koganbot: (Default)
A punk votes for a punk (again). Here's the playlist:



1. Lil Debbie "F That"
2. NCT 127 "Limitless"
3. MC G15 "Deu Onda"
4. Jovi "Ou Même"
5. CLC "Hobgoblin"
6. Miso "KKPP"



7. Juan LaFonta ft. Big Freedia "Bounce TV"
8. Pristin "Wee Woo"
9. Omar Souleyman "Ya Bnayya"
10. Steps "Scared Of The Dark"
11. Vince Staples "BagBak"



12. Cherry Coke "Like I Do"
13. K.A.R.D "Rumor"
14. Die Antwoord "Love Drug"
15. Alternative TV "Negative Primitive"



16. Lindsey Buckingham & Christine McVie "In My World"
17. K.A.R.D "Don't Recall"
18. Ashmute "Scenery"
19. Twice "Knock Knock"
20. Molly "Я просто люблю тебя (Dance version)"



21. Serebro "Пройдет"
22. Hyolyn x Kisum "Fruity"
23. G-reyish "Johnny Gogo"
24. Yungtime ft. Mihney "Uh uh, uh hum"
25. Nadia Rose "The Intro"
26. Mani Bella ft. Tenor "Déranger"



27. Reniss "Pilon"
28. Jessi, Microdot, Dumbfoundead, Lyricks "KBB"
29. Sunny Sweeney "Better Bad Idea"
30. IU "Jam Jam"
31. Maahlox le vibeur "Un Bon Plantain"
32. Koppo "Gromologie"

You once again get Debbie's nasty mug staring at you atop my playlist and my prediction is you'll get her all year. So — again — a punk's voting for a punk, me for Debbie. (See me a few months ago ripping in all different directions on punk, and a more malevolent punk voting for a more malevolent punk.)

As you may have expected, I've spent hours debating whether the CLC track ranks higher than the Miso or vice versa. I keep trying to throw Miso higher, for being the more powerful performer. But CLC get more help from their song, the zoom golly golly takeoff being seductive and razzy at the same time.

But Miso seems to have razz and seduction burned into her personality, or at least her persona: low-rent and going for instant ingratiation, which can be more alive and more enduring than art that has more forethought or money or integrity behind it. I really don't know how well I'm reading Miso, though, how much of this is just the low budget rather than the personality. In the video I think she's throwing herself at us, with smiles that aren't friendliness or niceness, so it's availability that's not altogether available, but a lot of wiseass fun. It's not unfriendly, if you wanna play along. Except as I said I'm just guessing here, and peering across cultures. The template is HyunA but without the immediate allure and playfulness (or without convincing me of the allure and playfulness); so where HyunA's strong and warm and emotionally accessible, Miso's aggressive and fast, but actually that's alluring too, a fast come-here-and-ride. A different allure. Or a video that couldn't afford a lot of camera setups.

As David Frazer points out, "KKPP" uses the same sample as "Canvas" by HyunA's old group 4Minute, though that song's not the group's most HyunA-centric.

Speaking of "Canvas," it's number 4 on my list for last year, the final version of which was finished in February but I still haven't posted the list; last year I thought Rihanna's product wasn't as good as the cheap Eastern European knockoff (Era Istrefi's "BonBon"); this year T-ara's going-out-of-business single isn't as good as "Johnny Gogo," G-reyish's poor-boy-sandwich of a "Roly-Poly" imitation; and of course HyunA's single with Triple H isn't as good as the two HyunA imitations on my list.

Francophone West Africa is killing it, even if I don't understand it )
koganbot: (Default)
Generic songlist intro: Had mostly completed this a month ago, felt I ought to say something about some of these, hence the delay in posting. Here's the YouTube playlist:



1. Lil Debbie "F That"
2. NCT 127 "Limitless"
3. MC G15 "Deu Onda"
4. CLC "Hobgoblin"
5. Juan LaFonta ft. Big Freedia "Bounce TV"



6. Pristin "Wee Woo"
7. Steps "Scared Of The Dark"
8. Jovi "Ou Même"
9. Vince Staples "BagBak"
10. Cherry Coke "Like I Do"



11. K.A.R.D "Rumor"
12. Alternative TV "Negative Primitive"
13. K.A.R.D "Don't Recall"

Lil Debbie. By strapping herself tight to rhyme and meter schemes she becomes taut and virulent.* NCT 127. If this had been Super Junior doing the "baby it's you" part, the hair-on-the-neck harmonies would've been shivery and cold. NCT sound warm doing pretty much the same, and good for them. MC G15. The genre is "funk ousadia," Google translating it from the Portuguese as "daring funk" or "bold funk," which in this case is a slow goofy dance on a high wire.** The melodica brings me back to Ennio Morricone and Augustus Pablo, also shivery. CLC. HyunA moves with a nice ungainly beauty into which she's instilled presence and charisma while still being accessibly goofy. She's written and produced a HyunA soundalike track for CLC, who have none of her charisma and little of her talent, and they sound almost as good anyway and almost as compelling, also goofy.*** Juan LaFonta ft. Big Freedia. 60 seconds is an effective length for Big Freedia's insistent repetitiveness, about the length of a long TV commercial, which this literally is. K.A.R.D. Immediately gripping but the grip is too tight, or anyway the beats are a tad sludgy and, surprisingly, it's the female singers rather than the males who lie too heavily atop the rhythm. Lots of promise, though, in the songs and the singing.

*Virulence can be a massive irritant of course when linked to Debbie's childish toughness, and fuck that, but it's up to better people to make better music, and at the moment they don't.

**"Sexual connotations and puns in the form of humor," Wikip helpfully opines, also with the assistance of Google Translate.

***Hence the question I asked 30 days ago: "'What if the Rolling Stones had written and produced hits for the Shadows Of Knight?' (Well, what if HyunA wrote and produced CLC?)"
koganbot: (Default)
Stubs of ideas, some of which may turn into future posts:

(1a) A punk votes for a punk (Johnny Rotten says nice things about Trump). Okay, he's not necessarily saying that he did vote for Trump, though from what he said it's a good assumption he did; but anyway, my armchair psychosocial analysis of the Trump win already had been "Punks voted for a punk," my using the word punks in a sorta pre-punk-rock sense, meaning people who compensate for subconsciously feeling weak by scapegoating and bullying and hurting the vulnerable; but such "punks" can include normally nice people too, people who let the punk aspect of themselves do their electoral thinking.



(1b) Only "sorta pre-punk-rock" given that original garage-rock punks such as ? And The Mysterians and the Syndicate Of Sound and the Seeds were indeed punks in the old sense, weak bully-type punks (and sexists as well),† but most of the great punk rockers — I'd start "punk rock" w/ Stones and Dylan, actually, with the caveat that the true punks, the garage rockers, weren't Stones and Dylan but the garage kids who'd dumbed Stones, Dylan, and Yardbirds down into punk, which'd be a fine explanation except that no one limits "punk rock" this way; most critics etc. would also include the Velvet Underground and MC5 and Stooges and Patti Smith and Richard Hell and Rocket From The Tombs and even more would include Ramones and Sex Pistols and the Clash and the Heartbreakers and X-Ray Spex and Black Flag and Nirvana and Hole, generally self-aware nonbully types, and if you're going to do this you've got to go back and count Dylan and the Stones — ...anyway, most of the great punk rockers (as generally defined) were about punk way more than they were punk; nonetheless, being self-aware, they drew the connection between actual inner true punk impulses and the punk rock they were playing, understanding their own weakness and that bullying and scapegoating were in there lurking, sitting dangerously inside. But anyway, of all the great punk rockers, the Sex Pistols, who were maybe the greatest ("They make everyone else sound sick by comparison," said my friend Bill Routt), were the ones who were true nasty punks as much as they were about punk. They were the band that made punk safe for fag-bashers (fortunately only somewhat safe).* None of which explains why Johnny Rotten would shit his brains down the toilet and support Trump (apparently, Johnny can't tell a racist from a hole in the ground). If you want to turn to social affinity and group identification as an explanation, Johnny's loyalty is to real punks, not to punk rock. (Yes, there's no way to come up with a unitary reading of the word "punk" in this paragraph. It'd be a stupider paragraph if you could.) I doubt that many self-identified "punks" — those who embrace the music as part of their social identity — voted for Trump. These people veer left instead. If you go by social category, Trump got many of the rocks and hoods and greasers and grits and burnouts — at least, more than he should have — but few of the punks. (Among whites he got a significant amount of the jocks and middle managers, too, and their psyches are probably as much punk as the hoods' are, but that's not relevant to Johnny Rotten's social identification.) I doubt that many Trump voters had ever bothered to listen to punk rock (not counting the garage hits they heard way back); if they had, the aboutness would've stung them, and they'd have been repelled. Nonetheless, I think I can understand that what makes the Sex Pistols sound true and real to me, the screaming squalling blind attempt to stand against anything acceptable and settled that can get you by, is what makes a lying hollow pathological bully like Trump sound transgressive and therefore real and true and honest and substantial to a lot of his fans.

(1c) Of course Trump doesn't win if he gets only the punks. And my armchair analysis isn't based on any actual research of mine into "the Trump voter." As I said two sentences ago, there's more than one type of Trump voter, and individual voters are multi-faceted in their urges and ideas anyway (so a particular Trump voter can be more than one type). I'm actually doing two questionable things: (i) reading the characteristics of the voter off of the characteristics of what they voted for, rather than actually asking the voters who they are and why they like what they like; (ii) using a psychological model that can apply to an individual person to explain the behavior of a group of people (the punk types who voted for that punk Trump), as if the group were an individual writ large. Obviously I think the analysis kinda sorta works, or I wouldn't have made it. It's a strong hypothesis, punks voted for a punk, strong in my mind anyway, though maybe someone more knowledgeable could beat it down with an alternative. ("Strong" analysis? Seriously? How so? It tells you what most of you already know: (1) that I don't like Trump, (2) that I think many of his voters voted for a lot of what I don't like about him, even if they don't understand the policy implications, and (3) that he's a punk. You already knew that. He's a punk. It's maybe a correct analysis, but not strong, since it doesn't tell you anything you don't already know. Maybe it makes you think harder about punk rock, and what I write below maybe'll help you think harder about social class.)

(1di) Trump got more working-class whites than he was expected to )

(1dii) The terms hoods, greasers, grits, and burnouts as stand-ins for current social identities )

(1diii) The class systems in people's immediate experience are not an exact match for the upper-middle-working class grid )

(1div) They voted against Clinton because she's a student-council type )

(1dv) Kids who bombed out of the classroom still hurt by it )

(1e) Middle class divided )

(1f) Want to hurt people and feel good about hurting them )

(2) The failure of education )

(3a) Duncan Watts criticizes idea of 'representative agent' )

(3b) How would we measure 'punks voted for a punk'? )

(4) The principle of the inferred et cetera )

(5) Top 100 singles of 2016 )

(6) A punk votes for a brat )

(7) Etc. )

Profile

koganbot: (Default)
koganbot

September 2017

S M T W T F S
     12
3 45678 9
10111213141516
17181920212223
24252627282930

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Sep. 26th, 2017 02:27 pm
Powered by Dreamwidth Studios