Some people have such perfect, crisp yodels 😭 Mine is slow and messy.
I'm going to make some Jimmie Rodgers and Hank Williams mix tapes so I can learn the songs and practice!!
2b. I agree people didn't expect much of Green Day. But that's because they were the easy-to-stomach punk, not because punk isn't political. American Idiot was their most authentic dip into the historical value of punk as a genre.
3. We're really gonna act like "Wake Me Up When September Ends" promotes emotional apathy and isn't, by itself AND in the context of American Idiot the concept album, about the loss of loved ones, purpose, and a sense of self after trauma and upheaval?
2. Green Day's early music is typical suburban-white-boy, edgy, rebellion music. But it's also punk music, and to say "No one expected Green Day to be the ones to make The Political Protest Album of the 2000s," is wild.
No backstory on the raw political history of punk? No examination of the genre shift to apathy, personal anguish, and petty suburban outcast themes?
my biggest complaints are this
1. Her conclusion that Green Day's American Idiot is effective because it doesn't directly name Bush or the Iraq Invasion directly contradicts her earlier claim that 1960s protest music was, like, declawed and limp for the same ambiguity, became dated and was culturally discarded for this reason.
Sure, society doesn't always make sense, same themes different outcome, sure, but I... disagree.
I guess I also shouldn't be surprised because she collaborated with Todd in the Shadows and, though I was mostly unfamiliar with his work before, upon investigation it's also thoroughly mediocre.
Youtube guy angrily insults the genre of music that is stupendously easy to target? and acts Aghast the world would produce such things, let alone that people would enjoy it?
Todd you've been doing this for years, how is this your shtick
I'm honestly offended by how mediocre the Lindsay Ellis video about protest music is. I know she can't include everything, I know music isn't her forte, I know she's trying to be funny or entertaining in a lot of it
its engagement is so surface level I can't bear it. She mentions the video being about Big Mainstream music, so maybe I'm the chump here, because broad conversations can't have much nuance, but god
I work in a loud environment with many machines whirring, I wear a face-mask for my shift, all this mean I have to shout in the majority of my interactions. Some weeks after five workdays in a row, I almost lose my voice.
It's hard on a person whose feel-good, comfort response is loudly singing. ,_,
Lana del Rey and Taylor Swift can go into the category of "fragile rich white women who act like all criticism is violent misogyny."
There are valid criticisms of each of them. There are invalid, misogyny-stemmed criticisms of them.
And now she appears to be mad? That people criticize her for anything?
And she pulls this weird card where she says "I'm not not a feminist but feminism should include me"?
I'm just really fucking tired of heterosexual, delicate, feminine white women demanding they never, ever be criticized, acting as though ANY criticism of women is /anti-feminist/, and that a movement they literally don't care about should "make room" for them, when all of mainstream culture is ABOUT THEM.
I think she started to act like her work was "secretly critical" of all the things she glamorizes, which I call bullshit on, because "naming a topic and appearing vaguely sad/conflicted about it" and "critically examining a topic that has positive and negative emotions tied to it" are different things, and nothing I've seen of her presents the latter.
Mostly I've seen people ascribe the criticism we as a culture have developed to her work itself.
I've never liked Lana del Rey's music. Her singing style grates on me and I consider her lyrics impossibly vapid and uninspiring. I'm willing to admit that I haven't really investigated her music, albums, or themes too much because... I have no interest!
But, to me, she's a poor songwriter who developed an aesthetic and persona of "sad glamor." Her style distinctly feeds off American nostalgia and old-money celebrity obsession.
If you're listening along to hear what I'm talking about in the music, it's easier to hear in karaoke versions!
I use this site: http://www.beatsperminuteonline.com/ to parse out beats and rhythmic structure. :D
Also, imo some of the biggest influences in pop music for this same time frame are trap music and trip hop in instrumentation, musical phrasing, and rhythm.
It's not surprising pop songwriting is gravitating towards that "rapid" short phrase style, even if I... remain unconvinced that it's executed very well LOL.
Making that rhythm 62 bpm and 74 bpm respectively.
And guess what? That is how people dance it. Watch the choreography of Intentions here.
Other than Bieber's jumping, the steps follow that sequence as if the beat were actually "ONE-TWO-ONE-TWO."
This is part of how technically fast songs can be perceived as mellow and groovy!
And now I wanna listen to R&B and hiphop from the last three decades to see if they do the same!
But in both songs, there's another rhythmic layer--a lower pitched emphasis beat that plays on the first beat of every eight count phrase the higher instrument plays. (This is a synth keyboard tone in GLY, and a drum snare in Intentions.)
Counting only those beats, the songs would be 31 bpm (GLY) and 37 bpm (I), but, the human body wants symmetry when it dances, so despite these instruments not playing twice per 8 count, we sway like it does.
It's of course worth pointing out that
- Pop music is deeply influenced by R&B, hiphop, and rap, and has been for decades.
- Both example songs feature a rapper, and Justin Bieber has been mentored by Usher since his debut.
But I do find one other element interesting. Girls Like You has a bpm of 125--uptempo, absolutely. Intentions has 148 bpm. For both songs, this beat is kept by a high pitched sound--a guitar riff in GLY, a synth sound in Intentions.
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