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energylifeamazon · 2 years

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Mary j blige be without you lyrics and video

Amazon MP3 Download Bonus Track) Whole Lotta Love (From Re-release International Edition) Each Tear (feat. Amazon MP3 Download Bonus Track) Gonna Make It (U.S. (buy at ) Tonight The One Said And Done Good Love I Feel Good I Am Each Tear I Love U (Yes I Du) We Got Hood Love Kitchen In The Morning Color (From "Precious" Soundtrack) Stay (U.S. Wrong Why Love A Woman Irreversible (US Deluxe Edition Bonus Track) Empty Prayers Need Someone The Living Proof (From "The Help" Soundtrack) Miss Me With That (US Deluxe Edition Bonus Track) Someone To Love Me (MJB Naked Remix) (US/UK Deluxe Edition Bonus Track) Get It Right (US/UK iTunes Store Bonus Track) You Want This (UK Edition Additional Track) From the Album Stronger with Each Tear (2009)

(buy at ) Feel Inside Next Level Ain't Nobody 25/8 Don't Mind No Condition Mr. (buy at ) Little Drummer Boy Have Yourself A Merry Little Christmas My Favorite Things This Christmas The Christmas Song (Chestnuts Roasting On An Open Fire) Rudolph, The Red-Nosed Reindeer When You Wish Upon A Star Mary, Did You Know Do You Hear What I Hear? Petit Papa Noël The First Noel Noche De Paz (Silent Night) From the Album My Life II: The Journey Continues (2011) (buy at ) A Night To Remember Vegas Nights Moment Of Love See That Boy Again Wonderful Kiss And Make Up Suitcase All Fun And Games Propose From the Album A Mary Christmas (2013) That was a great one-two punch in the history of R&B.Therapy Doubt Not Loving You When You're Gone Right Now My Loving Long Hard Look Whole Damn Year Nobody But You Pick Me Up Follow Worth My Time From the Soundtrack Think Like A Man Too (2014) “Be Without You” came right on the heels as Mariah Carey’s “We Belong Together” was dying down, so I’m proud of that accomplishment. And of course, the Grammy wins were just icing on the cake. When she hit that note at the end, it’s like “Woah, we got one!” It came out crazy and the rest was history! I knew it was going to be a hit, but not at the level that it went on to become. I wasn’t in the studio with her, but I remember hearing it for the first time. He went in to do additional touch-ups and produced Mary’s vocals. But I remember hearing the stories about Ron Fair vouching for the record.

I don’t think Jimmy Iovine was sure about putting the record out as a single. I hate saying all my hits came quick, but “Be Without You” was like a 20 minute session. I got a question for ya (See, I already know the answer) But still I wanna ask you, will you lie? (No) Make me cry? (No) Do somethin' behind my back and then try to cover it up? Well, neither would I, baby My love is on the up and up (Yes) I'll be faithful (Yes) I'm for real (Yes) And with us you'll always know the deal We've been too strong for too long And I can't be without you, baby (Oh) And I'll be waitin' up until you get home 'Cause I can't sleep without you, baby (Oh, oh) If anybody who's ever loved you know just what I feel Too hard to fake it, nothin' can replace it Call the radio if you just can't be without your baby, yeah See, this is real talk, I'ma always stay (No matter what) Good or bad (Thick and thin) Right or wrong (All day, every day, hey) Now if you're down on love or don't believe this ain't for you (No, this ain't for you) And if you got it deep in your heart And deep down you know that it's true (Come on, come on, come on) Well, let me see you put your hands up (Hands up) Fellas, tell your lady she's the one Fellas, tell your lady she's the one Oh, put your hands up (Hands up) Ladies, let him know he's got you locked Look him right in his eyes and tell himĪgain, Chris Higgs made a connection with her husband Kendu Isaacs at the time.

#Mary j blige be without you lyrics and video

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fuckyeslilkim · 10 months

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Rapper Lil' Kim Has Had A Profound Impact On Fashion Over The Years

hen Lil’ Kim made her debut with the 1996 album Hard Core, she utterly and completely changed the rap game. A protege of Notorious B.I.G., and the sole female member of his hip-hop group Junior M.A.F.I.A., Lil’ Kim, aka Kimberly Denise Jones, had a flow that was raw and gritty, with raunchy, sexually liberating lyrics that made critics clutch their pearls. Hard Core went on to become certified double platinum by the RIAA, cementing the then-22-year-old as a bona fide hip-hop god. But it wasn’t just Lil’ Kim’s lyrical prowess that set her apart from her contemporaries that came before her. Her sense of style also made her a trailblazer, solidifying her as a pop culture fashion icon.

While other women rappers like Queen Latifah, Lisa “Left Eye” Lopes, and Da Brat favored more androgynous clothing, like oversize T-shirts and baggy jeans, Lil’ Kim’s outfits were ultra-feminine, bold, risqué, and revealing — as provocative and outrageous as her songs. She wore teeny-tiny bikinis, see-through silhouettes, candy-colored wigs, and equally vibrant fur coats. She also helped popularize ’90s and noughties logomania, a trend in which designer branding is made overtly obvious on one’s clothing and accessories (the antithesis to “quiet luxury”). In Kim’s case, logomania also applied to hairstyles, as she famously wore wigs with Chanel’s double “C” logo and Versace’s Greek key motif. (The move made sense for someone who frequently name-dropped designers in her lyrics). Aside from head-to-toe designer monograms, Kim has worn a sparkly catsuit made with 965,000 crystals, embellished headpieces with matching thongs, and a gray, floor-length chinchilla coat (which she modeled next to mob daughter Victoria Gotti in the video for 2003’s “Came Back for You”). The list goes on.

“She was bringing something new that we hadn’t really seen before,” says Elizabeth Way, fashion historian and associate curator at the Museum at the Fashion Institute of Technology (FIT). “For so long, female rappers had been kind of marginalized and really tried to fit in with their male counterparts, especially with their style. Lil’ Kim rejected that and embraced her femininity in both her style and her lyrics.” Marissa Pelly, stylist for the rapper Ice Spice, shares a similar sentiment, pointing out how the industry made female musicians feel like they couldn’t boldly embrace their sexuality while simultaneously being perceived as “chic” or “luxury” — as if the two concepts could not co-exist. “Now when I see female artists owning their sexuality, while also being muses for some of fashion’s most elite houses, I think of — and I thank — Lil’ Kim.”

Behind every celebrity style icon is a brilliant stylist; a wizard behind the velvet curtain, so to speak. For Lil’ Kim, it was Misa Hylton. One cannot discuss Kim’s vestiary tours de force without mentioning the industry legend by her side, who had already been masterminding looks for Mary J. Blige, Faith Evans, Jodeci, and her then-boyfriend Sean “Diddy” Combs. But theirs was a match made in fashion heaven; the two women felt an immediate kinship. “I think that Kim and I were magical together and when you have that type of synergy only greatness can come forth. We were thinking outside of the box and unapologetically taking risks. People gravitate to that type of authentic and creative energy,” Hylton told Dazed in 2018.

The two women set the bar high high from the beginning with a legendary look the promotional poster for Hard Core, Kim’s debut album: a leopard print bikini and a sheer, marabou-trimmed duster. The one-piece was designed by Sex and the City costume designer Patricia Field, who owned a store in New York City from 1996 until 2016. It was known to be a hot shopping spot for fellow performers like Debbie Harry, Lady Gaga, and Kim’s friend and frequent collaborator Missy Elliott. Hylton and Kim frequented Field’s boutique almost daily. In the years — and decades — that followed, both the look, and Kim’s signature squatting pose, would be replicated by the likes of Teyana Taylor, Nicki Minaj, GloRilla, and countless others.

Hylton and Kim also went all out for the “Crush on You” music video, directed by Lance Rivera. Inspired by the The Wiz’s color-changing Emerald City disco dance sequence, the video featured the star in monochromatic technicolor outfits and matching wigs — and instantly catapulted her to mainstream MTV fame. “When you think of the blueprint for most female musicians’ styles today, you think the designer logos; the iced-out, statement jewelry; and different styles of wigs — that was all her,” explains stylist Estelle Aporongao. “Kim’s DNA runs through the contemporary fashion industry’s veins.”

In 1998, Kim donned a bejeweled caged headpiece and matching arm sleeves to the 1998 Soul Train Lady of Soul Awards, which felt like the ultimate statement. But the rapper topped herself yet again a year later when she attended the MTV Video Music Awards in a purple wig and lilac-colored, sequined jumpsuit, complete with a single purple pasty that garnered an unforgettable reaction from Diana Ross. The moment would become the stuff of award show legend.

That same year, Kim covered Interview magazine’s November issue wearing only a Louis Vuitton headgear and LV logos painted all over her body, a moment described as a “cultural reset” by celebrity stylist Audrey Brianne, who works with Chris Tucker and Tyler Posey. “At the time, it was a fresh idea no other star had rocked quite so boldly. If people weren’t already paying attention to Lil’ Kim by then, they were now,” she says.

To be clear, Lil’ Kim was interested in fashion long before she dressed in colorful furs. “Her high school friends recounted how she would spend her allowance on clothes and had Gucci before they even knew what it was,” explains Nygel Simons, a stylist and archivist, noting that the artist also worked at Bloomingdale’s prior to rapping full time. “It really shines through when an artist genuinely loves fashion.” Nowadays, it’s not out of the ordinary for a designer to dress hip-hop artists for red carpets or sit them front row at Fashion Week, but in the 1990s, that relationship didn’t really exist. Lil’ Kim had a je ne sais quoi that both attracted and inspired designers like Karl Lagerfeld, Giorgio Armani, Betsey Johnson, John Galliano, and Donatella Versace, who would dress her for her 1999 Met Gala debut.

Way long before Barbiecore would become a part of the cultural zeitgeist, Lil’ Kim sported a pink, full-length mink coat with a studded pink bra, matching hot pants, and pink snakeskin boots for the “Rock Style”-themed Met Gala. “Donatella is my girl. We’ve loved each other from the moment we first saw each other,” Kim told Vogue in 2020. “At the Met, you’re a designer’s muse, [and] she loved the fact that I have fun in her clothes.”

Lil’ Kim has also walked the runway for designers including Baby Phat, The Blonds, and VFiles. But her closest friendship is with fashion designer Marc Jacobs, whom she calls her “bestie” and who has played a significant role in her life and career. Jacobs dressed Kim for her court appearances and subsequently became her prison pen pal when she served a one-year sentence for lying to protect friends involved in a 2001 shootout. Kim sent Jacobs the Bratz doll coloring pages she painted, which he then had framed and hung in his house. Jacobs is also writing the foreword for her forthcoming memoir, The Queen Bee.

“These were interesting and important alliances for her during the early 2000s because it further legitimized the message to her fans and the public that her empire and reach extended well beyond music,” says stylist Alison Brooks, who works with television personality and hairstylist Jonathan Van Ness. “I believe it was a turning point, not so subtly signaling to other artists to bling themselves out in designer looks with confidence and embrace their curves with body positivity before body positivity became a thing.”

When it comes to her own work, Pelly says she’s strongly influenced by Lil’ Kim. “I love how effortlessly she would combine her own fun custom pieces with luxury ones, while also demonstrating a great deal of high-end fashion knowledge.” Pelly says she had this approach in mind while styling Ice Spice for the “Barbie World” music video, pairing a custom Chanel-inspired, Christian Cowan tweed set with a Barbiecore bra by Laser Kitten, custom Emilio Pucci, and pieces from the Gaultier archives. “It’s that duality that’s so inspiring to me and creates the most interesting, well-rounded looks every time.” She also drew ideas from Kim’s 2003 “Summer Jam” performance, in which she wears SS03 Jean Paul Gaultier script belts around her waist and chest. “I love when artists love the same brands I do... I tracked down the same belts for Ice’s Paper Magazine cover back in April as a nod to the OG style icon.”

It’s difficult to imagine what would have happened if Lil’ Kim hadn’t paved the way for women in hip-hop to take fashion risks. Cardi B might not have worn archival Mugler to the 2019 Grammy Awards, and who knows if Megan Thee Stallion would have modeled for Calvin Klein. Then there’s the countless Kim homages artists have paid over the years: Beyoncé replicated several of Kim’s famous looks for Halloween 2017; Rihanna has cited the rapper’s penchant for experimenting with different looks as a major influence on her own fashion sense; and Miley Cyrus dressed in Kim’s MTV VMAs look for Halloween back in 2013, purple pasty and all. It’s for reasons like these that stylists like Simons believe Lil’ Kim deserves official acknowledgement for her legacy, particularly from the Council of Fashion Designers of America. (For years, fans have been calling on the CFDA to honor Kim with its annual Fashion Icon award.)

One thing’s for sure: You’d be hard-pressed to find another hip-hop fashion icon with the same enduring legacy. “Lil’ Kim is the blueprint,” says Simons. “Whenever you think you’re being presented with something new, if you search hard enough, you’ll find that Kim has already done it at some point.”

#lil kim #lil' kim #rap #queen of rap #rapper #fashion #fashion icon #cfda #hiphop #female rap #female rapper #queen bee #naomi campbell #hip hop

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cyarskaren52 · 9 months

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#RockHall2023 Inductee @georgemofficial possessed extraordinary talent as a songwriter, vocalist, and producer. His incomparable vision and drive propelled him to superstardom - making him one of the best-selling artists of all time. For the latest on 2023 Induction, subscribe to our e-newsletter today. Link in bio.

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GEORGE MICHAEL

George Michael possessed extraordinary talent as a songwriter, vocalist, and producer. His incomparable vision and drive propelled him to superstardom, and he became the most-played artist on British radio from 1984 to 2004 and one of the best-selling artists of all time.

George Michael formed the pop duo Wham! with schoolmate Andrew Ridgeley in 1981. They achieved teen idol status with hits like “Wake Me Up Before You Go-Go” and the timeless holiday megahit “Last Christmas.” Michael’s first foray into the solo spotlight with the introspective hits “Careless Whisper” and “A Different Corner” eventually spelled the end of the group in 1986.

After the global pop success of Wham!, in 1987, George Michael scored the hit duet “I Knew You Were Waiting for Me” with Aretha Franklin and released his self-produced solo debut, Faith. With well-crafted hooks, mature lyrics, and funk and Motown influences, Faith was a Number One smash boasting four hit singles, including the title track and “Father Figure.” It was the first album by a white solo artist to lead Billboard's Top Black Albums chart and remains one of the best-selling LPs of all time. Echoes can be heard in the impassioned vocals and personal lyrics of artists from Adele to Lady Gaga to Mary J. Blige.

Wanting his music to speak for itself, George Michael declined to appear on the album cover and in music videos for Listen Without Prejudice Vol. 1. The album is a masterpiece that alludes to Michael's struggle as a closeted gay man during the height of the AIDS epidemic. However, after coming out in 1998, Michael refused to shy away from honesty again, paving the way for a generation of proud LGBTQIA+ artists, from Sam Smith to Lil Nas X to Troye Sivan.

George Michael died in 2016, leaving a remarkable legacy as a brilliant performer, activist, philanthropist, and champion for artist authenticity.

Selected discography:

“A Different Corner” (1986)

• Faith (1987)

• “Freedom! ‘90,” “Waiting for That Day,” Listen Without Prejudice Vol. 1 (1990)

• “Too Funky” (1992)

• “Jesus to a Child,” “You Have Been Loved,” Older (1996)

• “Amazing,” “My Mother Had a Brother,” Patience (2004)

• “An Easier Affair” (2006)

• “This Is How (We Want You to Get High),” Last Christmas (2019)

Nominee: George Michael

#Instagram #Spotify

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kumkaniudaku · 3 years

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6) “I’ve never loved anyone the way I love you.” With John David Washington.

“Ring the alarm. I been through this too long and I’ll be damned if I see another chick on your arm. Ring the alarm, I been through this too long - ”

“AND I’LL BE DAMNED IF I SEE ANOTHER CHICK ON YOUR ARM!”

John David stared back at the palm of your hand with a slight grin as she mimicked Beyoncé’s on stage movements. When he decided to surprise you with floor level tickets to the show, he didn’t expected to have the lyrics to Ring the Alarm belted in his face.

“I’m not cheating! You don’t have to sing so hard,” he yelled once your hand was back in the air.

“That’s what you say!”

“Damn. It’s like that?”

You grabbed his chin without looking away from the stage and gave it a soft squeeze. “Shh, baby. We don’t talk during Beyoncé time. Wait until there’s a break.”

John David chuckled and grabbed hold of your wrist to kiss your knuckles. The look of pure excitement on your face was enough for him forgive your demand for silence.

Soon, he joined you in enjoying the show. Together you rapped Jay-Z lyrics bar for bar and safe off key to every Beyoncé ballad on the set list. If there was an award for Most Lit Couple, there would be no question of the winners.

When Deja Vu started, you lost your mind to the bass line alone. John David hyped you during the choreography breakdown with a small group he gathered to function as your audience. You returned the favor during U Don’t Know, holding up your cellphone camera to shoot his homemade music video.

By the end of Crazy In Love, both of you were completely spent. Young Forever offered the perfect opportunity for a breather before the finale. JD wrapped his arms around your waist and pulled your back to his chest.

“Did you have fun?”

“Mm,” you hummed, squeezing him tighter. “Best date ever, babe. You’re setting the bar high for a proposal.”

JD kept his response to himself, preferring to kiss behind your ear. For a moment, he let the Beyoncé and Jay-Z perform while he fiddled with the box in his pocket.

At the height of the song, he leaned forward to share his thoughts.

“We should get married.”

“We should see Mary? Like Mary J. Blige?”

“No,” he laughed. In one swift motion, he pulled a jet black ring box from his pocket to present for your inspection.

“What is…”

“I said, we should get married. Like that one song from earlier.” He watched you whip your body around as he removed the ring from its cushion and dropped the box back in his pocket. He cleared his throat before continuing. “I’ve never loved anyone the way I love you. You’re my singing partner, my muse, the reason I can’t eat hot sauce without gagging.”

“That was one time,” you exclaimed.

“And I’ll never let you forget it. So, let’s spend the rest of our lives making memories. Will you marry me?”

What felt like a private moment had garnered the attention of everyone in the immediate area. Flickering your eyes to the jumbo screens near the stage had you face to face with your own shocked expression.

“We got a proposal in the building,” Beyoncé spoke, driving your soul out of your body and back in a split second.

Low rumblings of “Say Yes” grew into a full on chant until the biggest decision of your life thus far was magnified into a public spectacle. John David looked up at you with sympathetic eyes, but you smiled down at him and pulled him up by his jacket for a kiss.

“Hell fucking yes I’ll marry you!”

Applause roared around the stadium, dwarfing whatever JD said in excitement.

“Uh oh! We about to go ApeShit! Let’s go!”

The opening notes of ApeShit rang out in the building, creating the perfect soundtrack for a celebratory kiss and the first duet of forever.

#John David Washington Imagine

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pcper-fcntcsy · 4 years

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◟˖﹡˙⊰ MUSICALHQS TASK#002 : words don’t come easy ⊱ ʿ﹡˖◝

a playlist for hero chidike

Open your eyes Your heart can tell you no lies And when you're true to your heart I know it's gonna lead you straight to me

I. true to your heart by 98 degrees ft. stevie wonder

This song is nothing but good vibes for Hero, and though it does remind him of dancing in his room as a kid, he’ll also love to play it when goofing off around the house, avoiding calls from his trainer or publicist.

II. one by mary j. blige

Hero definitely did not realize this was a breakup song when he first added it to his playlist, purely going off the sweet vibes and how he liked blige’s voice. Now though, he does enjoy the questions the song begs and the faith in other people it describes.

III. higher ground by stevie wonder

Once again, a song that is Straight Vibing, and is only the beginning of the cultivated amount of Stevie Wonder Hero has throughout his playlists. It’s a song that instills a certain work ethic in him and makes him want to reach that higher ground.

IV. greatest love of all by whitney houston

There’s quite a lot of romantic Whitney songs that Hero would love to listen to, though this one specifically reminds him of his parents and how much they supported him in all his endeavors. It’s less upbeat than what he’d normally listen to, but the lyrics still speak to him.

V. respect by aretha franklin

There’s likely some very embarrassing video of Hero dancing to this as a toddler and furthermore, Hero was distraught for a full week when Franklin died. Though it’s not something everybody knows, he is a very good dancer and loves to put this on when working around his apartment.

VI. it’s a man’s man’s world by james brown

Funk music speaks pretty deeply to Hero, as well as drinking pure Respect Women juice for breakfast daily, because despite working in a male-dominated athletic field, he knows he’d also be “lost in wilderness” without the supportive women in his life.

#somehow i'll be strong (about)#musicalhqs:task

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iheartmoosiq · 5 years

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With the advent of texting and other means of modern dating & communication, what we now call “ghosting” has become a common occurrence. It’s also inspired a lot of artists and their craft. Did you know Florence and the Machine’s Big God is about ghosting? Well, this gorgeous new pop offering from rising singer and songwriter Sonia Stein is also about ghosting. On Party, she partnered up with producer Ben Jones (Kelly Rowland, Tinie Tampah, Mary J Blige) to weave a tale about a personal experience she had a few years ago, when a guy she was seeing totally cut off contact one day after an intense 2-month relationship. Stein explains: “Party is about wanting an explanation, wondering why someone would make such a big deal of something and let it go without feeling the need to say goodbye or explain. I was dealing with the humiliation and shock of having the rug pulled from under me and was imagining a metaphorical party I would host to commemorate what I thought was a memorable experience that I didn’t feel was honoured.” It feels as if we’re exposed to a whole lot more lack of closure these days, but at least we have the gently stirring draft of this sincere and earnest pop gem to sooth our hearts. Its easy groove and breezy guitar flicks meld Your Smith with HAIM. A nostalgic 80′s flick-styled video accompanies Party, directed by Aaron Bevan-Bailey who was inspired by the lyrics of the song, “let’s have a slow dance, like we did on the tube”. You can catch Sonia Stein’s enchanting live set on February 5th 2019 at London’s White City House. More UK dates will be announced shortly. Stream/download Party, here.

#Sonia Stein #Party #music video #pop #music #indie pop #indie music #alt pop #alternative pop #song #singer songwriter

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luffyasksandanswers · 5 years

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4 and 6 for the song meme c:

Three Songs Meme @minister-of-candy

6:Three of my top dancing songs

//World is going nachos because me has changed the order of the reply *laughs* Ok, first of all, frankly spoken, I’m not a good dancer. I mean I can jam like “uu, nice song!” but going further from nodding the head or moving the feet slightly , my brain just doesn’t know how to multitask any complicated patterns xD but anyway, most of the songs below are from the time I was a university student and ran at these monthly parties just to get collectible patches xD

Keinutaan by Antti Tuisku (feat. VilleGalle)

Antti is without a doubt, the king of Finnish pop. He rose from the third place of a talent show to the stars. After singing soft songs for a while he released his wild side and he definitely knows how to take the spotlights at the stage. This song is one of the rare ones which choreography is somehow danceable even for a pipe brain like me xD Also both of the singers in this song participated to the finnish verson of De beste zangers (van Nederland) [x] and their brotherhood there was beautiful.

Moves Like Jagger - Maroon 5 (ft. Christina Aguilera)

My friend used to always say at the student parties “oi, it’s your jam Id!” whenever the DJ dropped this one and I have no idea how this ended up to be that way but I assume these kinda parties just happen xD Well anyway, this song is groovy so why not, although my moves are more like Jäger although I don’t even like that drink

Tarkenee by JVG

A funny memory related to this song is that at my friend’s wedding this was played few times and we created a “dance” to this song’s chorus and even newlyweds’ granny was so happy to jam with us *laughs*

ps. random fact: The one who sings the chorus is Teemu Brunila who was the lead singer of the band called The Crash who is known for example from a song called Lauren caught my eye [x]

4: Three songs that always make me cry/teary-eyed

There are lots of songs that can fit into this category, especially movie soundtracks but these were the first one that popped into mind :D

Bronte by Gotye

Anyone who has lost a pet (own or someone else’s that was close to you) can relate to this. It’s melancholic but it’s beautiful at the same time and the video reminds me visually of Princess Mononoke.

No more drama by Mary J. Blige

I remember this song from youth when MTV still played quality music instead of reality shows and heard and saw this again after a long long time, still remembered how much sadness it gave, especially now that as an adult the lyrics are much much more understandable. As someone who tends to overthink and worry with the will of saving people on this planet, it is kinda devastating to know that the “characters” on the music videos are describing things some people go through every day whereas some people are born under luckier stars. Well, as a conclusion, this song has a very beautiful melody and message It would require big actions so that things on humanity would find the balance.

Tuntematon potilas by Arttu Wiskari

Wiskari’s productions doesn’t belong in my music lists in general but this song hits right in the feels everytime when the radio plays it. The translated lyrics can be found here [x].

This song’s first verse is basically from someone’s perspective who has struggled with Alzheimer/Dementia (”This disease took my sanity although I tried to fight back”) and the second verse is from the rest of the family’s perspective (”Now I understand the request that made me angry earlier”).

Reason why listening to this is a ticket to Feelsville is because I strongly associate this song with one of my grandparents because the memory loss kept on eating him inside for years. Eventually, he started to wish that it would be his time already and of course, it first felt bad to hear but it was even sadder to see how someone dear to you turns slowly to vegetable without their own will.

#answered #thanks #minister-of-candy #captain went elsewhere ! (OOC)#three songs meme #//first I was like lel few asks won't take too much time and took me what? 2 hours in total including browsing and (over)thinking xD #brain goes potatoes xD #what’s that? sounds like fun~!“ (dashboard games and memes)#shishishi! (askbox answers)

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oneweekoneband · 7 years

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Ninety One, “Kaytadan” (Қайтадан), from Aiyptama (2015), released as a single spring 2016

(Warning: no lens flares this time, but there is a very brief sequence of a man and a woman having a physically violent argument. She gets away fine, but if you’d rather not, skip from 1:20 to 1:35 to avoid it.)

The most interesting aspect of the video for “Kaytadan” I’ll discuss later, but let’s get the distractions: out of the way now: one has to have the proverbial heart of stone to get through Alem’s climactic acting moment without laughing; I think Bala may actually be laughing, while rolling around on the pavement; and ACE IS IN PAIN,Y’ALL.

Now on to the song, which I would describe as approximately three and three-quarter minutes of decent pop song and 18 seconds of brilliant pop song--the 18 seconds being the bridge, which begins with AZ’s distorted, hiccuping version of the chorus, as if while bathing clothed he inhaled two lungfuls’ worth of water, and proceeds to Alem gently backing AZ up, providing a link between smooth performance and messy emotion. It’s jolting to hear the start of the bridge as if the song is going out of control; it’s jolting to realize a few seconds later that the song has never been out of control. That bridge elevates the rest of the song.

Let me now take space to acknowledge that “decent pop song” is damning with extremely faint praise in some quarters. Pop music has so thoroughly saturated our culture, regardless of the position of the brow, that you actually have to make a real effort to find people carrying on the tradition of Pop Music Is Making Us All Dumb that Allan Bloom spent time passing on in The Closing of the American Mind. (Dwight McDonald, who did as much as anyone to make “middlebrow” a pejorative, would probably not be impressed that as I write this that the “most popular” article on the New Yorker’s website is an obituary for Chester Bennington.) Even journals of conservative thought are nowadays reluctant to condemn pop music outright, partly because its younger writers grew up listening to pop, partly because the rise of right-wing populism means that hating some pop music examples (Beyoncé) and not others (Toby Keith) makes a more valuable signal than hating the whole thing. Fortunately Sir Roger Scruton is still with us. This essay, although dating from the late 1990s--a good portion of it is spent discussing the Sensation exhibit, for those of you wondering what we had culture wars over before Tumblr--is a good example of his work. Let me quote one paragraph for flavor:

Even when modern pop aims to be lyrical, melody is synthesised from trite and standardised phrases, which could be rearranged in any order without losing the effect. It is not that such music is tuneless: rather that the tune comes from elsewhere, like food from the drive-round pizza merchant. A characteristic example is the recent hit by Mary J. Blige: ‘Get to Know You Better’. Here the melody is assembled from a small set of notes, arranged around the flat lyrics, and without internal movement. The effect is emphasized by the yukky thirteenth chords and droopy vamping which open the piece, with a sound that suggests someone trying carefully to puke into a wine glass.

Here’s another example, in which Crystal Castles gets held up as an exemplar of moral and aesthetic decay. To the best of my knowledge Scruton has never written about Kazakh pop; I’m going to go ahead and presume that he’d find “Kaytadan” slightly less appealing than dog vomit.

Some of you are going to read the linked essay, get to the line about “the vogue for deconstruction, Marxian analysis, feminism, and all the other intellectual and pseudo-intellectual devices”, and immediately nope on out. Myself I feel a certain amount of futility in trying to battle Scruton’s criticisms. The first tape I remember as being “mine” was Bruce Springsteen’s Born in the USA, and the first CD I made a point of buying with my own money was History: America’s Greatest Hits; my mother basically gave up on all music made after 1978, pop or otherwise, and I inherited my father’s breadth of taste--in his case, smooth jazz, decidedly-not-smooth jazz, Beethoven, Glen Campbell--but neither of us have the vocabulary to justify said taste; my elementary school music teacher was sweet but largely ineffectual. Thus I suspect from Scruton’s side of the argument, any attempt on my end to make a counter-argument would simply be proof of the paucity of my musical education, the stuntedness of my supposed thinking brought about after a lifetime’s worth of suffocation by pop music. (One’s attempted counterargument as proof of one’s having been irredeemably corrupted appears in left-wing critiques of pop, too; but that’s a subject for another time.)

So instead of indignantly trying to bat away Scruton’s condemnation of pop, let me keep it here in the room and try to sound out its implications. If pop is corrupt and corrupting rubbish, then is there much point in talking about a song like “Kaytadan”? To put it differently, are there potential degrees of rubbish? Scruton seems to think so; he comes down harder on Oasis than the Beatles, and harder on Crystal Castles than Mary J. Blige. But that may simply be a matter of time passing: which is not a reference to Scruton’s age but that, if his theories are right, than the Beatles were closer, temporally and socially, to a less-corrupt musical age than Oasis was to begin with. If anything, that may be a reason to be more critical of “Kaytadan”: on a Kazakh group mindlessly adopting American-begun pop pablum when they still ought to have other options available.

Put the question another way: is there room for the hiccuping bridge, or rather the case for the hiccuping bridge, in Scruton’s critique? Or, rather: how should change occur, in a model of corruptible pop music? In a field where the pressure to conform to the three-minute, verse-chorus-verse-chorus-bridge-chorus-out model can be quite strong, simply changing things up can win attention, but change by itself isn’t going to redeem pop--Crystal Castles is definitely more original than “Kaytadan,” but per the Scruton model that doesn’t make them less contemptible. (For those needing a counterargument: there’s a whole Crystal Castles OWOB to peruse!) So just calling the hiccuping bridge “different” or “unexpected” doesn’t do much.

Here’s why I have such praise for the hiccuping bridge. It is artificially distorted, in a way that calls attention to itself. (It’s hard to tell, when Ninety One is performing live, how much help AZ is getting from the backing track; my guess is he can get the yelping effect across somewhat but it wouldn’t be as clear as it is in the studio track.) That in itself is nothing particularly innovative: announcing the presence of Auto-Tune and the like is now an old trick by pop standards. But the computer-enhanced distortion in “Kaytadan” is to enhance the emotion that’s been in the song’s lyrics but not entirely supported by the vocals. Bala in particular sounds callow in the second verse, more showing off his runs than projecting fear of giving up on a damaged relationship. I do wonder if that’s why the video for this reads as so melodramatic, as if it has to do extra emotional work.

Then the bridge: AZ runs through his rap, but then sounds like he can’t even breathe, like he’s having a panic attack at the thought of the argument failing, of the beloved leaving; and Alem comes in, far quieter than he was at the start of the song, serious, cowed. And then the song builds to the final repeat of the chorus, with Ace doing the belting, but by then the intensity makes sense: oh, wait, there really is something at stake here.

The standard (for listeners; I can’t speak for engineers) has been to associate audible technical manipulation of pop vocals with a lack of emotion, a cue to not take the whole thing so seriously: hence T-Pain’s progression from “I’m N Luv (Wit a Stripper)” to “I’m on a Boat” and guest appearances on Auto-Tune the News was unsurprising. More subtle manipulation is also often anti-emotion, in that it’s used to squeeze out imperfections in the singers’ voices, to standardize the final product (assuming the final product isn’t just a re-recording to sound “live” without actually being live). So listeners take a fairly cynical approach to manipulation. Understandably; horrifyingly, presumably, to Scruton, since it represents one more step away from music as reinforcer of shared culture to music as secondary point in idol-worship.

Myself I have always been more a fan of Virginia Postrel than of Scruton, more likely to be hopeful about than horrified by the extensions of our lives through technological advancement. Thus the possibility of human emotion enhanced by, rather than smoothed over by, vocal manipulation encourages me. Most of “Kaytadan” is a bit cynical, in its conformity to pop standards, but the bridge is not; and that would not be enough to redeem “Kaytadan” in Scruton’s eyes, but it is in mine.

introductory post / all Ninety One posts

#ninety one #kaytadan

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wineanddinosaur · 4 years

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Can Hip Hop Help Solve Wine’s Millennial Problem?

Joey Bada$$ travels with a bottle of Sancerre in his rider. Although he claims to have only started drinking upon reaching legal age, now at a ripe 25 years old, the Brooklyn-born rapper has an affinity for a chilled glass of French Sauvignon Blanc. Every day A$AP Rocky spends his time drinkin’ wine, feelin’ fine, while the Migos trio — Quavo, Offset, and Takeoff — like their pours over meals at Michelin-star restaurants. And rarely do you catch Drake on his Instagram Stories or in an interview without a wine glass in hand. They don’t call him Champagne Papi for nothing, after all.

These are just a small fraction of rappers known to boast about their developed palates in song lyrics and on their social media pages. As their careers and fan bases have grown over time, so have their tastes and pleasures, and that’s never been more prevalent in the music as it is now. “Hip hop has always shown wine love. It’s always been a way of painting a more luxurious picture,” says Jermaine Stone, the wine auctioneer and CEO of Cru Luv Wines, a wine branding and marketing company dedicated to blending the worlds of wine and hip hop.

Stone, host of the podcast “Wine & Hip Hop,” adds, “Hip hop has a way of just grabbing luxury things and ingraining them into our day to day lives.”

In 2017, hip hop became the most popular music genre in the U.S. with eight of the top 10 most popular artists being rappers, according to a Nielsen Music/MRC data report. Drake and Kendrick Lamar, who once rapped about sipping Carlos Rossi’s notable jug wine, held the first and second spots, respectively. The genre continued to dominate the music industry in 2018 and 2019, and Nielsen speculates that hip hop is on track to maintain its lofty position at the top in 2020.

The significance of hip hop’s reach and influence over tens of millions of Americans, at this point, is undeniable. And the flair and cadence of rappers’ personal delights is trickling over into the wine industry more than ever. No longer are they the ones merely mentioning wine in songs, they’re selling it and it’s capturing the attention of millennial drinkers.

This development comes at a crucial time for the wine industry. Wine’s share of the drinks market dropped in 2019 for the first time in 25 years, according to research firm IWSR. The downward trend has largely been ascribed to millennial drinkers, who are increasingly drinking across category lines, often opting for hard seltzer and cocktails over wine. So can hip hop’s increasing interest help solve wine’s millennial problem?

Credit: Maison No. 9 / Instagram.com

Hip Hop’s Wine Presence

Since his 1996 debut, music mogul Jay-Z continues to floss about the finer things in life, including vintage wine like Château Pétrus. He essentially introduced his fans to the luxury bubbles of Champagne Cristal before wooing the masses with his gold-bottled Armand de Brignac Champagne — otherwise known as Ace of Spades, which he now owns. His success within the wine industry has sparked the interests of more artists looking for a way to capitalize their brand and expound on their love of wine. Now partnerships between winemakers and artists are increasing with music industry vets like E-40, Nicki Minaj and John Legend developing their own labels.

Just this year alone, hip hop rocker Post Malone traded in his beerbongs for his own rosé label, Maison No. 9. Before its official launch in June, the Grammy winner sold a whopping 50,000 bottles of the French pink wine in a two-day pre-sale and even caused the online wine retailer Vivino to crash, according to a TMZ report. Meanwhile, Snoop Dogg recently released his new wine, Snoop Cali Red — a red blend of Petite Sirah, Zinfandel, and Merlot — in partnership with the Australian wine brand 19 Crimes.

Credit: 19 Crimes / Instagram.com

Engaging Millennials with Music and Wine

At Fantinel Winery in Friuli Venezia Giulia, CEO Marco Fantinel, calls the pairing of hip hop and wine industries a “magic formula” for generating a “modern approach in the world of wine culture, which is based on traditional and often outdated communication styles.”

Mary J. Blige, largely regarded as a queen of hip hop and R&B, partnered with Fantinel Winery to produce her Sun Goddess Wines — a bottle collection composed of a Pinot Grigio Ramato and a Sauvignon Blanc — that launched in June. “We strongly believe in the coupling of music and entertainment-wine,” says Fantinel, noting that while winemakers are great at producing the product, they are often limited in marketing and communication efforts.

With a global powerhouse like Blige backing the label, a winery’s potential to attract thirsty customers can increase significantly. “The bond with a top-level artist can certainly speed up a brand’s notoriety process. If the product is excellent as well, the result is a success,” he says.

Although wine volume sales in the U.S. have declined as millennials’ interests in other categories increases, this demographic still represents the industry’s biggest opportunity for growth. In a 2019 video broadcast, Rob McMillan, the founder and executive vice president of Silicon Valley Bank’s wine division, advised wine industry leaders to increase direct-to-consumer sales and provide more social-media-friendly wine experiences for young drinkers as a way to revive the category’s popularity among millennials.

But bridging the cultures between wine and hip hop — millennials’ most preferred music genre — could prove to be among the most beneficial means of turning attention back to wine. “The more commingling the better,” Stone says. “I’ve now seen so many hip hop and wine events and people branding themselves through hip hop and wine. And every time we do that, what it really highlights is how much each one of these things can impact people from all different walks of life — and bring people from all different walks of life together.”

The article Can Hip Hop Help Solve Wine’s Millennial Problem? appeared first on VinePair.

source https://vinepair.com/articles/hip-hop-wine-millennials/

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johnboothus · 4 years

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Can Hip Hop Help Solve Wines Millennial Problem?

Stone, host of the podcast “Wine & Hip Hop,” adds, “Hip hop has a way of just grabbing luxury things and ingraining them into our day to day lives.”

Credit: Maison No. 9 / Instagram.com

Hip Hop’s Wine Presence

Credit: 19 Crimes / Instagram.com

Engaging Millennials with Music and Wine

The article Can Hip Hop Help Solve Wine’s Millennial Problem? appeared first on VinePair.

Via https://vinepair.com/articles/hip-hop-wine-millennials/

source https://vinology1.weebly.com/blog/can-hip-hop-help-solve-wines-millennial-problem

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isaiahrippinus · 4 years

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Can Hip Hop Help Solve Wine’s Millennial Problem?

Stone, host of the podcast “Wine & Hip Hop,” adds, “Hip hop has a way of just grabbing luxury things and ingraining them into our day to day lives.”

The significance of hip hop’s reach and influence over tens of millions of Americans, at this point, is undeniable. And the flair and cadence of rappers’ personal delights is trickling over into the wine industry more than ever. No longer are they the ones merely mentioning wine in songs, they��re selling it and it’s capturing the attention of millennial drinkers.

Credit: Maison No. 9 / Instagram.com

Hip Hop’s Wine Presence

Credit: 19 Crimes / Instagram.com

Engaging Millennials with Music and Wine

The article Can Hip Hop Help Solve Wine’s Millennial Problem? appeared first on VinePair.

source https://vinepair.com/articles/hip-hop-wine-millennials/ source https://vinology1.tumblr.com/post/625168188991307776

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fashiontrendin-blog · 6 years

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The Grammys did not give enough shine to these women this year

http://fashion-trendin.com/the-grammys-did-not-give-enough-shine-to-these-women-this-year/

The Grammys did not give enough shine to these women this year

There’s something disheartening about the Album of the Year nominations for this year’s Grammys: Only one of them is by a woman. (Lorde scored a nod for her spectacular Melodrama.) That’s not the only category missing female representation this year: The general categories as a whole are male-dominated, as are the rock and R&B nominees. What’s going on? Why are the Grammys such a dude-fest this year?

Getty Images

If you’re about to say, “Because women didn’t release good music this year,” then let me stop you. The last quarter of 2016 and all of 2017 were stacked with superb records by women—from Lady Gaga’s Joanne to Kesha’s Rainbow and, of course, the reign of “Bodak Yellow.” And while these three releases did receive some love from the Grammys, dozens of albums and songs by women did not. These nine women in particular, without a doubt, deserved more shine from the Recording Academy this cycle.

The Grammys awarded Lovato’s album Confident a Best Pop Vocal Album nomination in 2017, so it’s interesting they snubbed her new record, Tell Me You Love Me, this year. Tell Me is infinitely more soulful and vocally poignant than Confident, which features brash production and sounds dated just two years later. “Daddy Issues,” with its disco-fied production and startling crescendo just 40 seconds in, is enough to make Tell Me You Love Me worthy of a nomination.

Tove Lo

Tove Lo’s record Lady Wood was one of the most interesting pop efforts from the fourth quarter of 2016, and yet it’s completely absent from the Grammy nominations this year. Songs like “Cool Girl,” “Vibes,” and “True Disaster” feature such slick production—and even slicker vocals—that it’s criminal they were left out of the pop-music conversation. At the very least, Tove Lo deserved a Best Pop Vocal Album nomination.

Paramore

Peep the rock-music Grammy nominations this year, and you’ll notice something frustrating: There’s only one female-led act in the running. Kristine Flaherty (a.k.a K. Flay) is up for Best Rock Song for “Blood in the Cut,” but she’s the only woman-led act in any of the rock categories. Period. That’s egregious, seeing as how so many women in rock released great work this Grammys cycle. Exhibit A? The Hayley Williams–led band Paramore, whose 2017 album After Laughter received a four-star rating from Rolling Stone. Whether the Grammys wanted to classify After Laughter as rock or pop is irrelevant: It’s an excellent, plucky record that shines brighter with each listen. Where is the love?

Cyrus wrote and produced every track on Younger Now, her first album since 2015’s Dead Petz era, which is quite a feat. It proves that Cyrus is in the DNA of this record. She’s at the heart, and it shows in songs like “Malibu”—with its sun-drenched production and wildly romantic lyrics—as well as the poignant title song “Younger Now.” It’s a gorgeous folk-pop record, stuffed with itty-bitty moments listeners slept on in favor of Liam Hemsworth gossip.

Halsey

Halsey released one of the most dynamic electro-pop albums of 2017 with Hopeless Fountain Kingdom. “Walls Could Talk,” with its swirling, twinkling chorus, is more interesting than half the songs on top-40 radio right now—and it’s only 90 seconds. Yes, one of Halsey’s producers (Greg Kurstin), scored a nomination this year, but where is the recognition for the haunting lyrics Halsey and Lauren Jauregu laid down for “Strangers”? Or the killer hook in “Bad at Love”? Hopeless Fountain Kingdom is the essence of what a pop vocal album should be, so it’s outrageous it was shafted from the Grammys.

Mary J. Blige

There are several female R&B Grammy nominees this year, including SZA and Kehlani, but for some reason Mary J. Blige and her April 2017 album, Strength of a Woman, were completely ignored. Not only was the album a commercial success (peaking at number two on Billboard’s Hot 100), it was a critical favorite as well, scoring a 7.7 review on Pitchfork. MJB routinely delivers impressive vocals and top-notch production, and Strength of a Woman is no exception. It sits squarely at the center of her finest work, and why the Grammys overlooked it is a mystery.

“New Rules” was the undisputed summer song of 2017, and for good reason. The lyrics are empowering; the video is wildly creative; and the song itself is a slice of pop heaven—a perfect blend of tropical house and electronic dance. Dua Lipa was one of the most talked-about new acts of the year too, so her absence from the Best New Artist category is confusing. She deserved a spot there (as did Cardi B, but more on her later).

Charli XCX

Listen, if “Fancy” scored Charli XCX a Grammy nomination in 2015, then she more than deserved some form of recognition for her March 2017 mixtape Number 1 Angel. Yes, the Grammy rules surrounding mixtapes are fuzzy, so it’s understandable why this entire body of work was left in the cold. That being said, songs on the record, like “3 A.M.” and “Roll With Me,” contain enough Europop bombast to hold down a spot in the Best Pop Solo Performance category. I mean, “Shape of You” is nominated….

Cardi B

Sure, “Bodak Yellow” earned nods for Best Rap Song and Best Rap Performance, but where is Cardi B’s nomination for Best New Artist? Think about it: What new act made a splash bigger this year than Cardi B? “Bodak Yellow” was number one on the Billboard Hot 100 for weeks, and it’s still holding down the fort at number 19. Cardi B’s also the first female rapper to have three songs on the chart at once. She’s now ubiquitous—a cultural powerhouse and skilled rapper to boot. There’s no one more deserving of a Best New Artist nomination this year than her. She was robbed, plain and simple.

[article id=”736nn2QzGX3″]

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butimnotacriticthough · 7 years

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Friday Five: Five Indies of Christmas

I know I'm 4 days late. Somewhere out there people still have their Christmas decorations still up so I'm capitalizing on that energy. Think of this as the gift card you receive from the aunt that couldn't make Christmas dinner; clutch and halfway unexpected.

The Indies of Christmas segment is something I wanted to try this year due to the fact that I listen to and meet so many independent artists throughout the year without being able to big them up properly. Initially I expected to have 25 artists but I was blessed with 5 strong contenders that I have the privilege of gushing over.

Ray LeJune

Bio: Ray LeJune is the newest, most sought after femme fatale set to slay the music scene with the perfect blend of bad girl swag wielding a flow packed with spice and lyrics cold as ice! She possesses all the makings of an absolute superstar with roots in Chicago and watering in Atlanta. This bold singer/songwriter promises to intoxicate music lovers and thrill vibe seekers with the perfect mix of dope lyrics and an unforgettable voice reminiscent of legendary divas like Mary J. Blige, T. Boz, and Erykah Badu. While gearing up for the highly anticipated release of her EP, "The Black Beauty" in early 2018, Ray whipped up a stimulating appetizer with the lead single, Grey. An icon once said, “Get in formation!” Ray LeJune is saying, "Prepare to get transfixed and transformed." She's creating music to put your mind where it longs to go. Don’t say we didn’t warn you!

I have yet to hear Ray LeJune live but I'm anticipating this upcoming release. Get into Grey!

Indio Prather

Bio: Indio has released two solo EPs in 2017: "Think Tank Diner” & “Just My Thoughts”. In playing both projects you can hear Prather's versatility. He branches out with a number of styles and sounds to make sure he occupies space in multiple lanes. Between collaborations with Doc Illingsworth and getting coverage from Dead End Hip Hop it’s clear Indio is here to be a staple, not lightning in a bottle. Furthermore, Prather’s plans to release several more projects, a book and more. Be sure to have your eyes and ears on the DMV stand out come 2018.

Here's a track from "Just My Thoughts". The whole project is pretty solid. Try Indio out if you want something new on your playlist that's out of the ordinary.

Sunrhé

Bio: Rhévan “SunRhé” Colón, is an alternative R&B singer/songwriter based out of Columbia, SC. A self-proclaimed late bloomer, Rhévan found her niche in music this year after performing at an art & music event called, YSWN, in February. There she premiered her first single, “Mercy” which was released on SoundCloud in April. It has since accumulated over 4,000 plays. Rhévan has been featured at venues all over the southeast region every month since that initial performance. She filmed her first music video for her most recent single “Closer” featuring Emperor Timeline. Her print and online accolades include [IN]Color Magazine, Columbia Free Times, Charleston City Newspaper, and BuzzWars.

She recently relocated to Atlanta to expand her career and continue working on her project, “VISSHUAL”, which will debut in 2018. It will primarily be composed by Yang of 803 The Clique, and feature fellow creatives from South Carolina.

SunRhé is a joy to watch and be around. Seeing her shine makes me proud to be a support of independent music and stand behind artists I love. Check out her second smash single!

Axnt

Bio: Axnt is a recent Charlotte native who produces music progressively and cinematically using organic sounds, samples of warm harmonies, and textures from archives of years before. With the ability to play drums, guitar and bass, he creates & modulates his own sounds. His roots & influences range from EDM, Hip-Hop, Jazz, UK Bass, and R&B to blend melodies and rhythms expanding the hard & the soft.

I feel like I talk about Axnt all the time but it's still not enough. He shut it down at the anniversary BBTB this year and he continues to kill the game. Peep this track from his new tape "Glow 1.5".

Chase Jams

Message from Chase: The title ZIPLOCKKK came from people telling me 'You had the rap scene on lock this year' or 'You was in your bag this year'. The 3 k’s were just a stylistic attention grabber. I was sitting on the tape for about 3 months. I always drop a tape on my birthday. October 23rd, 2015 I dropped my instrumental debut BLURRYNIGHT$. In 2016 I dropped Day One, which to this day is people’s favorite out of all my projects. But this year things changed. I didn’t feel like it was ready yet. I played it like 20 different ways so the track list could flow and it just didn’t work so instead of releasing it, I released a collab tape with Illadell called Purple Bag Vol. 1. That included chopped and screwed versions of my favorite songs. The reasion I chose December 19th as ZIPLOCKKK's release date is because on that day in 2015 I got into a crazy car accident. I totaled my car and I don’t know how I emerged without a scratch. I thank God every day for that blessing and as a testament to that day, I dropped the project.

My all time favorite song from this project is GOMF with Big Ghini. I can't wait to hear more from Chase. Get into the track here:

Shoutout to all my readers for making 2017 a great one. Thanks for reading, attending events, buying merch, and being some of the best supporters out there. Keep up with me in the new year! Subscribe to my email list for updates and keep your eyes on my Twitter and Facebook pages for all things BINACT.

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kacycat43 · 7 years

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In a nutshell, the Remy Ma/ Nicki Minaj beef is an exploitation of the black female caricature. Specifically, Remy Ma’s rise from prison to the height of pop culture proves that it pays to function against those of your own collective.

Rapper Remy Ma’s new video “Wake Me Up” features a nostalgic sample of Mary J. Blige’s “I Can Love You,” from the Share My World era. The lyrics are shallow, vulgar, and antagonistic, the song an obvious shot at Queens native, and fellow rapper Nicki Minaj.

While I reference Remy specifically, I want to note that my critique is not anchored in Remy, but illustrated by the rap star. The purpose of the post is to regard Remy symbolically, speaking to black objectification as a casting the black body as a tool in its own systemic dominance.

The particulars of this feud are not interesting or important. The significance lies in the symbolism celebrated by many who easily choose sides and celebrate the flashy clothing and long inauthentic locks donned by Kim and Remy Ma as they unite in berating another black woman in a systemically induced battle, where black female bodies battle for a place at the boots of their master. Remy’s “comeback” remains rooted in beckoning for another black woman’s fall, just as many blacks released from prison become informants to yield to fall of their brother to remain in good graces with massa’. Thus, Remy’s rise illustrates that conventional success awaits those who illustrate a caricatured blackness as fact.

It is imperative to note that those who prove most victorious in the feud between black women, are whites. Whites are granted the symbolic victory of a systemically induced black dysfunctionality to which they can and will exploit economically. Specifically, white executives and management companies are able to capitalize on the feuding black bodies casting the limelight on black women who illustrate the presupposed incivility of the black female form.

It is a pervasive anti-blackness that breeds Remy Ma’s “comeback.” An anti-blackness that ingrains into the subconscious of black girls and black women that “success” among black women is mutually exclusive. Therefore, the subtle message becomes one that encourages black women to strive for “success” and not sisterhood.

This distorted reality also blurs the reality that the black female body is utterly irrelevant to her respective caricatures. This fact is perhaps best illustrated in a world where a racially ambiguous Cardi B dominates the charts. Her “music”, to use the term generously, consisting of reality television dialogue exposes the black female caricature as a portrait of oppression and appropriation that signals the inevitable erasure of the black female body from the face of her own caricature.

With her adaptation of black female caricature, Cardi B exhibits blackness in a manner inaccessible to predecessors Lil’ Kim, Foxy Brown, Remy Ma, and Nicki Minaj as black women. Namely, Cardi is both present and absent in the abjection produced in her symbolic function. Just as Miley Cyrus depicted in the 2013 VMAs with a performance were thick black women were used as twerking prop

Cardi B depicts the abjection of blackness without actually bearing the burden of blackness like the black female rappers that came before her. Thus, like the short-lived hype of Australian rapper Iggy Azalea, Cardi B dons the mask Nicki Minaj put on to gain her cross-over appeal. A mask Remy Ma cannot wear, but uses as a catalyst to searing comebacks that berate a privilege she too tries to appropriate with blonde weaves and white designer clothing. Moreover, Remy and Nicki feud as their racially ambiguous body doubles illustrates black female replaceability and pending erasure, to which their systemically induced hatred blinds both individuals and their constituency. The same dynamic is present in countless other institutionalized settings to which black women are nurtured to antagonize one another in environments where the black female body bears a replaceable presence.

As stated in an earlier post on the subject, I acknowledge that this could be and probably is a rehearsed “beef” derived to illustrate that black people cannot and do not get along, an illustration exploited by white executives for monetary gain. Yet, the “truth” behind this strategic performance is not nearly as important as its function. The feud functions as anti-blackness— ensuring that the black collective remains sleepwalkers in a system of white supremacy.

Yet despite her anti black performance, Remy’s hook and title request to be woken up when “the morning comes.” In thought and action, however, it is obvious that neither Kim or Remy, or those of whom they represent, desire to be “woken up.” To wake up would require they remove their store bought tresses and be forced to polish their own crown. To wake up would require they abolish their anger toward one another and actually look their master in the eye and thwart the hypnosis of white supremacy with a collective confidence. To wake up would require courage not the cowardice of complacency— or what the western world labels popularity.

In my effort to produce what Christina Sharpe calls “wake work” in In the Wake:On Blackness and Being, it is imperative to note that my efforts are not to perform the acts that my post vehemently speaks against. Rather, my objective is to expose the contemporary slave as performing against her own—tokenizing white ownership over the contemporary black slave.

A key component to wake work, is an ongoing state of hyper-awareness. This hyper-

awareness is often regarded as pessimism in a world indignant when the oppressed are no longer fooled, entertained, or complacent to their oppression. This hyper-awareness would incite Remy Ma, Nicki Minaj and all the other institutionalized black bodies to make a difference, rather than play a prominent role in ensuring everything remains the same. This hyper-awareness allows those handed a subaltern status to emerge as subject in possessing a heightened understanding of the workings of white supremacy.

In short, if one is truly woke, there is no need to “wake” them, because when the morning comes” those in the wake have been woke.

Popular culture incites the black body to endure a prolonged slumber where blacks literally and figuratively “sleep” on white supremacy, allowing whites to wake up in a world where their fictive superiority continues to function as a reality.

Black Power ❤

Wake Me Up, and How Pop Culture Seduces Blacks to Sleep on White Supremacy In a nutshell, the Remy Ma/ Nicki Minaj beef is an exploitation of the black female caricature.

#wakemeup

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theworstbob · 7 years

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yellin’ at songs, week thirty-eight

takin’ some time to think ‘bout the songs what all debuted on billboard between on 27 september 1997, 29 september 2007, and 30 september 2017

spoiler this is extra salty, hoo boy pop music is bad and no one should like it

9.27.1997

2) "4 Seasons of Loneliness," by Boyz II Men

Yep. Yep, this is a '90s R&B slo jamz. Just a bunch of dudes singing gently about how epic and powerful some feeling is -- in this case, loneliness, which, if you were not aware, is the opposite of love. See, what makes loneliness so fascinating is, when you're in love, you're a two, right? But when you're an alone, you're a one. And if you're a one for long enough, you will eventually be alone through all four of the seasons -- winter, spring, summer, and of course, faultumln. What a brilliant job Boyz II Men do of portraying what it would be like to be single for a year.

29) "Everything," by Mary J. Blige

This is like a '90s R&B dude song from the female song. "You are my trusted friend/On you I can depend." First off, way not to end the lyric with a preposition, but also, I think I've heard that "friend/depend" from 1997 R&B dudes at least 20 times. "It never occurred to me the first time I saw your face/I would fall so deep in love, that your love can't be replaced." Face/Replace sounds new? But I wouldn't be surprised if it popped up here and there across '90s R&B. This is a bit bouncier and more upbeat than the R&B dude fare -- it's not overdramatic, it's Mary J. Blige revelling in love, so at least it has that going for it. It just doesn't feel like its own thing.

79) "Don't Go," by Le Click ft./Kayo

How come people who make dance music are so shitty at making hot dance tracks? Like, every EDM song in 2017 sounds like the apocalypse, and every dance song from 1997 is the saddest goddamned thing I've ever heard. "Don't go, my feeling can't be wrong." Now urrbody in the club gettin' desperate. Like what even is this, why are we putting this song in front of that "I'm Too Sexy" beat I can't stop hearing because Tay Tay ruined everything, why, why.

88) "Off the Books," by The Beatnuts ft./Big Punisher & Cuban Link

You know what, I didn't mind them. Everyone rapped well, and I appreciated a look at a life of crime that wasn't about drugs. You can also evade taxes, or launder money! Those are less fun crimes to commit than drugs, but they do the trick if you're out of drugs. I don't know how much of this song actually invovled money laundering, I just know the hook was "ain't nothin' but crooks in here/gettin' mad money off the books in here," and the song wasn't really worth paying attention to, so I'm just sort of hoping it was about the intricacies of money laundering.

90) "Love Is Alive," by 3rd Party

So OK this is just basic Euro stupidity CAN WE TALK ABOUT THE FUCKING AMAZON AD. CAN WE TALK ABOUT THE FUCKING AMAZON AD WHERE THE DOG WISHES IT COULD TALK TO THE HUMAN. What even is the song they use in that ad? How did they find it? Like did they commission a song specifically for that ad? That song had to be written for the ad. They filmed and edited the ad, went to a coffee shop three blocks from the office, and asked people to take two minutes to write a song about a dog that wishes it could talk to humans. It's the worst goddamn song in the world and I have to hear it 20 times a week until the ad campaign is over because of this stupid fucking thing I'm doing. That's not fair. That's not fair! Why would you increase the degree of difficulty? I know it's late in the game, it's not supposed to be easy, but you're supposed to let me win. "I wish I could ask you how was your day." YOU'RE A DOG. YOU WISH FOR MEATS, AND THE DAY YOU DIE WILL BE THE HAPPIEST BECAUSE THAT IS THE DAY YOU GET TO HAVE A CHOCOLATE SOMETHING.

9.29.2007

14) "Good Life," Kanye West ft./T-Pain

This song is ridiculous because Kanye eventually is inspired by T-Pain to use Auto-tune on himself and makes three miserable masterpieces that affect pop/hip-hop for a decade, and this song is like the bounciest most triumphant thing off Graduation. Like you can trace a direct line from this song, with its jubilant T-Pain line and that delightful "more ass than the models" drop, to Lil Uzi Vert, who makes boring songs about how dark his mind is.

61) "1, 2, 3, 4," Feist

For some reason the top YouTube search result for this song is not this song, but rather the Plain White T's song. I hate that this is my algorithm. Also we talked about lineages, and we talked about the Amazon ad, and you can draw a direct line from this song's surprising rise to popularity to that goddamned Amazon ad. We made a folksy indie artist popular, and a decade later, we have a folksy indie-sounding song about a dog staring at a human and saying "UNDERSTAND ME! WHY?????" Like I'm listening to this song, and I'm no longer hearing the Apple ad, I'm hearing Linda from corporate's ringtone, because Linda from corporate downloaded the song from the Amazon ad. "It makes me so happy when the puppy talks to the baby!" Guys I'm not well.

86) "Inconsolable," Backstreet Boys

I feel like I'm on the precipice of an amazing joke or insight but all my brain is doing is staring at the words "Twenty years of not understanding why they keep giving AJ solos." Hey you wanna hear something bonkers? Two of the Backstreet Boys hadn't turned 30 when this song had been released. How the fuck are you gonna be in your late 20s and making adult contemporary jams. How is your life this over before you're at least 32. Also one of the Backstreet Boys was 36 in 2007. Sir, you are a Backstreet Man. I don't know what your problems are, but I can see you have several.

88) "Do It," Nelly Furtado

I mean, it exists. Like it just sort of starts, and then it doesn't stop. I felt like I was listening to this song for 1000 years because it just kept saying "do it like you do it to me." Except like I'd imagine this person is doing it to Nelly Furtado, so I guess I just don't understand why she wouldn't just urge him to keep doin' it? But then the song just faded out, and I'm just here like, did I actually listen to something? Was I supposed to hear a story, is this, is this a rough draft? Did they intend on polishing this before the release? "So you released the album before you finished the last track! Big deal! Everyone makes mistakes, everyone has those days, as we are fond of saying in 2007! But we will be releasing this as a single so the whole world can hear what a bad job you did."

93) "I'm So Hood," DJ Khaled ft./T-Pain, Trick Daddy, Rick Ross & Piles

Oh, DJ Khaled group cuts, at least you're never awful. You might only whelm, and I might think Piles is just an absolute zero of a person, but it's typically pleasant to hear you when you appear. DJ Khaled: not the worst since 2007.

94) "Sweetest Girl (Dollar Bill)," Wyclef Jean ft./Akon, Lil' Wayne & Niia

This would be a really touching song if it sounded like anyone on this track had spent time thinking about what it means to be a sex worker. Like I'm not tryna get all tumblr here, it's just, there's so many societal forces which combine to force someone into stripping, and these dudes are just like, "She used to be so nice! Such a shame she's doing this thing. Stupid money!" Like no there's so much more to it than that. But I'm also not sure Lil Wayn is in tune with the day's social issues. Also, heck is Lil Wayn doing on this song? It kind of feels like Lil Wayn was 100% on board with strip clubs for most of his career. This song is an outlier. I don't think Lil Wayne really think it's a tragedy when someone turns to stripping.

95) "My Drink n' My 2 Step," Cassidy ft./Swizz Beatz

This song is surprisingly good and I'm actually angry that the song I think of when I think of Cassidy is "Hotel" and not this jam. Cassidy's pretty much a one-hit wonder, but this should've been the hit.

96) "Firecracker," Josh Turner

This is a cute song and Josh Turner hits some gonzo low notes, but mostly I'm now obsessed with this idea of some country dude at some point calling his dick a firecracker. Like, I think it's nice he's calling his girl a firecracker, but there's gotta be a country dude somewhere making a joke about "don't get hurt holdin' my firecracker!" right? Or maybe we could use the Southern man's propensity for getting himself injured playing with firecrackers as a euphemism for masturbation. I dunno. I'm ready to move on, but if anyone wants to start making a bro country album with me, I am willing to chase this dog.

99) "Me Enamora," Juanes

This kind of sounds like the fun Latin song on a 2016 Backstreet Boys album. Like, it just doesn't sound as fun or as exotic as the Latin pop explosion of 2017. I think I'm just reacting to the presence of a dude playing guitar in the video. Like, that's how you remove mystique from a person, is just strap a guitar around them. That tells you he's the sort of person who walks around telling people he's a "storyteller" and Bob stop now before you just 100% rip off "guitar guy at the party."

100) "Kiss Kiss," Chris Brown ft./T-Pain

hey guess what nope

30 September 2017

5) "Too Good at Goodbyes," by Sam Smith

at first i thought "i have sang this song before" in the first verse and i was all "hey, thanks for writing my review buddy!" 'cuz like no shit he's sang this song before, this is the only song sam smith has ever song, the only emotion sam smith has ever felt in all his life is "melancholy" and his songs are bland and without flavor as a result, they're just pointlessly sad, also i said fuck you at my computer when the choir kicked in, like seriously of goddamn course a choir, titanic was less predictable

44) "Dusk Till Dawn," by ZAYN ft./Sia

You know what kinda ticked me off about this song that I'm not sure should tick me off but whatever? The chorus, where Zayn goes "I'll be waiting for right he-e-e-e-eeee-ee-e-e-e-eeeeee-e heeee-e-e-e-e-eeee-e-eeeere?" Like what are you trying to do with that long note if you have to take a breath during the middle of it? That rest doesn't add any tension, it only serves to take people out of the song and say, "Why'd you stop singing, dude? It sounded like you were just gonna keep singing for a few seconds. You lack breath control? Is that it? Zero technical skill, ZAYN?" But it's entirely possible I'm the only person annoyed by that. And it's also possible I just wanted to be annoyed at something in particular, rather than just pointing at this song and shouting "BAD" like I did in the first draft. Because hoo boy, this ain't a hot one!

62) "Love So Soft," by Kelly Clarkson

OH GOD YES KELLY IS ON THE HORN BANDWAGON. I WAS SO READY FOR THOSE HORNS, I KNOW HOW POP MUSIC'S BEEN TRENDING THIS YEAR, I WAS WORRIED THIS WOULD JUST BE A BALLAD FROM THE TITLE, BUT THERE IS LIGHT HORNAGE and also this is the best Kelly song in years. The thing her voice does when she sings "it sure gonna cost YOU" is pure and it also does a million other things because it just flies around this song, Kelly Clarkson is flexing on all these young women who've got a vocal range of "whispering." The last few weeks, we've seen a good Kesha song, a good Demi song, and this Kelly Clarkson masterpiece, and I never wanna hear from goddamn Fifth Harmony ever again, not when the standard has been set.

73) "I'll Name the Dogs," by Blake Shelton

one of my favorite tweets of all time said, "would you like some traditional gender rolls? my wife made them while i was at work," and that is all i can think of most days, but also especially while listening to this song. "you find the spot and i'll find the money/you be the pretty and i be the funny." i am too logged on to ever accept this song.

80) "Found You," by Kane Brown

i would like to rescind my interest in kane brown for the time being. "what ifs" was intense, but this is knock-off sam hunt, which is itself akin to store-brand wheat thins. whatever about kane brown's vocal work on "what ifs" has completely vanished, he sort of rotates between three notes, and the lyrics are completely devoid of character, it's just, "it would have been sad if we never dated" over The Electric Drum Beat. i expected better, sir, but i hope you can be better.

81) "Gucci Gang," by Lil Pump

...Well, at least I only had to waste two minutes of my life listening to The Trap Song. At some point, these songs will be four measures long and instead of lyrics they'll just make the fun trill noises. Honestly, the trill noises? Very good. I love dudes are just going "brr!" and rolling their rs.

85) "No Limit," by G-Eazy ft./A$AP Rocky & Cardi B

You know what I like about Cardi B? This is G-Eazy's song, but Cardi B comes on the track to say, "Put a white boy on a song, I might turn G-Eazy out." In Cardi B's mind, this is her song, and while this is not Kendrick on "Control," given how awful G-Eazy's verse and how cringey Rocky's hook is, I'm willing to believe it. Still, I'm really excited for Cardi B as she increases in power and becomes more and more able to take songs from the main artist. But not this one, I don't wanna listen to this song again, it's super bad.

98) "Pills and Automobiles," by Chris Brown ft./Yo Gotti, A Boogie Wit da Hoodie & Kodak Black

Yeah, I'm all good on hearing about the things Chris Brown does in cars.

99) "Let Me Go," by Hailee Steinfeld & Alesso ft./Florida Georgia Line & watt

We've given the song from the Amazon ad about a dog that wishes it could interact with the baby a lot of guff, but at least I had a reaction to it, which is more than I can say for this song. Why are there so many people on this track? How did Florida Georgia Line even get here? What did they add to this song that literally any other male singer couldn't? A second, even more useless voice? Who is watt? Am I supposed to know who watt is already? This song is dumb. I'm going to listen to "Love So Soft" fifty times.

Who won the week?

I mean. No one? 1997 was all boring, 2007 had a very good song and an ok song (Cassidy made the third-best song I heard this week. Cassidy), and 2017 has an incredible song, and then I listened to things that weren’t good for an hour. I think 2017′s gonna get it because “Love So Soft” is a lock for the top ten, whereas “Good Life” probably doesn’t make the Top 20, jubilant and lovely as it is. So basically “Love So Soft” is Kevin Garnett on the Timberwolves, just dragging a bunch of scrublords into the playoffs.

1993: 13 2007: 12 2017: 13

Next week, 1997 presents us with Aaliyah, Fiona Apple, and everyone’s favorite way to fulfill the Rule of Three: The Kinleys! 2007 responds with James Blunt, so, y’know, that’s gonna be something we have to spend time thinking about. And 2017 will give us a sassy young woman belting over horns, a tropical beat from a DJ of note, a trap song with a thousand trills, Latin pop IF WE’RE LUCKY, a song by a member of One Direction, and content from a shitheel.

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includes: tested vulnerability revealing music, sorted by purposes planning: Wolf by Hyuna feat. Hanhae https://www.youtube.com/watch?v=PenwHsg2llk MOBB - '붐벼(FULL HOUSE)' (lil mix) by An Nguyễn https://soundcloud.com/an-nguy-n-95/mobb-full-house-lil-mix NU'EST W (뉴이스트 W) x SEVENTEEN (세븐틴)'s HEAVEN https://www.youtube.com/watch?v=rQHe15JKJCY trying: Shape Of You (spanish version) by Kevin & Karla https://www.youtube.com/watch?v=IdytCyWLKfM "Shape of You" - Ed Sheeran // (Alex Goot + Andie Case COVER) by gootmusic https://www.youtube.com/watch?v=G5SEdQkBzkY Jennifer Lopez's I'm Into You by Cover Drive https://www.youtube.com/watch?v=1jFF5bie8hQ * [TJ노래방] Lollipop Pt.2 - 빅뱅 (Lollipop Pt.2 - BIGBANG) / TJ Karaoke) by TJ KARAOKE TJ 노래방 공식 유튜브채널 https://www.youtube.com/watch?v=wvWlxGNtEtk * [KY 금영노래방] 빅뱅(Big Bang) - Lollipop Pt. 2 (KY Karaoke No.KY46943) by 노래 https://www.youtube.com/watch?v=MROAkXanEIA BTS/SEVENTEEN/SNSD/MONSTA X _ Save Me/Highlight/Catch Me If You Can/걸어(All In) MASHUP by Miggy Smallz https://www.youtube.com/watch?v=Z-5jsxigtAw * [III KDC] The Mains - Highlight (Seventeen) by Kpoppers Baianos https://www.youtube.com/watch?v=RKACkyVAKJw * Magnus Englund - We don't have to take our clothes off - Idol Sverige (TV4) by Idol Sverige i TV4 https://www.youtube.com/watch?v=S1KUvYtaX1o 今市隆二's Alter ego https://open.spotify.com/track/0vXmAEpQlAZatrrppiUE0w NCT 127 - Sun & Moon (cover) by Mua Lisa https://www.youtube.com/watch?v=kqA_xy5AI4A BTS x NU'EST - I Need U/Love Paint MASHUP by mochatime https://www.youtube.com/watch?v=ewEsIvvvZB4 * 뉴이스트 'Love Paint' MV Making Film by Little Muzhr00m https://www.youtube.com/watch?v=KVpacp8gCnI * [MV] NU'EST(뉴이스트) _ Love Paint (every afternoon) https://www.youtube.com/watch?v=Ee15gbUiqfs * 唯我独尊ONLY ONE by めろちん http://www.nicovideo.jp/watch/sm25809332 * 【呪術廻戦】と.て.も.素.敵.な.六.月.で.し.た.＋おまけ【手描き】 by ねこは https://www.nicovideo.jp/watch/sm34727175 * CTS - 唯我独尊ONLY ONE by CTSVEVOhttps://www.youtube.com/watch?v=hxd9FMTRhFk Trademark - Never Stop (Charli XCX X Calvin Harris X Alex Farway) by StevenLadzz https://soundcloud.com/stevenladzz/trademark-never-stop-charli-xcx-x-calvin-harris-x-alex-farway * Ariana Grande - Everyday ft. Future https://www.youtube.com/watch?v=oHmBf4ExtZk RNG Dance Crew by michiganboi101 (Mary J Blige's The One) https://www.youtube.com/watch?v=5Zhf_sAtk8s Nightcore - (Shadow Hunters's) From Now To Beyond by CUTLoveRx https://www.youtube.com/watch?v=ba7Dois3FwA EXO-K 엑소케이 'History' Dance Practice (Korean Ver.) by SMTOWN https://www.youtube.com/watch?v=sPPGu5tnmtw 映画「ダブルドライブ～龍の絆～」予告 2018.11.2 DVD RELEASE by MOVIEチャンネルAMGエンタテインメント (The Brow Beat's OVER) https://www.youtube.com/watch?v=7C1Mi38GZi8 committed: Got7's "Never Ever" VIOLIN COVER by OMJamie https://www.youtube.com/watch?v=7173UT75w-M * GOT7 "Never Ever" Dance Cover Practice [Charissahoo] https://www.youtube.com/watch?v=jezg9YFoAL8 * Dancer Reacts!!! - GOT7 "Never Ever" Dance Practice by Alysha Percy https://www.youtube.com/watch?v=colZ8gUneJE THE RAMPAGE's Can’t Say Goodbye by K.MUSIC CANNEL https://www.youtube.com/watch?v=__KEov-GdSY * Can’t Say Goodbye by THE RAMPAGE https://www.youtube.com/watch?v=F4kfteSXh2c Steph Burris's All Of Me - John Legend (Cover by Steph Burris) https://www.youtube.com/watch?v=ysvQFe622JQ All of Me- John Legend- Acoustic Guitar Cover by Jon Rule https://www.youtube.com/watch?v=UhcCFJ5z7tI THE RAMPAGE - Only One Piano Cover【楽譜】THE RAMPAGE from EXILE TRIBE by ちゃんRINA。 https://www.youtube.com/watch?v=53tbR2y4lBk THE RAMPAGE from EXILE TRIBE / 「Only One」from 1st Album「THE RAMPAGE」【2018.9.12 Release】 by avex https://www.youtube.com/watch?v=cz5eRIrQbFA * THE RAMPAGEのonly One歌ってみた by まーくん https://www.youtube.com/watch?v=wlqPolJLpgc * Only One フル新曲【THE RAMPAGE】 by ちゃぽーんベンツ https://www.youtube.com/watch?v=GvepGkmbVZM * THE RAMPAGE from EXILE TRIBE / 「Only One」Reaction by Angelina Eonni88 https://www.youtube.com/watch?v=n5kirCPniTI * Only One 歌ってみた by Syun Syun https://www.youtube.com/watch?v=2Mhn9505zbM * [Only One/ The Rampage] レッスンコンビネーション by 中谷水嶺 https://www.youtube.com/watch?v=VmRpPp-eTmI * [ENGSUB] ONLY ONE - THE RAMPAGE FROM EXILE TRIBE by Milkteatoxic Fansub https://www.bilibili.com/video/av56241313?p=2 * Cosmic Melody / 東京B少年 by myu_ mina https://www.youtube.com/watch?v=UTJ0pdPmTBc 【Snow Man】190104 FREEZE by 雪人出道了啦啦啦 https://www.bilibili.com/video/av39916678/ * Nick Jonas, Robin Schulz - Right Now (Official Music Video) by nickjonas https://www.youtube.com/watch?v=Sc97AUImI04 * Nick Jonas, Robin Schulz - Right Now (Lyric Video) by nickjonas https://www.youtube.com/watch?v=l7_z3nCeCog * Nick Jonas, Robin Schulz - Right Now (DANCE VIDEO) By F-Ricardo by F- Ricardo https://www.youtube.com/watch?v=WKAaA4IwJ1s Loote - Are You Sure (shameless. Remix) by Trap Cosmos https://www.youtube.com/watch?v=zPDklzYyBXg * Han Seungchan's Loote - Are you sure? Drum cover | Han Seungchan https://www.youtube.com/watch?v=M_177MI4qvg * Emerald Eyes - AMV - 「Anime MV」 by Light Raider https://www.youtube.com/watch?v=5hMMvWYSjkg * Anson Seabra - Emerald Eyes [IndieVibe] by Indie Vibe https://www.youtube.com/watch?v=FT01Ezowzh4 * Emerald Eyes|| Anson Seabra|| Gacha Cricket || glmv by Gacha Cricket https://www.youtube.com/watch?v=RBiIN0FGOX4 * Anson Seabra - Emerald Eyes ( Fan music video) by Abigal Cretors https://www.youtube.com/watch?v=RdmYOkDzaGk Emerald Eyes (Anson Seabra Piano Cover) by conwaysuccess https://www.youtube.com/watch?v=cE8jKnv43uI Need You Now - Dean Lewis Piano Tutorial by Florian Michalski https://www.youtube.com/watch?v=-8AyForgtgo Dean Lewis - "Need You Now" guitar tutorial by guitaristory https://www.youtube.com/watch?v=EMDzWsAQet0 Need You Now - Dean Lewis (Cover - Jem and T) by Taneesha Gray https://www.youtube.com/watch?v=AObgBW_NLz8 * Need You Now - Dean Lewis / Cover by Jodie Mellor and Charlie Tyrrell Smith by Jodie Mellor https://www.youtube.com/watch?v=I4uoJwwfh3c * Dance By Dale Pope's Need You Now By Dean Lewis / Lyrical Dance By Dale Pope https://www.youtube.com/watch?v=d--w9Jaq4-4 * Need You Now by Dean Lewis ft. Marina Vachon by Marina Vachon https://www.youtube.com/watch?v=HbbH9a8G71k * Dean Lewis - Need you now | Centre des Arts Vivants | Contemporary jazz | Camille Colin class by Camille Colin https://www.youtube.com/watch?v=VhCwYHz5e18 * DEAN LEWIS Need You Now brownies 🧡 by Ally & Sarah https://www.youtube.com/watch?v=dp7FM8oAaXA * What´s a soulmate? Josh & Tyler by Day Dreamer https://www.youtube.com/watch?v=H3sRv68W2Rw * Dance near the sea / Birdy - Without a word / Nastya Gladun by LKS Dance Fest UA https://www.youtube.com/watch?v=SzEzEmjB9nw * Without a Word by Birdy - Choreography by Lauren Wodarski BY BodyHype Dance Company https://www.youtube.com/watch?v=gXram87vhmM * Lewis Capaldi - Forever | Le Centre des Arts Vivants | Contemporaryjazz dance | Camille Colin Class by Camille Colin youtube.com/watch?v=WSKQxePEDis 【VLDMV】I Love You (LIDO) // Klance by jhoca https://www.youtube.com/watch?v=PeEZmRPdBpI * Lido I love you echo night 2 by Vinnie Ferra https://www.youtube.com/watch?v=AF3Largmujc * Rick Santana | I love you pt.ll - Lido (Lazerdisk remix) by Rick Santana https://www.youtube.com/watch?v=bT2B3OMLGtU * I Love you (Hoodboi Remix) ~Evan Redling Choreo~ by Evan Redling https://www.youtube.com/watch?v=cOndlCo4YYk * Justin Lopez - I Love You by Lido - Choreo by Justin Lopez by Ailyn Lopez https://www.youtube.com/watch?v=2BS1cO9xr3o * Lido - I Love You by Jay K https://www.youtube.com/watch?v=FJa2GuE3kFQ * Lido - "I Love You" Drum Cover by J - ROD https://www.youtube.com/watch?v=1VH_aY3bVBY Down - Fifth Harmony ft. Gucci Mane cover by Eduardo Prado https://www.youtube.com/watch?v=kCdE9YqoV88 "DOWN" - Fifth Harmony ft Gucci Mane Dance | @MattSteffanina ft Bailey Sok by Matt Steffanina https://www.youtube.com/watch?v=_lyHJP5TxWQ * Hoverboard Dance - Fifth Harmony's Down! - Anais and Mirabelle Lee by Anais & Mirabelle https://www.youtube.com/watch?v=t0NP7mTlYrc Kotobuki Reiji (Uta No Prince-sama) X OC - Speedpainting [IBISPAINT] by MariaVii Arts https://www.youtube.com/watch?v=GoS-Xsawqb4 * 【ハピバだよ】愛しき人へ／寿嶺二(CV.森久保祥太郎)【歌ってみた】 by ふみ https://www.nicovideo.jp/watch/sm29235185 snowman ひらりと桜（滝沢歌舞伎zero） by めめ https://www.youtube.com/watch?v=3Thol64nm9U LOVE CHASE (Originally Performed by 山下智久) by オルゴールミドリ - Topic https://www.youtube.com/watch?v=DEys2sr-FgQ LOVE CHASE/山下智久【オルゴール】 (アニメ『トリコ』ED) by R3 Music Box ~癒しのオルゴールサウンド~ https://www.youtube.com/watch?v=yyjtoKXMj6A 山下智久『LOVE CHASE』を泣ける【オルゴール】にアレンジしてみました by kandousuru https://www.youtube.com/watch?v=vHlVWh9p8ZM LOVE CHASE (Originally Performed by 山下智久) by スーパー☆キラキラ - Topic https://www.youtube.com/watch?v=3dqobnNQl0o SeducedByNewS's Yamashita Tomohisa-LOVE CHASE Cover https://soundcloud.com/seducedbynews/yamashita-tomohisa-love-chase 山下智久 LOVE CHASEと抱いてセニョリータ　メドレー by 動画投稿 https://www.youtube.com/watch?v=lkC_1k1-UAg LOVE CHASE（ピアノ）山下智久　歌詞付き　アニメ「トリコ」ED　楽譜/中級　フルver by Tenshi Minamoto https://www.youtube.com/watch?v=2tSrkupeiJE A-sh「TABOO」(倖田來未)、京橋ベロニカ、１４.０４.０１ by kaminajun11 https://www.youtube.com/watch?v=Q9_9S_F94Is 【J-POP】外国人が倖田來未のTabooを歌ってみました.mp4 by Charlie https://www.nicovideo.jp/watch/sm15388668 * 倖田來未 (Koda Kumi)／ TABOO 禁忌 remix (〜Premium Night〜 LIVE) by JYBRUNOO https://www.youtube.com/watch?v=CmWPIszMOmc * 倖田來未 / TABOO 【KODA KUMI SPECIAL LIVEDirty Ballroom～One Night Show～】 by ayuimac https://www.youtube.com/watch?v=D9H8wKkkkrg * 倖田來未 - TABOOを踊ってみた by Perfu部 https://www.nicovideo.jp/watch/sm9675447 * 倖田來未/TABOO by 椿山ゴシップキャンディー https://www.youtube.com/watch?v=NCL2cXjtfmk * 福澤侑×Lead 【CROSS OVER】ダンス by 14 momoko https://www.youtube.com/watch?v=avuHNEB42Ls Love yourself ～君が嫌いな君が好き～/KAT-TUN【オルゴール】 (TBS系ドラマ「ヤマトナデシコ七変化♥」主題歌) by R3 Music Box ~癒しのオルゴールサウンド~ https://www.youtube.com/watch?v=ONMot9iCZGw 緊急特別企画！「君に届け〜僕からのhappyレター」〜1/7〜 by ジャニーズJr.チャンネル https://www.youtube.com/watch?v=OVSuJ7qevjY 緊急特別企画！第二夜「君に届け〜僕からのhappyレター」 by ジャニーズJr.チャンネル https://www.youtube.com/watch?v=NWYw3wFHcbo * HiHi Jets【100mバンジー】360°カメラ(ノーカット版)～橋本涼編～ by ジャニーズJr.チャンネル https://www.youtube.com/watch?v=VhgjA43MxR8 * HiHi Jets · Tokyo B Shounen [Summer Station - Minamina Summer] by ジャニーズJr.チャンネル https://www.youtube.com/watch?v=eqUHo7prk4M Hihi Jets & 東京B少年's SUPERMAN HiB HiB dream by 123227 https://vimeo.com/278155445 Married To The Danger (A SHINee Mashup) by kikismitty hhttps://soundcloud.com/kikismitty/married-to-the-danger-a-shinee-mashup * [HD] 150315 Danger - Taemin 태민 ** SHINee WORLD 2014～I’m Your Boy～ Special Edition in TOKYO DOME by Cris - J Co https://www.youtube.com/watch?v=aNNM4fh7ekA * 20150314 SHINee Tokyo Dome Taemin solo「Danger 」by silver xx youtube.com/watch?v=rwMcAcTt924 NOW THIS SLAPS (SHINee 샤이니 'Married To The Music' MV Reaction) by Deacs https://www.youtube.com/watch?v=VOxwEC5rCK4 * SHINee 'Married to the Music' Bass Trumpet, Piano, Cowbell & Choreo Cover by ReacttotheK https://www.youtube.com/watch?v=z_7pwAxAAFM * SHINee(샤이니) _ Married To The Music Dance Cover by DAZZLING https://www.youtube.com/watch?v=k6Ovo6QmmPc * Pops in Seoul－SHINee interview(샤이니 인터뷰) by ARIRANG K-POP https://www.youtube.com/watch?v=UlycRiRdPwc Snow Man / PSYCHO by 17 peux https://www.youtube.com/watch?v=GRfmyWAHVmM * Let's Dance: Block B(블락비) _ Shall We Dance by 1theK (원더케이) https://www.youtube.com/watch?v=5ZkeOuoyDvg * [Dance Cover] Block B (블락비) - Shall We Dance by Lior by leexingloo https://www.youtube.com/watch?v=WavjWdGKlV0 * [ Viva Rookies ] Block B블락비 - Shall We Dance / HAZEL Choreograpy . by VIVA DANCE STUDIO https://www.youtube.com/watch?v=Q83Ck1eKfFk * [K-pop]쏘울장착완료!! 블락비 BlockB - Shall We Dance full cover dance 커버댄스 by 다이아나Diana https://www.youtube.com/watch?v=0baurUolTkM * 블락비 (Block B) - Shall We Dance l Kpop CoverDance @1997DANCESTUDIO by 1997 DANCE STUDIO https://www.youtube.com/watch?v=KIWMEuoG-Nk * K-POP CHALLENGE: BLINDFOLD DANCE ~ BLOCK B 블락비 - SHALL WE DANCE by Sunset 썬셋 Crew https://www.youtube.com/watch?v=5ZkeOuoyDvg * 블락비 (Block B) - Shall We Dance MV by Stone Music Entertainment https://www.youtube.com/watch?v=NHglTopVlKQ GOT7 "You Are” M/V by JYP Entertainment youtube.com/watch?v=ktc8XDBq93k * GOT7 "You Are" Dance Practice by GOT7 https://www.youtube.com/watch?v=jh2j1TWal2A GOT7 "You Are" Image Video (Vocal by JB) by JYP Entertainment https://www.youtube.com/watch?v=LEWuH4RSsgc * Steff da Campo - Deeper Love (Official video) https://www.youtube.com/watch?v=6GyHKw-7ZO4 * W&W - Rave Culture (Official Music Video) by Armada Music https://www.youtube.com/watch?v=H25K53Z3jn4 * W&W - Rave Culture (Official Trailer) by DJ Anurekh https://www.youtube.com/watch?v=NaTuflPl8P4 * Nicky Romero & Vicetone Let Me Feel Live At Tomorrowland 2014 by Alvaro Guillén https://www.youtube.com/watch?v=E9YjhlqqRnQ * Nicky Romero & Vicetone - Let Me Feel Video Oficial BY Paul Trejo https://www.youtube.com/watch?v=hetMzGwfblw * throttle's wanderlust by Aaron Van Leynseele https://www.youtube.com/watch?v=mTH2nv-9D1Y * The Green - MIKE MAGO (Nalestar Remix)| CUTTING SHAPES by BLAST HAXES https://www.youtube.com/watch?v=FnrdIhfaRXc * ESTOY DE VUELTA :V XD BAILANDO CUTTING SHAPES🤘😅🌚 by David García https://www.youtube.com/watch?v=XVJ3Vh6Aqwg * Mike Mago - The Green (Nalestar Remix)(VIDEO EDIT) by Sounds Of Infinity https://www.youtube.com/watch?v=EkQ8KYiXt-U * Amba Shepherd // Away [Superrlativ] OUT NOW! by Amba Shepherd [AS&CO] https://www.youtube.com/watch?v=TguB7wcJikA * Madison Mars feat. Maggie Szabo - Home (Official Lyric Video) by LIT Network https://www.youtube.com/watch?v=AgWi0Ky_RbQ * Kungs - Be Right Here (Mesto Remix) - Shuffle Dance by Truong Hoang https://www.youtube.com/watch?v=toIMSd9joKc * Parookaville 2018 - Kungs - Be Right Here (Bill's Factory) by Gee Six https://www.youtube.com/watch?v=23DeHVcp1UY * JULIA STROUK (Be Right Here - Kungs & Stargate feat. GOLDN) https://www.youtube.com/watch?v=jg_Ib5ctuGk * Falling - James Maslow (Baton Routine) by Sarah Briskey https://www.youtube.com/watch?v=ToZKDsilFlw * Falling - Official Lyric Video | James Maslow https://www.youtube.com/watch?v=oy8OkHVaPSU KOOS - Krast [BASS BOOST] by Escept https://www.youtube.com/watch?v=1GopVYo5HB8 Berywam's Mask Off (Future Cover) In 5 Styles - Beatbox https://www.youtube.com/watch?v=0GuMroiiHXs * Mask Off Challenge BEST Compilation #MaskOffChallenge (part 2) by Viral Trends https://www.youtube.com/watch?v=-BlakOlP3L8

#mid playlist

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