koganbot: (Default)
I've been wanting to comment on an ever-increasing number of Mark Sinker posts, especially this on Freaky Trigger where he continues a convo (prior installment here) that, among other things, draws on my hallway-classroom metaphor. Here's a preliminary map (or something) of how I might start responding, when I get the chance.*

1. I'll start with the question, "What would Mark say that he's saying here?" although, in order for this to be an exercise in understanding rather than typing, I'll try wherever possible to avoid using the words he uses.

Or you should try, if you want to anticipate me in taking a shot at it. Also, "saying" is a generic here that includes "doing."

2. You can walk and chew gum at the same time.

In other words, if I say or do A, that doesn't necessarily mean I'm not also saying or doing B, C, D, E, and F, including some K's and L's and M's I'm unaware of.

3. A special instance of the principle "You can walk and chew gum at the same time" is my attack on the hallway-classroom split.

The split goes, in the hallway you talk to and about each other; in the classroom you talk about some third thing: the subject matter. My claim is that good rock critics don't buy into this divide, so they refuse to honor the boundary between hallway and classroom.

4. I'm an alienation addict.

Notes )

*Posting here on my lj since I don't know if Freaky Trigger has fixed its spam filter problems, which had been delaying the posting of comments on old threads.
koganbot: (Default)
Am more ambivalent about "Chick Chick" than the high ranking indicates, given the social inequity underlying the song: the vocals are utterly pedestrian during the cutesy "mǔ jī mǔ jī mǔ jī mǔ jī" stuff and during the rap; the track only starts to cook when the screaming and the chicken clucking and the cackling let loose. It's then that it goes to syncopated excitement, a great visceral speed chase — really penetrates the nervous system, sorta like Bob Quine's guitar lines back in the Voidoids. But my needing to reach so far back for an example, and to guitar sounds rather than singing, leads me to this disturbing conclusion: Chickens are now more credibly penetrating than human beings are. Oh yeah, and if this list and my own viscera are representative (big "if," since they're quite possibly not, and if I'd listened to more hip-hop and rock and banda* maybe I'd know this), women are more credibly penetrating than guys are, women are more credibly tough than guys are, women are more aggressively cute than guys are, women front for rock music better than guys do, women front for heartbreak better than guys do, etc. But I've been worrying about this for years, every time I post one of these lists. And since I'm a glass-is-half-empty kind of a guy, I don't attribute this to women being good but rather to guys being lousy. And it isn't that I believe males no longer have talent, but rather that they're not finding musical models that work for them — as singers and front men, that is; when the spotlight's not on, guys are there contributing to the adventure, as instrumentalists, songwriters, dancers, impresarios, owners. Actually, the boybands are great dancers. And as for "not finding models that work for them," what's really — or merely — evident in this list is that guys are not finding models to make music that works for me. Boybands are doing fine among the fans. I'd have ranked boybands Vixx and Infinite higher if the singers had pulled off the high emotion, but the songs are gripping nonetheless.

Oh yeah, and I'm also pissed off that it's mainly young women and young men on my list (even my token trot track is by a relative youngster), but I've harangued about that before too.

I'll note that celebrated chickenphobe HyunA kicked butt this year (as well as displaying, slapping, and embracing butt (of more than one species)), and was somewhat penetrating back in 2011 deploring chickens. And that A Pony Named Olga are male human beings, not ponies.

Bold for tracks I added since October 1.

1. Wa$$up "Jingle Bell"
2. The Chainsmokers "#Selfie"
3. HyunA "Red"
4. BiS "STUPiG"
5. Kate Nash "Sister"
6. Courtney Love "Wedding Day"
7. Orange Caramel "So Sorry"
8. Tinashe ft. Schoolboy Q "2 On"
9. Nicki Minaj "Lookin' Ass Nigga"
10. Crayon Pop "Uh-ee"
11. Orange Caramel "My Copycat"



12. After School "Shh"
13. Shakira ft. Rihanna "Can't Remember To Forget You"
14. A Pony Named Olga "Funny What You Pray"
15. Wang Rong "Chick Chick"
16. Vixx "Error"




17. Future ft. Pharrell, Pusha T & Casino "Move That Dope"
18. T-ara "First Love"
19. Puer Kim "Manyo Maash"
20. Danity Kane "Bye Baby"
21. Badkiz "Ear Attack"
22. PungDeng-E "잘탕 (잘 시간이 어딨어)"
23. GP Basic "Black Bounce"
24. Serebro "Ya Tebya Ne Otdam"
25. Dal★shabet "B.B.B (Big Baby Baby)"
26. Ca$h Out "She Twerkin"
27. Crayon Pop "C'mon C'mon"
28. Arcade Fire "We Exist"
29. The Hold Steady "I Hope This Whole Thing Didn't Frighten You"
30. Gabylonia "Tirano"



31 through 70 )

By the way, I'm only half-joking about the credibility of chickens — not that chicken sounds are inherently credible, but if it's Wang Rong herself doing the chicken vocals — and I think it is — the chicken voice unleashes something in her that she can't do otherwise in anything close to her own voice, at least not in the several tracks of hers I've listened to on YouTube. (But, given that Wikip says she's been putting out music since the early '00s, I've hardly got an overview of her work. This one's nice enough, this one's got some interesting voice maneuverings, and on this one she sings with authority.)



A Pony Named Olga )
koganbot: (Default)
Pasting in the Facebook convo (through early in the day, May 13) that Chuck began in regard to my q about Richard Rodgers and Dave's about whether there's any statistical support for the common assertion that the majority audience for hip-hop is white. You'll see a link to a WSJ report of an actual study, which produces an actual number (audience 60% white), but methodology seems shaky and there's no further breakdown beyond either they own hip-hop or they don't (so no record of how much hip-hop someone got, or what sort of hip-hop).

But the thread does veer off into an interesting discussion of "When did you first hear hip-hop, and how did it strike you?"



There's no Richard Rodgers discussion, though thanks to Kevin John we verified that Dorothy Rodgers did indeed tell Billboard in '82 that husband Richard was a fan of the Marcels' version of "Blue Moon."

As for my attempt (so as not to have to visit a library or make phone calls or do actual research) to find out if Richard Rodgers did actually take out full-page newspaper ads urging people not to buy the Marcels' "Blue Moon," so far Twitter and Tumblr haven't helped me verify or refute the story or, if it's false — WHICH SEEMS LIKELY — determine where the story came from. Web, you fail. Story seems false not just because twenty years later Rodgers' wife said something opposite to it, but because none of the bios I sampled on Google books mentioned the story. If Rodgers had placed the ads, that's too effortful an event for a biographer to ignore. (Although Google Books doesn't post books in their entirety, so the story may be in the bios in unposted sections, that all such references to the story would fall through the cracks in Google Books seems unlikely. And whenever I made my way to an index, the Marcels were absent.)

Here we go:

It's just like the military pulling a rank/We got a new dance and it's called the spank )

New digs

Mar. 16th, 2014 06:59 am
koganbot: (Default)
As you may have surmised, foreign agents shut off the transponder on my home DSL. Search parties expect to find said DSL sometime midweek. In the meantime I've been walking around my new neighborhood. I'm now living in heavily Latino west Denver, though my apt is just a couple minutes' walk from the Little Saigon business strip on Federal. The ratio of phở joints to marijuana establishments is about 30:1, a ratio you don't find in other parts of the city.

(Spambots are still pounding the hell out of my comment threads. With my not having frequent Internet access, spam posts may accumulate. I'll do my best not to delete legitimate comments.)
koganbot: (Default)
Tracks that stand out as being less like most of the others on this list:

Wa$$up "Wa$$up" and "Jingle Bell": Like a lot of K-pop, this music draws on American hip-hop. But unlike a lot of K-pop this doesn't sound like K-pop, but rather like American jumprope pop.

Tren-D "Candy Boy": Like a lot of K-pop, this music draws on Italodisco. But unlike a lot of K-pop this doesn't sound like K-pop; it sounds like Italodisco.

Qri "Do We Do We," Boram "Maybe Maybe," Lim Kim "All Right": Not that these three are that similar to each other, but each is from an interesting area of smooth, "All Right" more upmarket, "Do We Do We" and "Maybe Maybe" b-side fluff from T-ara's bench warmers.

After School "Heaven": Smoothly sashays atop the nonsmooth.

Stromae "Papaoutai": Belgian Afro-dance (and family drama).

Baauer "Harlem Shake" and Psy "Gentleman": Relentlessly nondevelopmental mindfucks.

Vick Allen "I'm Tired Of Being Grown": Southern soul.

The Civil Wars "The One That Got Away": Dinner-date folkies let loose with tasteful tears.

Within Temptation "Paradise (What About Us?)": Goth metal (if that's what it's called these days).

Tom Keifer "Solid Ground": Hair metal, which isn't considered metal these days, and fuck these days.

Omar Souleyman "Warni Warni": Syrian wedding music on a speed-racer track.

SNSD "I Got A Boy": Shifts forms, won't establish a plot, shoots its self-conscious audaciousness at us with awesome persistence.

Zhanar Dugalova "Kim Ushin?": A Kazakh grabs the rolling happy spirit of "Behind The Groove"–era Teena Marie, successfully disregarding the fact that Teena Marie was a virtuoso and she isn't.

Fidlar "Cheep Beer": Cheap beer.

1. Crayon Pop "Bar Bar Bar"
2. Baauer "Harlem Shake"
3. GLAM "I Like That"
4. will.i.am ft. Britney Spears "Scream & Shout"
5. MBLAQ "Smoky Girl"
6. EvoL "Get Up"
7. Cassie ft. Rick Ross "Numb"
8. Wa$$up "Wa$$up"
9. Tiny-G "Minimanimo"



10. Gaeko & Choiza & Simon D & Primary "난리good!!! (AIR)"
2YOON through Kacey Musgraves )
Psy through Fidlar )
Girl's Day through T.O.P )
Ben Pearce through Ray Foxx )

Flogging a live animal )
koganbot: (Default)
Quick opinions:

SNSD Love & Peace. Japanese, Scandinavian, consistently tuneful, not trying to overpower us with muscle and rhythm.

[EDIT: Video no longer available and I don't remember what it was that I embedded. Might have been "Love&Girls" but it could've been any of the others from Love & Peace. Sorry.]

Tymee "On The River." Strong, harsh, and plaintive at once, is the hurt, pummeled, and scarred Tymee. She's been doing this since her sad "Diary" days, but it was usually a sideshow to the artplay and to her being the fast sprite and melody-flinging cut-up. A lot of that's on hiatus since the name change: instead, she's been aggressive and angry; now she's knocked back in pain.



T.O.P "Doom Dada." Beats dig into the dark desert to match T.O.P's rasp, which sounds quite amused by all the dust.



Also: good album from Vixx, dull album from Myname, very good "Lonely Christmas" from Crayon Pop, T-ara's "Hide 'N' Seek" not as good as Miss A's "Hide & Sick," Nine Muses' "Glue" not as good as Nine Muses' "Gun," 2013 Flashe single not nearly as good as 2012 Flashe single but I'm glad they're still in business and that strong-voiced Songhee is still singing, disappointing single ("It's You") from D-Unit after a very good year, disappointing single from Super Junior ("Blue World"/"Candy"), third set of the year from SHINee (Everybody) not as good as first two.

[EDIT: Again, video's been taken down from YouTube and I can't tell from what I wrote here which one I embedded.]

Trotsquiist

Nov. 8th, 2013 02:42 pm
koganbot: (Default)
Song of the week is Lim Chang Jung's "Open The Door," a seemingly square, florid, impassioned trot that goes hilariously LMFAO in the chorus. The song's actual history runs opposite: was originally, last year, a forgettable would-be int'l-style dance track that I'd heard but forgotten by the Wonder Boyz (incl. LMFAO squiggles but w/out the zest we get when we Open The Door). So what's new this time are the trot beats, which with the hamming bring the song to immediate life. The squiggly LMFAO parade-streamer synths are the topper that they couldn't manage to be in the first version.



"Open The Door," by the way, makes this my third straight K-pop post to feature a Shinsadong Tiger track. He seemed to be having an off-year until all of a sudden he's not.

I'm late on it, but I highly recommend GI's "Gi," extending GI's tradition of ridiculous song titles. (Very first single was called "Beatles" despite having neither lyrics nor sound that refer to our lovable moptops (other than, I suppose, by having a beat). Band's name stands for Global Icon, and the Beatles are a global icon, if that's a connection.)



Also noted, Tren-D's "Candy Boy," in an unabashed Italodisco style. I especially like the instrumental B-side:



(I've included the Austral-Romanian tag because, while "Open The Door" isn't quite on the continuum that I've imagined, it's a second-cousin to the style.)

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