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)
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. )
koganbot: (Default)
The Dovells' "Bristol Stomp" from 1961 is a doo-wop track that has an aggression and crudity and potential for going berserk that reminds me more of rockabilly than of doo-wop. Maybe we can think of its relation to real doo-wop as like the relation of the garage punks to the Stones and Yardbirds. The dance is said (by Wikipedia) to have originated in a "blue-collar suburb," Bristol, Pennsylvania. No other track I've heard by the Dovells or by songwriter Dave Appell has this emotional feeling. Maybe it's just something I'm projecting onto the track anyway, a potential I heard in their roughness that they hadn't put there themselves.

koganbot: (Default)
I'm only two views in, but so far this seems way more angry than funny. I wasn't expecting it. The jokes appear mean, deliberately, like tacks on a chair, electric-shock handshakes. Maybe Psy's attitude is that the decorum he's throwing raspberries at is mean in itself, so he'll be mean to decorum.



Nine comments down I see:

cjua2803 6 seconds ago
PSy is such a troll lmao
The music is relentlessly nondevelopmental. Intentionally refuses to give us any release.

As a dance track, it isn't as compelling in its maddening repetition as "Harlem Shake," but maybe that's beside the point, if there is one.

Btw, Ga-In, his partner in mischief here, the one who gets him back with the chair trick, was in the best K-pop video I've seen ("Irreversible"), and another that's in my top ten ("Abracadabra").

*Maybe I should've been. The only Psy track I knew other than "Gangnam Style" was "Right Now," which maybe isn't just about getting the commuters to shake and the secretaries to feel better; maybe it also harbors background dreams of giving a wrong time, stopping a traffic line. The gag in the "Gangnam Style" vid is something of a "what am I doing here?" in relation to the posh life of Gangnam; in this one the answer seems to be "I'm fucking everyone up."
koganbot: (Default)
 photo Jordan Siouxsie bench.jpg


Given that there was an element of chance in the Sex Pistols' becoming famous,* is there a way to quantify that element?

I assume that the answer is no, since I've no idea how to try; though maybe social psychologists with a strong grasp of statistics have been working on such questions.

This question was inspired by Mark's starting his Adam And The Ants stint at One Week, One Band with the question, "Do people talk about Jordan much these days? Once — for a year or three — she mattered quite a lot." And a couple of posts on, he asks, "So what exactly was I suggesting earlier today: no Jordan (—> no SEX —> no Pistols —> no Jubilee —> no Ants) —> no (UK) punk? Or else maybe, less aggressively counterfactually, I'm dubbing her the Bez of punk, maybe?"

Mark's point isn't about probability but that the story of a band is way more populated than most people realize. But to underline both my question and Mark's point, I'd never heard of Jordan or Bez until reading those names in Mark's piece yesterday.** And I'm not as sure as he is that his contention ("no (UK) punk?") is counterfactual.

I assume that if we start from 50 years ago and ask ourselves, "How likely then was it that the world has this particular configuration now?," the answer would be vanishingly small no matter what configuration we end up with (though of course some overall features of the configuration, e.g., "the world would still have an atmosphere, even after a life-ending nuclear war," are quite predictable). So to make my question comprehensible, you could say, "Given Britain the way it was in 1975, and glam and glitter and pub rock and punk rock as they already existed in scenes and subcultures in New York, London, Cleveland, L.A., Ann Arbor, etc., not to mention the pages of Creem and ______ (some British counterpart?),*** there's nonetheless huge unpredictability as to whether the Sex Pistols are going to become famous, or how famous, not to mention, once they are famous, what gets made of what they're doing, and so forth."

Remember, even here, the chance of any particular outcome, including the one we got, is vanishingly small. And my concern isn't to come up with a number, anyway. What I'm really pondering is this: back in the late '80s in my fanzine I asked and gave what I consider a good answer to the question, "Why was there a punk rock explosion in Britain in '76 but not a glitter explosion in the United States in 1973?" But my answer was entirely causal. The Dolls had these attributes and this potential audience; the Sex Pistols had those attributes and that potential audience. I wouldn't fundamentally change that answer now, even though I know that there is an element of unpredictability in what happened with the Dolls and Pistols. What I don't know is whether or how much I should mention the unpredictability, or how to work it into the story. What is there to say about unpredictability, beyond that it exists? I think that, even if the Dolls had become famous, they wouldn't have produced the explosion the Sex Pistols did. And I don't think the Sex Pistols would have become a sudden big deal**** in the U.S., even if they'd been as big here as KISS or Aerosmith. But even if I'm right about that (it's not as if I could run an experiment), I don't think even in retrospect that it was inevitable or obvious that they or anyone like them would have sparked the fire in Britain that they actually did spark.

티아라 파이팅!!! )

The butterfly effect )

A Tale Of Two Patsies )

footnotes )
koganbot: (Default)
I'm not claiming these tracks are heavily Afro-Cuban. But they do use one of the clave rhythms:

1 e & a 2 e & a 3 e & a 4 e & a
X . . X . . X . . . X . X . . .


[Error: unknown template video]

(You might want to ignore the visuals on that one; it was the best sounding rip on YouTube.)

[Error: unknown template video]

The Byrds' Tribal Gathering )
koganbot: (Default)
Once again the Singles Jukebox puts forth an excellent set of blurbs, this time for Fat Cat's "My Love Bad Boy," all descriptions making it exciting whether the review is positive or not. Metal effect without metal signifiers, punk effect without punk signifiers (Katherine: "so physically painful that I can’t listen to this without periodic breaks"; Brad: "exercise in pure snot... Fat Cat wants to destroy, not dance"; Edward: "fifty kilos of snark and bitchy"). All for a blissful bit of dance pop.



(The ever-unreliable Google Translate has now shifted its translation of "내사랑 싸가지" from "My Love Bitch" to "My Love A Bad Boy," so I'm reluctantly joining the majority and going with "My Love Bad Boy" as the title. Twas I who misled the Jukebox, but I had good reason.) [EDIT March 2012: And now Google Translate goes with "Baby Bitch" for "내사랑 싸가지" and "My Love A Bad Boy" for "내 사랑 싸가지." But M! Countdown and the other performance shows chose "My Love Bad Boy," so for the sake of consistency and intelligibility I'll use "My Love Bad Boy." See "My Love, The Douche" for a native Korean speaker's insight.] [YouTube killed the embed for my favorite performance; you should try this Youku link.]
koganbot: (Default)
Are there any good novels with self-styled "punks" or "punk rockers" as protagonists? I mean "punks" in the modern musical sense, as coined by Tosches and Marsh and embodied by... er, whomever you'd say it is embodied by, so I guess you can think anyone and everyone from Question Mark and Sky Saxon to Mark E. Smith and Iggy Pop, not to mention Ian MacKaye (though actually I consider Question Mark and Saxon to be a different species from Smith and Iggy, and MacKaye a different species from them). So I don't mean someone who embodies earlier meanings of "punk" (e.g., "weak guy who hurts people to prove he's strong" or "guy who gets fucked in the ass in prison"), such as Wilmer in The Maltese Falcon.* And I do mean characters who self-identify as punks or punk rockers, who therefore will call themselves or get called "punks" or "punk rockers"; so I don't mean something like Faulkner's Absalom, Absalom! or Dickens' Our Mutual Friend, for which I can and do claim that Quentin Compson and Eugene Wrayburn are my ideas of punk ('cept - SPOILER - Dickens didn't quite know what to do with Wrayburn so he ended up bonking him on the head in order to cure him). Those characters obviously don't self-identify as punk.

The character doesn't have to be a musician, but does have to self-identify as in the musical or social species "punk."

I don't mean this question rhetorically with the intent of claiming "There aren't any." I don't read a lot of fiction, so there could be a vast number of novels good and bad that star a punk without my having a clue to their existence. That said, I wouldn't be surprised if the answer is "There aren't any," since whenever I do come across a "punk" in fiction, usually as a minor character in a detective story, say someone's mysterious girlfriend, the treatment is hopeless and clueless, even if the book is otherwise not bad. (But usually the book isn't otherwise not bad.)

Maybe this is just a way of asking if William Gibson is worth reading. (I read one of his books a decade ago and I basically don't remember it. I didn't adore it but I did think it was OK.)

*Though I think those earlier uses of "punk" inform later uses, and "96 Tears" and "Pushin' Too Hard" come pretty close to the earlier uses, except those songs didn't get called punk until they were a half-decade old.
koganbot: (Default)
At the very end of my Why Music Sucks broadside of February 1987 I wrote a paragraph that in retrospect might seem supernaturally prophetic. Whereas now, such a paragraph, with a few of the words changed, would be the common, received wisdom. However, despite almost every sentence of it being right, I think it's fundamentally wrong. But see for yourself:

People will cluster into cultural 'regions' based not on physical proximity but on mutual attitudes, tastes, hobbies, beliefs, etc. )

[This paragraph was something of an elaboration on a more interesting passage I'd written the previous year for an aborted book on punk rock: "It is a social achievement that parents can't understand their kids' slang or that one child will become a punk and another a Mormon and a third will go into interior design (and discos and cocaine) and none will have much to say to the others. Each incomprehensibility is a kind of vengeance."]
koganbot: (Default)
Just posted this on an old blogger thread that I found via Google:

Bug said: I've read it over thirty times now and am still no closer to understanding what the penman actually meant by this.

"through the process of our appreciating them[, we] turn them into nothing."

What does this mean?
Seriously. It's not a rhetorical question.


Wish you [rmd] had made more of an effort to answer this, as it is an excellent question that I quite sympathize with. In fact, it's what I was trying to understand way back then, and still am.

Anyway, if you're still in touch with Bug (whoever you are, whoever he/she is), I'll try to give a rudimentary answer, just with an example:

You will never in a million years guess which current pop singer I use in my example )

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