The Cash Money/Young Money ship continues to sail full-speed ahead with the release of Lil’ Wayne’s “6 Foot, 7 Foot” video featuring Cory Gunz. Naturally, Hype Williams directed the Inception-influenced four-minute foray into the street-pristine psyche of a one Mr. TuneChi.

I speak the truth, but I guess that’s a foreign language to y’all; and I call it like I see it, and my glasses on – but most of y’all don’t get the picture ‘less the flash is on

SnappIt:

Hype Williams’ signature style is to highlight the obvious, to give substance by stylizing the seemingly simple; Lil’ Wayne’s lyrical style is the same in that it blends the abstract with the apparent, but intertwined in a way that highlights the poetry behind punchlines. Ever the straight-shooter, Weezy feeds off of the hype and brings the focus back to snare and basics. “Real Gs move in silence like lasagna;” real scenes move in silence like a G, so there’s nothing left to say – what you get is what you see.

Watch This Space: Someone had to put the simplicity in cinematic perspective – the last thing the fish sees is the Cristal… but not Liltunechi … so misunderstood, but what’s a world without enigma?

Lil’ Wayne’s “6 Foot, 7 Foot” is up for Best Hip-Hop Video at this year’s Video Music Awards. The show airs, Sunday, August 28 at 9 pm.

On this of all days, it’s important that we take time to remember those we’ve lost en route to creating a more profitable union… that gated community upon the dollar bill *a moment of silence for civilization*

#alldayimemeaboutscene

Culture – Commerce = Civilization

From Brazil’s Christ Redeemer to B.o.B, Stonehenge to the endless Sk8er Boi party, Madonna Litta eclipsed by the Purrs of California’s Kitty Lolita, Easter Island, Themis, The Sphinx, man-made structures bordering on the divine – resurrected here if only to remind us of what we left behind… All Day I Dream About Significance, Society, Substance, Something – anything more… Mount Rushmore cashed out, Noah’s Ark now nothing more than a two-by-tomb, while the ruins of civilization go all in, stumble, and settle in the Mediated Mesopotamian womb…

From behind the veil of the ever present bottom line, sights of the American celebrity to drown out the French artisan’s sound… when culture is dependent upon commerce, justice remains forever blind

Watch This Space: Anything less would be uncivilized #allin



LMFAO’s Redfoo and Sky Blu slipped into comas after excessive party rocking. The next morning, their single “Party Rock Anthem” was released to the world. 28 Days later the duo is partying with zombies. Sounds like an average night in Los Angeles if you ask me. Watch the clip below.

I don’t know where to begin or end with this one… and I suppose that’s the best way to be – as there is no beginning or end to the perpetual renaissance that is Born This Way.

On G.O.A.T, a Government Owned Alien Territory in space, a birth of magnificent and magical proportions took place; but the birth was not finite – it was infinite. As the wombs numbered and the mitosis of the future began, it was perceived that this infamous moment in life is not temporal, it is eternal. And thus began the beginning of the new race, a race within the race of humanity, a race which bears no prejudice, no judgment but boundless freedom. But on that same day, as the eternal mother hovered in the multiverse, another more terrifying birth took place, the birth of evil. And as she herself split into two, rotating in agony between two ultimate forces, the pendulum of choice began its dance. It seems easy, you imagine, to gravitate instantly and unwaveringly towards good; but she wondered, “How can I protect something so perfect without evil?”

That… is the truth.

What artists do wrong is they lie, what critics do wrong is they try; I’m not going to try and pretend I know every conceptual reference here, nor analyze from a detached place of fault-and-fact finding – this isn’t about Pop cheat sheets and checklists… I’m just going to riff on what I know for me, and what I see when I watch that which the world will be.

I see George Clinton. I see One Nation Under a Groove, I see One Race Under the Hooves. I see Atomic Dogs reborn as Spearheaded Stallions. I feel what I felt when I lived in the eternal Funk of George Clinton’s 25th Anniversary show at the Apollo in 2005. I feel like a freshman again, caught in the unknown precipice that is Harlem’s heart with hippies and hipsters and blipsters and soulmen dancing together under the translucent kaleidoscopic gaze that is the pre-eminent Funkmaster’s view. Then, I witnessed the vintage funk future as George unearthed the mothership; here, I live the future as GaGa births the monster mothership.

GaGod Almighty goats look good when they have a crown of horns. GOAT… the goat… Billy Gruff, LL, Greatest of All Time, Ruler of all Rhyme, we’re not dwelling with the sheep – we’re dancing with the goats… we’re bathed in sin, and born this way. Government Owned Alien Territory – the same musical government that GaGa swore existed, the same morally bankrupt musical government that liquidated George Clinton’s funds, is the same musical government that GaGa willed herself into dictating, and the same musical government that is now the Pawliament Funkadelic.

I feel liberation and lambaste. I saw this video and felt like a kid again. I feel invisible and invincible, and conspicuous and curious, intrigued and invited, and scared – so very scared, scared to be simultaneously sacred and human. It’s a divine and liberated kingdom emerged from the dark and lonely place of abandoned solitude. I’m reading National Geographic and watching the Sci-Fi channel. There’s a human giving birth to a foreign race. I’m in Biology class peering through semi-parted fingers over my eyes, simultaneously captivated and cringing at the “Miracle of Birth” on LaserDisc. Basic natural elements converge in the paralleled universe of a dark boogie wonderland’s black-tie pre-bacchanalia… earth, wind, and serpentine fire wed as the need for reason fades beneath the splendor and rhyme of the synesthetic sublime.

I don’t know every reference, I don’t know any reference; I know that I am my own reference point – I know that I am The Wiz she wants to see, and the Michael she wants to free.

“Bad Romance” wasn’t polarizing, “Just Dance,” “Alejandro,” “Telephone,” and “LoveGame” weren’t polarizing: this is polarizing – and I love it for that. You either love or hate this video with a passion that burns deep within – though your cold cynicism may mute the fire, subconsciously it stays triggering well past the immediate scoff of Twittering. The opposite of love is not hate, nor is hate’s polarity love, the opposite of hatred and true love is apathy, and in that shared opposition good and evil find their necessity, kinship, and the soulmate in the other – and in the universally shared experience of GaGa we find the necessity, kinship, and soul connection to every other.

And at the core of the video is not the critique, it is not the tit-for-tat checklist of dual-tuxedoed vamped vogue cultural references – the polarization stems from comprehension and the willingness to let go and live in the masterful moment. There are those caught in the Pop paranoia – worrying about the wrong things – but this is bigger than a book, this is more evolved than encyclopedic attribution, this is the qualitative collection of Pop culture quantified.

Veiled in confusion, fueled by the same morbid curiosity which breeds public fear, inexplicably necessary and innately true, discussed, dismissed, and openly displayed in public view… drenched in black, rewriting history for the vindicated victims; “Born This Way” queens the night: capstoning the coldest, bleakest, palest period with all eyes on the magnificent march ahead.

There is a soul in this film that cannot be denied; Laurie Ann Gibson did not choreograph dance steps, she captured human movement. Nick Knight did not direct a video, he dictated a future voyage. Billy B did not powder faces, he painted the cultural palette. Sam McKnight did not clip ends or dye edges, he beautified black bangs and highlighted roots… he crafted the crown. Nicola Formichetti did not style a cast, he fashioned a culture. GaGa did not merely sing, dance, nor mimic, she manifested devils’ sins into human skins, and released said sinners’ souls. The Haus did not make a music video – simply: they created a time and space void of twain.

Ever wonder what would happen if cats ruled the world? Yeah neither have I, but apparently Best Coast has. Apparently, there are a lot of misspellings in cat-utopia or maybe it us humans who do not know how to spellz wellz. Watch the official video for Best Coast’s single “Crazy For You” below.

I remember hearing Lykke Li‘s song “There’s A Possibility” and being morbidly depressed for seriously a whole week. Her lyrics were intuitive, probing and deep, unlike the techno filled pop junk that I was used to. Her latest video “Untitled” is like the rest of her work for the singular fact that it is full of symbolism and meaning yet at the same time manages to be in a category on it’s own because it isn’t a music video but instead just a video. This video can be respected for it exposes the artist’s creative side and also because it showcases her fashion side also. In this three minute and thirty-one second video, Lykke gives her music fans the symbolism that they adore and her fellow fashion lowers minutes worth of Olsen twins grunge. Check it out after the jump.

I had the pleasure of working with singer/rapper/songwriter Naira on material for Noise Porn. Naira is gearing up to release her debut album Fearless and recently dropped this awesome visual for the first single “Fly Hustle Fresh Grind.” In the video, The Nigerian singer, plays the role of a spy sent on a deadly mission, an awesome take on a Salt-esque character. Take a closer look at the video and download the track if you’re really looking to support good indie music after the jump.

Lykke Li says we didn’t see the video for “Get Some” coming. In some ways she’s right. I didn’t see this. But i love it. The visuals for “Get Some,” were directed by Johan Söderberg. It’s trippy, It’s edgy, It’s sexy, and it’s designed very damn well. I love it.

You can download ‘Get Some’ for FREE from LykkeLi.com.

“Limit To Your Love,” originally sung by Feist was already a favorite of mine. UK singer/producer James Blake brought out every bit of sexy and eerie that Feist captured in the original and turned the bass all the way. The piano in James’ version is a bit more rough, paired with James’ smooth vocals and grime beat during the chorus makes the track a must hear.

James recently released the video for his cover of “Limit To Your Love.” Like the song, the Martin de Thurah directed visual captures the mood of the song perfectly. Watch the video below. And when you fall in love with the song download it after the jump.

MP3: James Blake – Limit To Your Love (MP3)

Singer/Songwriter Bilal paints a dark picture of the future in the visuals for his single “Robots.” After last night’s election results this seems too accurate. This is dystopian capital. Bilal’s latest album Airtight’s Revenge is in stores now. Take a look at the video below. And don’t forget to catch Bilal on the cover of Art Nouveau Magazine’s Fall Issue here.

Rihanna’s video for her latest single “Only Girl (In The World)” was supposed to premiere later tonight. But the stans on the internets weren’t haven’t it. In the leaked video, a beautiful red-head Rihanna frolics in visual barren playful landscapes that’d made David LaChapelle proud. She is literally the only girl in this world. A sly statement that’s loud and clear. It’s a pretty ethereal visual accompaniment to an already in your face song. Dope contrast. “Only Girl (In The World),” was directed by Anthony Mandler (Usher, Drake, John Mayer).

The song took a minute to grow on me. But once it did, I couldn’t help myself from playing it constantly. I’m sure my iTunes has it clocked in at some ridiculous number of plays. Rihanna has another monster smash on her hands. And just like that’s Ciara’s hopes for a comeback seem slim to none. Rihanna’s fifth album LOUD is set to be released Nov 16. Just in time for the holiday sales rush. Watch “Only Girl (In The World)” below.