Cool Girl

26 Aug

“Cool Girl” by Tove Lo sounds great.  It’s a perfectly-executed version of what the chill-but-lush “deep house” sound became after pop music borrowed it from the slightly-hip pop EDM crowd who borrowed it from the folks making stuff closer to the original deep house sound.  And I have to admit I was kind of excited when I figured out what the lyrics were about.  She’s talking positively about relationships that buck rules and refuse labels?  Hell yeah!

The more I listened, though, the more I figured out that while it seems to be about sexual liberation, it does this in such a narrow way that it isn’t really challenging any of the norms it plays with.  Right from the first lines, we’re assured that there’s nothing challenging in Tove’s conception of a “free” relationship:

You can run free, I won’t hold it against ya
You do your thing, never wanted a future

Get it?  Because a future would presumably entail labels and restrictions.  By cutting a definitive divide between “cool” girls and girls who might want a “future” with, the song couches itself in a place that doesn’t actually question monogamy – it just places Tove on the “dating around” side of the now-typical serial monogamy thing.

That being said, it speaks to a few open/poly relationship foibles that I found easy to relate to.  Everybody who’s dated multiple people at once has run into (or been) somebody who frustratingly fits the lines:

Rules you don’t like, but you’re still gonna keep ’em.
Said you were fine for whatever reason.

I also dig the generally self-knowing and shit-owning attitude she takes – the speaker isn’t “cool” for her partner(s) sake(s), but because that’s just how she is, and you can figure out what that means for yourself and take it or leave it.  That’s a good place to be.

So, between the relaxed, catchy production, the spark of rare relateability, the mildly norm-disrupting message, and the oh-so-tired subtexts that open relationships aren’t serious (“never wanted a future… let’s keep it fun”) and that sexual liberation is properly the purvue of skinny, made-up, seductive blondes (no hate on Tove for being who she is, it’d just be good to hear about sexual “freedom” from people who don’t fit the hot pop singer checklist, once in a while), there’s something to love and something to hate about this track/video.

Native Puppy Love

27 Sep

I’ll open this post with a track and video by A Tribe Called Red (a Native American DJ Crew out of Ottawa):

The track is just gorgeous, but what really struck me is the video.  Their whole channel is full of music videos that follow much the same format: twitchy, color-shifted, repetitious clips of racist stereotypes of Native Americans set to their unique brand of pounding dance music, which sits somewhere between dubstep and electro-house and makes extensive use of samples of Native American singers (their style has even been dubbed “pow-wow-step”.)

In a time when many pop-culture images of Native Americans and Native American culture are usually racist stereotypes (ever hear the song “Indian Outlaw”?  Or how about Ke$ha’s American Idol Performance? Fashion is a culprit, too, even when it’s not so trendy), ATCR’s stuff is refreshing.  It re-interprets a traditional Native American style of music in a way that makes it accessible to the EDM scene at large, and at the same time reframes the racist images of Native Americans that most of us grew up with in a way that makes their racism and their falsehood crystal clear.  All this, they do without being preachy (and pretty damn danceable, to boot.)

I’d highly recommend reading this interview they did with MTV in 2011, and checking out the collaboration they did with the UCLA Ethnomusicology Review (their website also hosts a longer commentary on this work, which includes a video interview.)

I’ll leave you with a remix of the opening track that I really like, and that summarizes the sort of hyper-trans-cultural nature of the online EDM scene.  It’s done by DJ Javier Estrada, a Mexican producer who labels it in the genre “trap” (which is itself an appropriation of Southern rap music by the online EDM scene):

Thanks for reading!

Major Lazer’s “Get Free” and cultural appropriation

23 Aug

The video for Major Lazer’s “Get Free” was just released.  It’s a good track, and a good looking video. (Sorry for the link-out, but embedding is being all wonky for me right now.)

The first thing that strikes me about this video is its depiction of gender.  It shows the gender-specific sexualization of women in the nightclub scene (like many music videos do), but it gives us a few chances to see that this is not a simple thing but a complex reality that women deal with in a variety of ways – for example, a variety of candid shots of women dancing that are not particularly sexualizing and frame the women as people behaving in an environment rather than simply as body parts, and the inclusion of shots of women who aren’t “model perfect” (as with the apparently partially-blind woman shown above.)  Add to this the shots of a woman surfing and of a woman refusing a man’s advances in a nightclub (the last shot of the video), and the varied depictions of masculinity (the hip-shaking skinny dudes in the club, the boxers, the old guys just hanging out) and the video comes across as a pretty honest depiction of gender in the nightclub culture as a complicated, multi-faceted part of real people’s lives rather than a strictly-divided pseudo-pornographic masculine fantasy (like what we’re used to in pop music videos).  Kudos on that.

The other thing that strikes me about this music video is its depictions of race.  The musicians are both white folks from the US, but the people in the video are all black; beyond just this divide, the whole thing is presented in such a way that the music is identified with the black subjects of the video rather than the white musicians. It’s hard for me to think that Diplo is actually producing this music for the black people shown in the video, since the single has only charted in Australia, Belgium, the UK, France, and the Netherlands, where internet EDM audiences are stereotypically white (although I don’t actually know the demographics of Diplo’s fans.) I’ve noticed that a lot of the tropical bass scene’s aesthetic is tinged with producers from the US and northern Europe identifying with and appropriating culture from other place of the world in what seems like a grab for authenticity and/or novelty, and this seems like a very overt step in that direction (especially for a producer, Diplo, who has already been criticized for his arguably racist appropriations of Jamaican culture in developing the image of his project “Major Lazer”.)

On the other hand, in this interview where Diplo explains his take on the issue of cultural appropriation in his music and in tropical bass music in general, he sounds very aware of the potential problem and very committed to accurately representing the people and sounds he works with.  He points out the anthropological mindset he brings to his use of samples and collaborations around the world, and describes what he does as collaboration instead of appropriation.  As is pointed out in the interview, though, Diplo’s insight into the problem of cultural appropriation still doesn’t change the fact that he’s profiting off of the perceived exoticism of his global collaborators/sources, or that hundreds of copycat producers are further appropriating “exotic” music with even less context and profiting off of it.

It’s a shame, because I really like the sound.  Dem grey areas.

Thanks for reading!

(As a disclaimer: I’m a white dude who grew up in the US and am living in Detroit.  As such, white/black is the primary racial dichotomy that I see reflected in media, though I recognize that this is an incomplete way to talk about race.  I think it’s pertinent, though, in this case, because it the racial dichotomy apparent in this music video, especially since there is no context given to the video by way of descriptions of where it was filmed and how the people in it might identify.)

Bass, politics

23 Aug

By way of introduction:

I’m Mike.  I love dance and pop music.  I started off with happy hardcore and drum and bass as a teenager, and have since gone through many phases of infatuation with different genres of dance music as it weaves in and out of pop music.  I’ve been observing and listening to the intersection of EDM and pop for years now, and have found I have a bunch of stuff to say about them – the music, the people, and the politics they embody.  Here goes.