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"That gotta be the craziest one in the group. Hey! Dat gotta be – She's scary, I'm not even gonna hold ya -- She is scary, and she hardest one in the group. SHE GIVIN HERSELF A CHOP CHOP IN THE VIDEO!" [Max Sigo]


So our rabbit hole today is reaction vids to XG's "Woke Up." I've watched a score of them, but YouTube's got scores more.

It's performance, mostly, the social and the psychological in physical and vocal form – more vocal than verbal, I'd say, or rather the verbal is as performative as the vocal, the YouTube content creators relying on our having the relevant society and psychology within us already, enough of it to understand the why of their response without their having to explain it to us.

Within that restriction, Max Sigo, for instance, is really good. His laugh is as good as Walter Brennan.

Oh, and if you want to get this right, watch the videos on full screen, so the XG video is large enough to see, and the content creators are larger than life.


"She said 'Gotta lift weight for the bag.' That mean her bag is BIG! As in, there's so much money in it...

"That's a double entendre. That's a bar-- as in her bag, the money bag? She said 'Gotta lift weight for the bag.' The money is heavy and you got the bags, you know, you got CHANEL, all these type of bags, it get a little heavy, you know?" [Terell]


Been merely noticing the fact of reaction vids, noticing for a while now, seeing them in sidebars, but never looked at any of them. Today, though, my feelings put me on alert, an intuition said to watch these. Maybe there was a title out of the corner of my eye, a description that called to me: "XG finna make my quit."

"Her shit just come on so clean."
https://www.youtube.com/watch?v=M7KLQbSPLug

These guys savor their surprise.
https://www.youtube.com/watch?v=qZD8QySmffw

These guys act out their surprise, like in Mexican football when someone scores a goal.
https://www.youtube.com/watch?v=4V5_xo2vxMY

So far, I like the chair-kickers more than the precision guys. But I hope somewhere among the ones I haven't seen yet there's a Lester Bangs or two to put it together, to bring the feeling and the body language while surprising our analysis with their own analysis rather than allowing us to settle for what's already inside us.

This guy likes internal rhymes. Asks his YouTube commenters to tell him what "unnie" means.

https://www.youtube.com/watch?v=RdKetyCyT6c

"The football helmet with the grills?"
https://www.youtube.com/watch?v=pZPrXVPgEoA

"'Skirt'! and 'catchin my drift,' though? Come on, bro."
https://www.youtube.com/watch?v=GEo-4ujxltY

"She had a slight pause with 'hilarious' to make it rhyme with 'more the merrier,' right?"
https://www.youtube.com/watch?v=KZxunLMD2Ak

"You just lost your mind! Why'd you just shave your head on camera and make it look fire?"
https://www.youtube.com/watch?v=3lCMHXV-cmU

"'A small group but we a powerhouse' is what she sayin."
https://www.youtube.com/watch?v=lHRWIS71aWg

--Btw, I'm not a 10 on this song – I'm rarely 10. Is an 8 or 9, probably; we'll see how it shakes out. It doesn't have São Paulo's pole-vaulting imbalance or Recife's insinuating chug, or Soundcloud rap digging deep into its own dust. And being credibly hip-hop and credibly tough and braggadocious isn't the astonishing never-heard-before-from-women-and-Asians achievement that the reactions think it is. I do appreciate – adore! – the dexterity, the syllables, the various different styles of pebbles against windscreen, the differing flows, all seven of them but esp. Maya and Cocona. 8 or 9 is a good grade! The quicksand of the beat is an accomplishment; so's the Korean work-ethic (yes, I know they're Japanese but they're being marketed in Korea), Harvey: "You can tell we all made it work for us/Made it but we had to work for it/Work, work, work, so perfect/That it hurt, don't it?", and since I don't hear much these days that's in English, I suppose I should take being able to understand the words as gravy; but I'm still not hearing surprising content, not hearing a human story, an idiosyncratic biography; nor vulnerability, puzzled narratives, lost libidos, misplaced mosquitos, unmapped journeys, actual dizziness, living-your-life vertigo. But as the conformist genre exercise that this is, it is pretty damn exhilarating, moment-upon-moment topping the previous moment of pleasure, gulping up the available air pockets and sliding through every bank's time-lock. And it is a thrill, Jurin's "Rappin in a skiiiiiiiirt [screeched]/Catching my drift" (I had to look up "drift" as The Fast & The Furious Tokyo Drift and a car-racing reference, deliberate loss of traction in the racecourse turns (says Wikip), but I also love the olfactory implications of "catching my drift"!), while standing like a colossus over Tokyo.



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CROSSPOST: https://koganbot.substack.com/p/who-why-they-sound-like-this-why

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Finally saw The Hunger Games.* Had the thought that it would not work to gender reverse the two main roles. By "not work" I mean "not work for me as a viewer of a current American or Western European movie or TV show, as opposed to in life where it may well come reversed and 'work' as such." And "not work for me" doesn't mean I wouldn't accept it even if it were done well, but rather that I don't believe it could be done well. It wouldn't click emotionally or aesthetically. I'll also say that this is a mostly untested hypothesis on my part, as I've seen very few 21st century movies and little 21st century TV. So I don't know how the roles are frequently gendered these days or what's done well or not.

Won't say more about Hunger Games in the main post so as not to spoilerate it on the small chance that someone is reading who hasn't seen it. But anyone who wants can have at it in the comments. Sixty years ago such roles likely would have been the opposite in gender and often enough would have worked very well.**

Not that the two movies are all that similar to The Hunger Games — and they're far better in a whole number of ways — but in both Red River (1948) and The Searchers (1956) there's a woman who appears early and whose subsequent absence is felt extremely. Whereas now I don't think you could cast the main character as a guy, or that the gender of the absent person would be definitive. Well, you could cast the main character as a guy, but I'm hypothesizing that it wouldn't work.*** Ditto East Of Eden (1955). You'd likely have to gender reverse James Dean and Julie Harris. I don't think you could have a guy equivalent to The Girl With The Dragon Tattoo, though again you may well get one in life. And for all I know you're getting them in movies and on TV and I'm not seeing it; but my hypothesis is that when you get them they don't work all that well.

I realize that this post will be quite confusing for someone who can't correctly guess my reasons for not thinking the Hunger Games roles are gender-reversible.

Fwiw, I don't think it works to gender reverse Miranda Lambert's "Kerosene" or "Crazy Ex-Girlfriend" or "Gunpowder And Lead," but I'll add that in fact Tyler Farr's "Redneck Crazy" (2013) is a gender-reversed "Crazy Ex-Girlfriend," and it went country top ten. But it doesn't work for me. And again, "doesn't work for me" doesn't mean "it couldn't conceivably work for me given my own attitudes," since all sorts of shit works for me (Rocko's "U.O.E.N.O." is on my end-of-year long list). Just that it has nothing like the depth and excitement of the Lambert tracks.

[EDIT: And Red River, The Searchers, and East Of Eden still work for me fine, better than the Hunger Games, and I don't think that's merely because I'm able to put them in the context of their times.]

Unrelated to this: is anyone else not getting email notifications from livejournal? I'm still getting notified via livejournal messages, so I don't think I'm missing anything. But lj comments aren't even showing up in my EarthLink spam filter, which I've instructed to hold messages and not to automatically delete anything.

*First installment. Haven't read the book. Btw, I have all sorts of issues with how the thing was plotted in regards to who gets to kill whom and how we're supposed to take it. It panders. But it works pretty well, 'cause the two main characters work.

**"Opposite" deserves scare quotes but I decided that sticking 'em in would be too much of a speed-bump. I can't problematize everything that's problematic.

***Unless maybe they were gay?
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In case you missed it, or were on it originally but haven't stuck around, Tom asked a question over on his lj last week and the conversation is still underway (Sante and Frith and Woods joining in), so I recommend you take a look:

http://freakytigger.livejournal.com/259269.html

How come rock'n'roll didn't trigger the birth of rock criticism? (i.e. why wasn't Crawdaddy or an equiv started in 1957 or 1958?)

And indeed how come swing and jazz didn't start a fanzine culture?


Tom himself posted further thoughts over on tumblr (here and here and here), as did Dave.

Dave: I think that you could make an argument that there's a certain vein of "rock critic-y" critics, of whom "rock criticism" may actually be a side issue (and that means that the Big Thing that they all adhere to is actually _______...), for whom the phrase in bold [From the alliance between hucksterism and self-conscious artistry comes greatness?] is kind of the essence of what they do, or at least a recurring theme. I'm not sure where you'd stick, say, Manny Farber (who detested a lot of the baggage that comes with the phrase "self-conscious artistry") but you might argue that he's at least defending an artistry that emerges from hucksterism; what it allies with is a bit more inscrutable, but the point is that hucksterism has a role. It's not the only thing — cf. Farber's championing of e.g. Michael Snow and Underground Film, though I suppose you could call the structuralists hucksters of sorts, though hucksters who appeal to a bohemian art world. (Or... maybe not? I dunno, I like to think of a huckster streak in the art I like. Not sure why.)
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What's working for me through three episodes: the banter. That's the show, really. The high school world is referred to rather than actually created. The vampires/witches so far are so what. The relationship between Buffy and her mom is played for laughs (Mom thinks Buffy is a typically inscrutable teen, whereas Buffy can't let Mom in on what's happening since it's all about vampires and witches and dead people); it's potentially touching but isn't something I feel yet.

Psyches, danger, Stumpy )

(No spoilers, please.)

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