, Insane, and American-Made

"L.A. is in flames, it's getting hot / Kanye West is blond and gone / 'Life on Mars' ain't just a song," is how Lana Del Rey describes the most devastating losses of our time; climate change and Kanye West becoming an "enlightened" Trump (and Christ) supporter. An astute appraisal. Despite the fact that the world through Lana's (and many others) eyes may be deteriorating, she continues to enrich her own world of music. Her sixth studio effort, Norman Fucking Rockwell!, is her most critically acclaimed album to date, topping many, if not all, end of the year lists. Even on this decaying land, we are always changing and adapting and evolving (or in some cases, devolving). Lana Del Rey has evolved splendidly over this decade, and has become one of the most notable sources of inspiration for young female artists.  Norman Fucking Rockwell! is filled with much more source material, particularly for singer-songwriters, as the songs bleed into another and tell the tale of a woman trying to find a love that is secure and safe, something many of us wish for and all of us deserve. At this point, Lana is tired of holding it all in, as seen on the admission "Fuck it I love you." Considering Lana's authenticity has been questioned throughout much of her career, this unabashed honesty is what makes Norman Fucking Rockwell! such a feat.

BEST TRACK: "Norman fucking Rockwell"

A brutal yet beautiful love song to her imperfect, immature muse, "Norman fucking Rockwell" sets the stage for a dreamy, bittersweet love letter of an album. She describes her lover as a 6"2 man-child who blames the news for his shitty poetry. Likening him to Norman (fucking) Rockwell himself, he colors her blue, seemingly exasperated by her as well. Not uncommon among the artistic community, he seems to be a narcissist, as Lana sings, "You talk to the walls when the party gets bored of you." Yet, despite her litany of complaints, she wants no one but him, as she declares, "Why wait for the best when I could have you?" Maybe because the best objectively doesn't exist; we all have flaws, and if you can love someone despite them, and vice versa, then it doesn't get better than that.

WEAKEST TRACK: "Bartender"

Sonically, "Bartender" is plucky and enjoyable, but overall, the track is easily dispensable to the album. She speaks of trucks and a variety of beverage choices and her love for her bartender, and if I didn't know any better and just read the lyrics I would assume it was a country song; honestly, it would have done both her and the country music community best to sell it to some country singer and profit off of the royalties.

THE IN-BETWEENS

One of the strongest aspects of this album is its gorgeous production, most notably on the haunting "Cinnamon Girl," a track that explores Lana's history of fraught relationships, stating to her muse "if you hold me without hurting me / you'll be the first who ever did." She continues this theme of searching for the person who will not keep her at arms length, but rather pull her into them forever, on "How to disappear," a breathtaking track with some of Lana's most compelling vocal work of the album. Although pleasing to the ears, some songs feel inconsequential, such as "California" and "The Next Best American Record."  At times, the album might seem to drag, as it does on "Venice Bitch," a nine and a half minute beautiful song that loses its magic after about five. Lana still injects her staple morbidity in the touching "Happiness is a butterfly," when she casually states, "if he's a serial killer, then what's the worst that could happen to a girl who's already hurt?" which is quite an alarming thing to say, yet somehow makes sense, and so is the brilliance of her lyricism.

BEST PROSPECTIVE SINGLE: "Love song"

One of the most tender tracks on the record, "Love song" has mass appeal, to the cynical and the hopeless romantics. "I'd just die to make you proud" she proclaims, and wouldn't we all for the one we love? Much more eloquent and poignant than Ed Sheeran ever could, the song illustrates the typical picture of romance, head upon a chest, together in the backseat of a car, using stars as a metaphor for the self...but then it asks the very question at the core of love: "Is it safe to just be who we are?" I hope both of their answers were yes.

****

Ultimately, the album's overall theme is a pendulum between love and loneliness, yet finally stops swinging at the closing track, "hope is a dangerous thing for a woman like me to have - but I have it." This track encapsulates Lana's current emotional state at this point in her life, most particularly in the final lines of the song:

"They write that I'm happy, they know that I'm not But at best, you can see I'm not sad But hope is a dangerous thing for a woman like me to have Hope is a dangerous thing for a woman like me to have Hope is a dangerous thing for a woman like me to have But I have it Yeah, I have it Yeah, I have it I have"

The meaning of "hope" here can be interpreted in many ways. Maybe hope is dangerous for the person hoping, because it could set up expectations that will never get met. Or maybe it's dangerous for everyone else, because the person who yields hope can have unimaginable power. I believe to look at it as the latter. We live in a society where so many people are tearing each other down in an attempt to make them feel hopeless and helpless. But rebellions and revolutions are built on hope. The road to recovery from mental illness is paved by hope. If you have hope, you can do anything. And Lana has it. Watch out. Grade: 4/5

DISCLAIMER - REVIEWER'S BIAS: I have never been a fan of Lana or particularly interested in her music- I particularly hated "Summertime Sadness" no matter how often it was in my head. This album got such rave reviews, and I love Jack Antonoff, her main collaborator on the album, so I knew I had to listen. I definitely enjoy a handful of songs but overall her music still does not resonate with me as much as I’d hope. However, I can still acknowledge that it is objectively good, and I did absolutely love the production. I respect her uniqueness and her as an artist very much. Maybe one day everything will click for me- we just haven’t gotten there yet.

[beckyschaicrib]

Maravan

A must watch for parents and kids on how vigilant they need to be in this cruel world. A timely social awareness shout-out with this social issue growing rampant. People definitely need awareness of the different dangers that surround them. We always tend to think that it all happens elsewhere. But actually it happens right at our backyard. And it wasn't of a typical theme that we so often see here.

Soundtrack and BGMs, perfect for the montage, scene or situation. To be honest, I fell in love with the songs only after seeing the montage that came with it. The montages brought soul and purpose to the songs and was just a perfect blend. I could relate to them. The BGM in the scene leading to the climax was a killer. In terms of soundtrack, my top favourite is Narigal Nadamaadum. That song was simply the height of intensity. Such heartfelt lyrics, racy background score and superb montage. The sound of the conch shell - goosebumps!

From direction, editing, cinematography, screenplay, dialogue modulations to lighting, they all complemented each other to arrive to the final beautiful quality we enjoy on the screen. Shot by shot, was given careful thought and the details were fabulous.

Last but not the least, these characters had the most scope for performance and all did perfect justice to it. In other words, they simply nailed it. You never see the actors, you see the characters. MARAVAN team perfectly identified the strengths of each cast and matched the characters to them. Bringing out the best all of them can offer - that takes a lot of insight and foresight.

Anba

A perfect example of how brutal the world out there can be. Husky tone, killer expressions and sarcasm in voice modulation - just the perfect combo for a supervillain. What started of as Mr. Nice Guy (with mother sentiments that will make you tear) morphed in stages from being suspicious, cruel to brutal. The evil and darkness in the character just intensifies as the story progresses. You will hate Anba a little more with the revelation of each scene. The interval punch dialogue was true to its words that no pain, no gain. Some scenes definitely got me gripping to the seat and I cringed at the thought that a real Anba is out there somewhere doing all these cruelty in reality!

Haridhass, as Anba, is a show stealer. He's the owner of fantabulous class, style and sizzling screen presence. Proven once again that he is truly the King Of Expression.

Manikam

The base of his character was beautifully established in the opening scene when even a dead squirrel troubled his soul. And later, to the contrary, the cruelty he had to endure and watch (being a father himself) due to his wrong judgement and decision is beyond explaination. All for the love of making quick money. The intermission scene will definitely shake even the strongest people. This character represents the society at large. How ignorant and non-vigilant we can be to the dangers that might surround us and our family. How beautifully his character shifts shades from a soft natured person to a rebellion when he is put through the worst of situations. A responsible family man and extremely hardworking, but fell into the company of wrong hands. Everyone and especially parents will have their heart reach out to the pain this character endures. We will definitely see ourselves in this character as we change daily according to the people and situations that we come across!

How the nature of his character, voice tone and body language changes according to the situation around Manikam was emoted flawlessly by Kumaresh. He practically lived the character! For someone who's a debutante actor, Kumaresh proved that he has a realistic actor hidden somewhere inside - that was undiscovered until Maravan happened.

Malliga

A character that will remind us so much of our mothers. They dedicate all their life putting across only the importance of their husband and children. As housewives, they become submissive towards their husbands and their world revolves around the family only. All their worries are dealt in silence, without any confrontation or complain. But they never cease to greet our mornings with a warm smile. You will feel the burden and tears of this character as it finally finds its establishment in the climax!

For a long time, Kavitha Thiagarajan will remain within us as Malliga. Perfect choice for I can't see anyone else as Malliga. The varied emotions of a typical wife emoted out so beautifully by Kavitha. In my opinion, she is the most realistic and beautiful actress we have here - and it will always be a delight to see you on screen.

Deva

A character with utmost scope for pure performance, as it is based only and only on expressions. Like the famous saying goes, still waters run deep. And more than words, silence speaks louder! The beauty of that character lies in the fact that it didn't have even a single dialogue. Only subtle expressions to everything that revolves around him.

Seelan and Pushpa were poised, stern and subtle as police officers. While Denes and Sangeetha were these chirpy and lively love birds to balance out the story line with some light-hearted scenes. Logan, Shan and our comedy veterans Murugesan and Perumal has never cease to make us laugh over the generations. And completely spontaneous in MARAVAN.

Well conceptualised. Well executed. Definitely taking Malaysian Indian Cinema to the next level and setting a new trend and benchmark for upcoming movies. A movie for people from all walks of life. Beware, the raging desire for money is the root of all evil.

[domidextrus]

There are sooooo many Coldplay songs I want to serenade Markiplier with. A significant portion of the songs are very subtle love songs, but the majority have their themes firmly rooted in introspection and emotions, both positive and negative.

Yellow, possibly their most well-known classic, already starts off fitting with “look at the stars”, and its lyrics are the kind of corny that’s oddly endearing. (Which is why, if Mark ever chooses to do an acoustic cover of a Coldplay song, I want him to do this one most of all!)

Amsterdam is pretty much a song about depression and how it can lead someone to push away those who want to help, but it crescendos into a cry for help, ending with immense gratitude towards the one who “came along and cut [them] loose”.

Fix You is... a song that’s either loved or hated depending on how one’s been exposed to it (personally, I like it). Nevertheless, it’s a song about comforting someone in their darkest hour.

Viva La Vida is clearly about a former king reminiscing on how he overthrew a corrupt king and took his place, only to realize he was slowly becoming no better than him, and chose to give up his position on the throne and return to the life of a humble citizen.

Strawberry Swing already has a name that just screams “Sweet Dreams Fuel”, and the song carries that same feeling of innocence and carefree joy.

Don’t Let It Break Your Heart is the climax of a concept album about a rebellion against a steel-and-concrete Orwellian society through graffiti and music, and it carries a very strong “love conquers all” message.

Ink, coming from an album with themes rooted in a breakup, compares one’s love for someone to a tattoo: something you’ve committed to and is incredibly painful to remove.

Everglow is definitely about someone who gave meaning to your life, but it’s also melancholic in that it’s someone you’re likely not gonna see ever again.

And that’s just the tip of the iceberg.

[republicstandard]

American Autopsy: That Esquire Article

———

Social media is aflame with the vile reactions to the March 2019 Esquire article profiling an American boy, Ryan Morgan. An American boy who is, as we need to clarify these days, white.

While the anti-white reactions indeed indicate the downward spiral of our society and warrant discussion, I want to take a different approach.

We’re going to focus here on the Esquire article itself.

(function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:10817585113717094,size:[0, 0],id:"ld-7788-6480"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="//cdn2.lockerdomecdn.com/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs");

The piece is a high wire balancing act, ping-ponging between the familiar anti-white line and some vague gestures towards understanding the white experience. “Gestures” being the operative word.

The article and its packaging do just enough to seem edgy in 2019 America—they have to sell magazines after all, and while most media outlets parrot the anti-white rhetoric, every so often we get an editor who wants to feel like a maverick.

Is this really anything risky though? Or is it a sleight-of-hand that’s only supposed to appear risky?

Passages of the article are banal, which seems purposeful as if to project Ryan’s voice into the writer’s. This is especially true of the awkward opening, where Ryan was expected to answer what it might be like to be a girl. Who knows how the question was posed, how the journalist spun it, and what we can or should expect from an average seventeen-year-old boy when asked about what it might be like to be a girl.

As for the main thrust of the piece, the Esquire staff knew this would cause a stir among the anti-whites, as writers and YouTubers are rightly discussing.

So let’s look at what you’re allowed to think, the furthest you’re allowed to go in the mainstream if you’re presenting a neutral profile of an individual—the escape valve, the acceptable controversy, the corporately approved rebellion Esquire is engaging in.

The article states that the subject, Ryan, lives in West Bend, Wisconsin, “one of the last Republican strongholds.”

But then it goes on to say,

“Trump held a campaign rally at its conference                   center in 2016, where he declared, ‘I’m asking for the vote of every African-American citizen struggling in our country today,’ even though only 2 percent of West Bend’s population is African-American (Whites account for 95 percent.)”

The article also makes sure to point out that the most popular opinion at West Bend High School seemed to be anti-Trump.

The high school itself is described as, “looking like a five-acre Tetris block fallen in a grass field. A guard buzzes us in. The risk of school shootings is taken seriously.” Sounds a little too reminiscent of a prison for those of us imagining ennobled Faustian societies, and how the education of the youth might look in such an order.

All this in spite of the town and high school being generally safe, with barely any violent incidents in its recent history.

So we see a major theme established: atrophy. No greatness being made again. Even in the American heartland. Even with a President in office who was supposedly dog whistling white-positive overtures while on the campaign trail.

Ryan describes a loss of agency he’s experienced, not trusted because he’s a straight white male.

While discussing social media, he’s quoted as saying,

“I’d post a comment, and the replies would all be the same thing: ‘You’re stupid, and that’s dumb’ or ‘You suck’ or ‘You’re straight, you can’t talk about something LGBT.’”

We learn that Ryn takes in all perspectives and now makes sure to watch both Fox News AND CNN. He leans rights but has embraced the center. So the general reader is meant to lap up this conclusion: Ryan sidestepped the pitfalls of slipping further into the right wing and the scourge of identity politics.

The article makes a comment on how Ryan doesn’t fit into social cliques, notably indicating that he doesn't spend time with, in his own words, “white guys who all hang out with their trucks and guns and say, ‘Heil Trump’ and all that.” Other cliques were listed in the article, and all must have been mentioned by Ryan when the writer, Jennifer Percy, was interviewing him. But only this “white Heil Trump” group was put in quotes, put in Ryan’s own words. A telling detail.

Nevertheless, Ryan is ultimately presented as a representative of Trump’s base, albeit more level-headed. Despite that, we hear no positive political reasoning or viewpoints from Ryan.

We’ll have wait for the subsequent articles in this Esquire series that present the diversity crew, but something tells me that those kids will be more outspoken and opinionated. Esquire wouldn’t dare profile a budding James Allsup, for example, someone who could have debated finer points of white identity and offer critiques of multiculturalism.

Of course, I’m not attacking Ryan himself. I’m analyzing the magazine’s choice of profiling him, the slice they are presenting—as the edge of acceptability, no less. You get the impression that their subject, Ryan, is just, kind of...floating.

Ryan is quoted as saying: “It’s better to be a moderate, because then you don’t get heat. We want everyone to be happy.”

This is the Peterson Principle, everyone!

Another young white male saved from taking too strong a stance for his identity. From caring too much about his European heritage and the European civilization in which he lives. All this despite the swarms currently belching their contempt on social (and professional) media over the mere fact that you’re even hearing from Ryan.

Maybe he’s hiding his power levels, who knows? But we have to assess what we’re being shown.

There’s a passage where a teacher of his makes a gesture towards fairness—much like the article itself—in having the class sing two songs, one representative of liberal views, the other of conservative views.

Putting aside the childishness of having high school seniors participate in a singalong as a lesson, the liberal song contains lyrics with a positive vision while the conservative paints a picture of fear and destruction.

(function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:10817587730962790,size:[0, 0],id:"ld-5979-7226"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="//cdn2.lockerdomecdn.com/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs");

The article tells us,

“The Liberal Song” is set to the tune of “Ode to Joy.” Mr. Inkmann offers to sing first before everyone joins in. “If I were a liberal, liberal, life would be so very great,” the lyrics read, “knowing that in liberal land this other man could marry me.” ...“The Conservative Song,” set to the tune of “Beer Barrel Polka,” includes lines like “I hate social programs, they really make me want to puke / I would rather use the money for a two-ton nuke” and “Welfare is not good, before we had it, people tried / And I hope the biggest criminals are electrified!”

When mainstream news media is referenced, only one fall from grace bears mentioning, that of Fox News pundit, Bill O’Reilly.

We see a rather unmissable portrait outlined: conservatism and its avatars in traditional white America are on the wane. This way of life and these people are losing their grip. When one realizes Wisconsin is set to be a swing state come the 2020 Presidential election, we get an even better idea of why Ryan Morgan of West Bend was chosen as the subject.

In it's general the tone the article is drab.

The accompanying photographs convey a detached, almost bored eye. The colors and emotions expressed are often bland, save for one sweet photo of Ryan carrying his girlfriend on his back, both smiling.

We hear of Ryan’s divorced parents at a couple of points. They live as far away from each other as legally possible for having joint custody. When they meet bi-monthly at a parking lot to exchange him, Ryan’s parents park their cars in opposite directions so that they don’t even see each other. Fracture and sadness abound in modern America.

Esquire is showing you a snapshot of something in decline. Through the semblance of presenting something fair, interesting, or controversial—depending on who you ask— you can feel this sort of exposé throwing a deathly pall over white America.

While Ryan indeed seems like a good kid, Esquire shows its hand in choosing him because there’s a troubling story from his past woven throughout the article. There had been an incident where a girl at school slapped him, and he then slapped her back.

There were ramifications that followed and even a bit of legal action.

Although we also learn that Ryan doesn’t drink or do drugs, is in advanced classes, aspires to work as an environmental scientist, getting up at 5:30 am for an internship at a water plant, and seems like he genuinely wants to do right by people, this specter of the incident with the girl haunts the article, repeated at intervals.

The message is this: no matter how upstanding a young white man may seem, there could be a woman beater lurking inside.

There could be a hater lurking inside.

He is born guilty, always carrying the stain.

So step back, be mild, be moderate, stay in the center. Take in the perspectives of the margins as if they drive society and don’t question it.

If you color outside these lines, you risk becoming a monster. Be a nice Jekyll and let the new culture ministers continually browbeat you to prevent the ugly Hyde from emerging.

This is the sandbox you are allowed to play in, white man.

We’re shown the outer edges of that sandbox in this article. As mentioned, many are indeed vehemently pushing back against this article even existing “in the current year.”

Every so often, the white man may be acknowledged in new media. But even that is becoming verboten.

The sandbox is shrinking.

Don’t say anything.

As Ryan himself stated, quoted on the magazine cover,

“I know what I can’t do… I just don’t know what I can do.”

from Republic Standard | Conservative Thought & Culture Magazine http://bit.ly/2Ij9qGm via IFTTT

[slimweresh]

Let’s talk about YG’s “bopaganda”

I don’t always listen to rap, but I understand the hype. Rap music shed light on the marginalization of black American’s. Rapper YG400, otherwise known as Keenon Jackson, uses his brand to showcase political racism and ethnic segregation through music, social media, and his clothing line. In the forefront of conflict in the 21st century, the artist showcases his opinions through his lyrics and serves as a voice for suppressed ethnic parties. YG’s tour, FDT, an acronym for F*ck Donald Trump, put on blast the recent political conflict existing in the United States. YG connects with fans through his lyrics, as well as Instagram and Twitter, in a blunt and graphic presentation of political opinion and propaganda. He has built his brand on his beliefs, which serves his fans through mainstream art and virtual communication.

Hip-Hop and rap music originated in the South Bronx in the 1970’s. It was an expression of the rebellion and discontent of black Americans in regards to the segregation and racial violence they experienced. Rap emerged from primarily poor, urban areas, and that ultimately persuaded the American public to associate the music genre with a particularly poor, African-American subcultures. Early hip-hop and rap was known as “hood politics,” usually frustrations with the political racism and police brutality in major cities like the Bronx and Compton. The growth of rap and the acceptance of hip-hop music into society has artists such as YG broaden the scope of lyrical message to persuade fans to speak up about political racism and violence as one big community.

YG’s predecessors like Dr. Dre and Eazy-E sang about police brutality and the racial segregation in Compton. They formed the musical group N.W.A. with artists’ MC Ren, DJ Yella, and Ice Cube in the 1980’s and used their hip-hop lyrics to publicize the struggles of growing up in one of the most dangerous cities in America as an African-American citizen. What was then a major controversy still lives in America when we watched the the election of president Donald Trump. The growing popularity and acceptance of hip-hop and rap music assists artists such as YG to freely express their political opinions through their music and publicize the marginalization of groups such as black Americans. Today, musicians have capabilities far greater than earlier artists that enable them to spread a message in ways further than live performances.  

Today, the digital manifestation of social media enables musicians to promote their lyrical messages and popularity in ways apart from solely musical popularity. Virtual publicity on social sites like Instagram and Twitter allow musicians to open dialogue with their fans and share updates with “followers” or “friends.” The dialogue with fans not only promotes community and discussion, but also promotes YG’s brand through constant publicity and reoccurring theme.

YG began his career writing lyrics about his life in Compton and the struggles that come with being apart of gang culture. As his music progressed and he gained popularity, his themes shifted from personal monologue to politically opinionated. He began rapping about police violence and racial segregation. The social hype amongst fans that came from his artistic opinion shifted his brand from generic rap to a politically driven revolution. Trends such as replacing the first letter of words with “B,” and wearing the color red no longer applied to strictly gangs or rappers, but also fans who follow the artist. YG posts Instagram photos and he posts on Twitter regarding police brutality and political opinion. He uses his social media profiles and brand recognition to express his opinions. His 2016 album titled “Still Brazy,” put on blast his opinions regarding political racism and Donald Trump’s presidency.

“Still Brazy” publicly criticizes Donald Trump’s politics and resurrects the marginalization of ethnic groups in America. In his song, “Blacks & Browns,” he and Hispanic artist Sad Boy rap about their ethnic minorities and the struggles that come with being African American or Hispanic in the United States today. YG sings, “Give him his props to figure out how he ran shop, so our kid’s kids can be good, on a house in the hills, and with a house out in the hood.” Other songs such as “Police Get Away With Murder” and “One Time Comin’” highlight the police brutality in cities such as his hometown of Compton. In an interview with BET Lifestyle, YG says, “Blacks and Hispanics, we the minority… The police be doing what the title says.” He continues to blast racial suppression in social media posts about recent shootings and political opinion.

YG’s most prominent song, “F*ck Donald Trump” humiliates president Donald Trump’s political standpoint. The song emphasizes the bigotry and hate speech the Republic frontrunner used during the election period of 2016. In the song, YG mentions racial segregation during previous Trump rallies and sings, “Black students, ejected from your rally, what? I’m ready to go right now, your racist a** did too much.” Not only do his popular lyrics enable his fan base to form a community and share in recent political frustrations, but also his social media presence as a popular artist.

YG incorporates his politically driven media posts into his brand as a performing artist. He links his political opinion with his “4Hunnid” clothing line and persuades fans to form a unique community of politically-literate individuals. When asked about recent work in his BET Lifestyle interview, he says, “We obligated to do that type of sh*t. We signed up for having that role. It’s mandatory press right there.” His emphasis on political violence only grew when he decided to make it the theme for his Fall tour.

YG’s Fall of 2016 tour was titled, “F*ck Donald Trump Tour.” Almost every venue was sold out before their tour dates. In Tweets, YG says, “Oakland tonight sold out. Oakland Monday sold out. 6000 tickets. Next time I’m doing a arena.” His brand has become a culmination of his artistic work, and today, he uses his popularity in rap culture to congregate fans who agree with his opinions. I went to his “F*ck Donald Trump Tour” performance in Eugene last Fall, and it was as aggressive as I imagined. At one point during his set, he hung a Donald Trump look-alike piñata above the crowd and had fans hit it during the concert. What comes as a violently opinionated performance encompasses the current issues America faces in disagreements.

YG’s popularity encourages other musicians to open dialogue about these issues as a community of rap-enthused individuals.

[k-i-l-l-e-r-b-e-e-6-9]

𝔓𝔯𝔬-𝔓𝔞𝔦𝔫 - 𝔑𝔬 𝔏𝔬𝔳𝔢 𝔏𝔬𝔰𝔱

[mm-case-study]

A Broad Overview

What people consider to be “popular music” is up for debate. Is music considered popular based on the actual beats? Is it about the lyrics? Is it all a competition for which artists can be streamed the most number of times on Spotify? Maybe it’s based on who makes the best videos or which songs land in the American Top 40? We can classify “popular music” in many different ways. Popular music provides a source of entertainment for fans and of course, revenue for the music industry. However, it also provides an opportunity for artists to use their fame as a platform for addressing important topics that they find personally meaningful, relevant to the current landscape of society, and worth communicating through their music. While there are many ways to define popular music, a commonality across the board is popular music’s ability to resonate with fans through the themes and values it conveys, both audibly and visually.

Popular Themes of Popular Music  

Throughout this course, we’ve discussed common subjects among popular music. Common among many popular songs are themes surrounding love and romance, teenage rebellion, partying, drugs/alcohol, and sexuality. I think many times these themes are associated with negative connotations. However, these themes of popular music can also be viewed from the opposite lens. While addressing similar issues, popular music instead conveys the message that these things are normal parts of life, and although they don’t always make us perfect, they are valuable assets to the creation of an identity that should be celebrated. Ultimately, popular music communicates values of independence, dignity, self-acceptance, and positive self-identity.

Melanie Martinez

One artist who exemplifies this idea very clearly through her lyrics, electronic sounds, and elaborate music videos is Melanie Martinez (MM), who originally found fame on The Voice in 2012 and currently has almost 2.5 monthly listeners on Spotify. MM’s debut album, Cry Baby, is centered around the life of “Cry Baby”, a character who appears in the music videos that accompany the first 13 songs of the album. Through this very personal character and almost entirely visual album, MM takes her listeners on a journey through the life of Cry Baby--through problems with family, romance, societal pressures, vulnerability, and self-acceptance. The struggles with each of these prominent themes of popular music culminate into a final song and video that ultimately communicates the values of individuality and embracing one’s imperfect life. MM does communicates these values through her lyrics, but she takes it beyond that through her use of music videos and additionally through this central character and narrative backdrop of the album. The way in which MM effectively communicates these critical values goes beyond the scope of the music itself, but rather extends through her artistic creativity that complements these sounds, mainly through the incorporation of visual and narrative techniques.

A Different Take on Common Themes

MM focuses on many of the same themes that other artists capture through their music, but she does so in a way that sends a positive message to her fans. MM builds Cry Baby as a reflection of herself and other people who are very sensitive and become emotionally overwhelmed very easily. Using this child-like character as a backdrop, MM tackles romance issues with songs like “Carousel”, “Alphabet Boy”, and “Pacify Her”. Cry Baby combats societal pressures and battles with self-image in “Dollhouse”, “Sippy Cup”, and “Mrs. Potato Head”. Finally, MM captures the hardship of being open and vulnerable in her song, “Soap”. All of these songs lead up to “Mad Hatter”, where MM establishes that all of these battles and insecurities make up who you are and should be celebrated rather than cause shame. Messages like these resonate with the audience and help in establishing an artist and their songs as “popular”.

A Closer Look: Romance and Vulnerability

Romance

“Carousel” follows Cry Baby as she pursues a forever unattainable relationship that makes her feel as if she’s spinning in circles, never feeling quite complete or satisfied. The lyrics go from  “Round and round like a horse on a carousel/ We go, will I catch up to love? I can never tell” (0:13-0:22) in the chorus to “And now I’m stuck, I’m stuck/ Riding, riding, riding” (3:08-3:19). Cry Baby is stuck in a one-sided relationship with the unmentioned male in the song, and she realizes she will never be able to reach the point where it becomes a committed two-way relationship. It’s this song where Cry Baby has a romantic struggle for the first time and seems to want to do whatever it takes for her love to be reciprocated.

“Alphabet Boy” is, in a way, an assertive response to “Carousel”. In this song, Cry Baby has realized that the boy she loved had been taking advantage of her the whole time, saying “You build me up like building blocks just so you can bring me down” (0:18-0:24) and “I’m not a little kid now/Watch me get big now” (1:01-1:06). Through Cry Baby, MM conveys a message of female empowerment and power to resist expectations from romantic partners. As the album continues, Cry Baby becomes more mature and gains more autonomy, especially in these relationships. I think it’s here where MM conveys the value of that autonomy.

Vulnerability

We live in a society where it is, at many times, hard to be open and honest with people for fear of being judged or saying too much and ending up wallowing in regret. The lines of the pre-chorus in “Soap” read:

       I’m tired of being careful, tip toe, trying to keep the water warm

       Let me under your skin

       Uh oh there it goes, I said too much, it overflowed

       Why do I always spill? (0:32-0:55)

Cry Baby is stuck in her feelings but tries to resist saying too much, fearing that it may cause tension in the relationship. This is a struggle many people feel daily, even outside the realm of relationships. It can be hard to confess feelings or even confront people when something is wrong. This is an important issue for MM to capture because it is one that relates to a lot of people in her fanbase and those outside her fanbase. While this song captures the struggles of vulnerability, the fact that MM released this album is her way of overcoming that struggle. She essentially says that she knows it can be hard to let things out, but in writing out her feelings and experiences in her music, MM shows that it’s okay to be honest and vulnerable; we don’t need to bottle up our emotions all the time.

The Finale: Mad Hatter

In light of all the events of her life, Cry Baby finally realizes that she doesn’t need to care about what people think of her, with the following lyrics:

       Now I’m peeling the skin off my face

       Cause I really hate being safe

       The normals, they make me afraid

       The crazy, they make me feel sane (0:31-0:51)

Despite the trauma she’s been through and hardships she’s dealt with--all while being easily emotionally triggered--Cry Baby is finally learning to accept all of those struggles.

She’s had a hard life and has hidden a lot of stuff that’s going on inside. She’s struggled with romance, being vulnerable, internal conflict and mental illness. People have laughed at her and she’s always been ashamed, but she finally learns to love herself and embrace her craziness. This is an important message in today’s society where people feel like they have to put up a front, feel pressured and judged by society, and have a hard time taking pride in their individuality.

So what values does popular music convey?

MM incorporates some of the same ideas that are common among popular music, but does so with a positive spin that allows her music to maintain its popular status among the fans. In a 2015 interview, MM says, “I just think that these subjects can be used in songs in ways other than, ‘I’m gonna like party all night and get f---ed up.’ I’d rather talk about those subjects in a more meaningful way” (DiGiacomo 2015). This “meaningful way” is one that places great emphasis on self-acceptance and individuality. Through her expressive music, MM, as an artist, comes to terms with her personal struggles with the themes she address. In doing so, she has learned the same lessons as Cry Baby--that is to embrace herself. In that same interview MM comments on this, saying, “Cry Baby evolves into someone who’s very comfortable in her skin, and I can definitely say that I have had the same kind of change within myself. I’m a lot less insecure, and I have embraced a lot of the things that I hated about myself before” (DiGiacomo 2015). MM is a testament to popular music and the values it communicates. A lot of music addresses many of the same themes, but overall, popular music conveys the more meaningful values of self-love, confidence, independence, and freedom.

It’s All About the Connection 

In a broad sense, popular music communicates values largely through establishing and maintaining relationships with the listening audience. As reflected in the discussion from Week 11 on “music, money, fame, and obscurity”, the formation of these relationships is vital to lasting fame in the music industry. The foundation of these relationships lies not just in the lyrics, but also in the visual and story-like aspects of the music. An excerpt from Starr and Waterman mentions that the “power of mass-mediated charisma is rooted in the idea that an individual fan can enter into a personal relationship with a superstar via images and sounds that are simultaneously disseminated to millions of people...this field of popular discourse is dominated by certain well-worn narratives”  (475). Building these relationships provides the framework for an opportunity for artists to instill and convey messages and values to their fans. So generally, popular music communicates its values by establishing relationships with the audience, but it does this through the creation of a character, narratives, and visuals.

Characters

One of the main ways an artist can connect with their audience is through the creation of a character, especially alongside a narrative. We’ve seen the amazing success David Bowie had as a musician when he took on different characters and personas, such as Ziggy Stardust. The constant change and anticipation of the unexpected kept the fans interested, and Bowie was able to maintain his status as one of the greatest names of all time in the history of music. What was so intriguing about Bowie and his characters was the very apparent androgyny and feeling of the unknown surrounding these personas. This gender-bending aspect suited Bowie well and was a key factor in allowing him to maintain his fame. 

Somewhat similarly, MM creates this character, Cry Baby, as a way to connect with her audience on a deeper level. However, rather than creating a character to make a statement about gender, MM creates this character in order to write a story. To further that relationship with the fans, we see the actual story of Cry Baby’s life and are then led to connect that to our own lives. Cry Baby faces adversity in the forms of bullying, family trauma, bad relationships, and mental health issues--all common occurrences in the lives of individuals. On some level, almost anyone can relate to at least one of these hardships and therefore identify with the character. MM was able to use this character as the tool to form those foundational relationships with her fans. When asked about this character, MM replied, “Writing this album and creating this character...was me trying to turn the words “cry baby” into a compliment” (DiGiacomo 2015). By wanting to turn the words “cry baby” into a compliment, MM essentially says she wants to promote values of self-appreciation and unapologetically being who you are, despite your circumstances. She has clear motives of using this character as a way to form a relationship and convey her messages.

“I’ve always been a storyteller…”

When asked about her favorite part of creating music, MM replies with, “The story! The concept is always the core of the song. I’ve always been a storyteller and there is not one song that I’ve ever written that is like ‘Wait what am I talking about’?” (Boise 2014). In combination with a constant character, the story makes it easier for the audience to follow along. The narrative behind Cry Baby’s life and the ways in which it, at some points, parallels MM’s life, provides an extra layer of insight to the fans. They get a sneak peak into the life of this character by following her life journey. By following a plotline, the audience can see parts of themselves within that timeline and therefore resonate with the music being heard. Through this resonation with a story, the values the music conveys are suddenly more effective and have a longer lasting impact on the audience.

Visuals: The Music Video 

In Week 9 we talked about music on the big and small screens and the importance of visual components in music. Arguably the most important way in which MM communicates the values of popular music, in conjunction with the character and narratives, is through her music videos. MM’s music videos are full of color and sometimes visually disturbing images. Each video tells a story, which, combined with compelling visuals, drags the audience into another world. The viewer is enamored by the visual experience and so engaged in the story, that they feel as if they are a part of Cry Baby’s world. This is yet another instance of MM building a connection with her fans, but by employing very visually-striking images that elicit an emotional tie to the audience.

For example, “Dollhouse” is a song about a family who seems put together on the outside, yet, internally is falling apart. The video takes place in a dollhouse, and again, MM plays with color--this time purple--as a constant theme throughout the video. The robotic and electronic-sounding music paired with disturbing images like the necklace made of baby-doll hands or the collection of doll heads on the vanity take the listener through a unique audio-visual experience that they can’t seem to turn away from. MM does this several times in each video on the album. By taking advantage of this audio-visual technique and the ability to draw the viewer in so close, MM can better illustrate the values of her music and help her messages reach her audiences.

Visuals: Going Beyond Music Videos

Discussions about music videos also brought with it discussions about the need some artists feel to create some sort of event surrounding their music. For example, Beyonce used this method when she shocked the world with a surprise release of an unexpected album. While MM definitely maximizes the influence she can have through her music videos, she has also created somewhat of an event surrounding “Cry Baby” in the way that she has a music video for every song, all following a continuous story around a central character. This is not typical of popular music. While, MM’s type of event is a little less drastic and dramatic than Beyonce’s, MM’s “Cry Baby” is still an event in that it is different, noteworthy, and not typical of other albums in music. For that, it is even more special. Looking into the future, MM plans to expand upon this idea of an event, by adding an even greater visual component to her next album. Having yet to be released, MM’s next album will be accompanied by a feature film that contains all of the songs, corresponding videos, and interspersed dialogue to maintain continuity and fluidity. In an interview, MM speaks about this endeavor, saying “It’s really important to me that people can truly understand the sentiment and the story when they hear the record for the first time, and I really want people to be able to follow along properly…” (Lipshutz 2017). By including a feature film, MM is furthering this idea of an event surrounding popular music and fame. She’s engaging more with visual techniques to spread her music and communicate her messages. Visuals help people gain a sense of understanding. When you watch a video, you feel a connection to an artist because you can understand their vision. A feature film will only enhance this connection. 

Not only this, but MM’s ideas behind her film will translate into her concerts. Establishing a continuity between the visual album and live performances will further her relationship with her her fans even more and therefore, contribute to more effectively sharing these values mentioned before. The smooth fluidity between the digital media platform and reality establishes a relationship with the listeners because not only are they seeing and hearing the music on the screen--they are more-or-less living the experience with MM. Feeling a sense of connection to an artist makes it easier to comprehend their messages and apply them in your daily life.

Making a Mark on Popular Music

It’s not easy to effectively establish one-on-one connections with individual fans when you have over 5 million followers on Instagram. However, in doing so, artists are able to most effectively communicate the values of popular music. Popular music serves a greater purpose than providing sheer entertainment. Popular music is used to speak to the audience on a deeper level, by conveying values that artists find meaningful and relevant, and values that listeners feel they need to hear. Using Melanie Martinez as a case study, we can see that, by using characters, narratives, and visuals to form connections with the audience, popular music communicates values of positive self-image, feeling comfortable with yourself, and freedom to be who you are without feelings of shame.

Works Cited

Boise, D. (2014, June 02). Interview with Melanie Martinez on 'Dollhouse' EP and Life out on the Road. Retrieved May 4, 2018, from http://tamagazine.com/interview-melanie-martinez-dollhouse-ep-touring/

DiGiacomo, F. (2015, September 04). Melanie Martinez on 'Cry Baby,' Not Wanting to Be a Role Model & What She Learned From 'The Voice'. Retrieved May 4, 2018, from https://www.billboard.com/articles/videos/interviews/6685879/melanie-martinez-cry-baby-role-model-the-voice

Lipshutz, J. (2017, August 15). Melanie Martinez Celebrates 'Cry Baby' Chart Success, Looks Ahead To Elaborate Album/Film Project. Retrieved May 4, 2018, from https://www.billboard.com/articles/columns/pop/7904990/melanie-martinez-interview-cry-baby-second-album

Starr, L. & C. Waterman. 2013. American Popular Music: from minstrelsy to MP3. New York: Oxford University Press.

Images

https://www.fuse.tv/2017/10/melanie-martinez-facts-you-didnt-know-future-hispanic-history

https://theknockturnal.com/an-exclusive-interview-with-melanie-martinez/

https://www.google.com/search?q=melanie+martinez+the+voice&source=lnms&tbm=isch&sa=X&ved=0ahUKEwinqP2e-PPaAhUJyFkKHRJnDL8Q_AUICygC&biw=1440&bih=803#imgrc=lyvB4UY0S0hatM:

https://www.sequoitmedia.com/artist-to-watch-melanie-martinez/

https://www.rebelsmarket.com/blog/posts/melanie-martinez-the-pastel-goth-for-the-modern-weirdo

http://heroes-get-made.tumblr.com/post/155046514838/cheer-up-post-4504-ziggy-stardust-edition

http://melaniemartinezmusic.com/crybaby/

https://www.pinterest.com/pin/416864509249409756/

[k-i-l-l-e-r-b-e-e-6-9]

𝔓𝔯𝔬-𝔓𝔞𝔦𝔫 - 𝔏𝔦𝔣𝔢'𝔰 ℌ𝔞𝔯𝔡

[k-i-l-l-e-r-b-e-e-6-9]

Pro-Pain  -  In For The Kill

[k-i-l-l-e-r-b-e-e-6-9]

Pro-Pain

[k-i-l-l-e-r-b-e-e-6-9]

[k-i-l-l-e-r-b-e-e-6-9]

Pro-Pain  -  Cut Throat