And Britney and Michael Jackson never showed that particular anger in their music.įor some time I’ve been forming the opinion that rappers have become the true guardians of rock’s anger. Rock may exude a certain joi de vivre, but for me its defining emotion is the compulsion to rage against the machine. Michael Jackson made an entire career of exactly that a backbeat rhythm here, an Eddie van Halen solo there, and everywhere a messy pastiche of drivel that would make any postmodernist proud.īut as the psychiatrist Robert Jesse Stoller famously said, “Kitsch is the corpse that’s left after art has lost its anger”. But if she loves Rock ‘n’ Roll as much as the lyrics profess, she’s got a necrophilic irony in how she shows it.īritney wasn’t the first pop royal to don rock affectations, only to find herself bereft of any real garments. I’ll show some vulnerability here and say I’ve plenty of sympathy for Ms Spears. The one my friends and I played on the bus home from school until our cassette batteries ran flat. It’s the antithesis of the Arrows' 1975 original or über-rocker Joan Jett’s 1981 version. I’ve written before about the biology of what makes rock so compelling, but today I want to throw out some wild assertions as a half-baked attempt to answer the persistent and probably unanswerable question:įor me, the most compelling evidence in favour of the affirmative is a decade-old video of a leather-clad Britney Spears dry-humping a motorcycle to a mechanically sanitized version of “I Love Rock ‘n’ Roll”. That’s because, as I have argued before, “Nothing short of the opium of the masses, religion, which shares with rock so many ritual similarities, even approaches rock music for cultural expression of raw human biology”. Ninja still makes the muthafucker jump, Yolandi is still infatuatingly unusual and Konne is the glue that keeps you on the dancefloor.OPINION: In a century chock-full of cultural innovation, from communism to televangelism and from Rubik’s cube to airline travel, few 20th Century peacetime developments influenced the world as profoundly as rock music. It changes the eclectic nature of the original, but none of its cool. He lays this over the top of rhythmic tribal percussive beats and Yolandi’s main vocal hook to great success. We are looking at a couple of decent remixes to hit the cloud over the past week, firstly from Vegas based DJ Konne who has released a very club friendly banger that keeps a hold of the high charged rave synths that blanket the builds of the original. (help me.) Turn off the lights, put this bad boy on full screen HD and put the weed away for a few minutes, you won’t need it. This has to be my favourite video of the year so far and I can’t watch it enough, it haunts my dreams and is ruining my relationship. Watch the video for the fight of the century between Maynard James Keenan vs. I’ll be looking to hit this choon at the Karaoke clubs tonight! I’m not sure who this Antwoord character is, but if the energy created by wanting to kill him inspires this kind of madness, then I’m glad he pissed them off. Die Antwoord are the best thing to come out of SA since Charlize Theron. One of my favourite moments is listening the crowd’s nervous reaction when they performed this live on Letterman, theres just something to be said (although I don’t know what) about an oversized t-shirt, massively dialated pupils and missing teeth, Yo-Landi Vi$$er just pulls it off (although I’m glad she kept them on).Īs a New Zealander, not many things sound worse than a strong South African, but Ninja makes that shit sound cool, or maybe he didn’t, I was sold after seeing them smashing Dre Beatz headphones. Only two years later were they touring the world with their tech-electro infused hip hop, and this month releasing their third album Tension, where we find their viral hit that speaks volumes of the South African education system, I Fink U Freaky. Forming in 2008, they hit the ground running, and like a lot of good Africans, they were pretty bloody quick. Die Antwoord the white rave rappers from the Dark Continent have a unique style that is part Afrikaans, part English and a shit load of parts weird. Yesterday I wrote about the classic Freakyness of the Disco Era, today, we see how much has changed. Wednesday’s child had nightmares, forever.
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