MDNA… the last time I wrote those letters in said sequence was, well, four years ago when I was at AU studying Advanced Bio; proper Madonna album debut… the last time I sat down to indulge in one of those was, well, four years ago when I was in life living Advanced Pop. Those were different days, simpler days. Days where Hard Candy was a passable stab at soundtracking Pop’s sticky-and-sweet soul, until a few years later when we’re in the midst of the reality that it was more a passable set of fillings in the cavity-laden mouth of Mod Pop. M-D-N-A… the last time I chanted those letters in said sequence was but a few moments ago when Pure Pop emerged from the cultural tar pits of Detroit born-and-bred, Euro wed-and-bedded electronic sublime filth that is “I’m Addicted” – that is the cosmic bass stealth anthem from the primary piece of modern Pop’s genome: M.D.N.A.
Hank Willis Thomas latest body of work Strange Fruit expresses the historical truths blacks had to endure throughout their journey here in the United States. Hank created vivid comparisons of black perception between the pre-slavery era and post-Civil Rights Movement. The irony that drips and oozes from his canvas, visually gives a voice to those in history who didn’t have one. Hank’s symbolism exposes the role media plays in the down fall of our popular culture. This creative genius shed light on the method behind his madness.
Read writer Ilysha McMillan’s conversation with Hank Willis Thomas, exploring images from his recently released Strange Fruit body of work.
Once an artist reaches a certain plateau of success it’s hard to remember why they’re famous. Lest we forget there are architects and then there are archetypes, Madonna, in all her detached deliberateness has created a visual gem, arguably unmatched in her videography since 2005′s “Hung Up.”
Good music speaks volumes… rather than impose analysis, step back and expose linguistic artistry… why critique that which has achieved perfection at its own masterful conception… listen, look, and linger in fantastic rhythmic reality: lyrically speaking
Growing up, I loved entertainment. I’m sure we all did. I huddled around the television to see what Michael Jackson cooked up for us this time. I secretly turned on MTV after hours to see what Madonna had in store for my virgin eyes. I didn’t know much about what I was watching, but I was excited. I was entertained. I was enthralled.
By day Hennessy Youngman is an emcee with two mixtapes under his belt, by night he’s a visual aesthetic loving, sharp-tonged, witty art critic who’s YouTube series YouTube series ‘Art Thoughtz‘ has caught the attention of the art world he dishes on weekly.
I love “Sex and the City.” I’m just going to throw that out there right now, because it is true and there is no point in denying it, especially within the context of this article. I am a gay man so it may not come as a huge surprise to many, though there are many gay critics of the show, especially of the Brooklyn hipster persuasion (don’t be offended, you know it’s true). Though I enjoy the show’s many episodes and movies (the second one not so much), there are certain aspects of the show that I find irritating, based mostly on the fact that they exaggerate aspects of New York City life dramatically. Being a former New Yorker, I can safely say that my days and weeks were not filled with gallery openings and fabulous dinners at chic new restaurants. Life in New York was hard, albeit fabulous, despite my limited means.
Another day, another “real” artist bites the dust. I loved Santigold’s first album. I stood by her while the rest of the music industry collectively wrote her off as a bootleg version of M.I.A. But, in the almost four years that she went without releasing new material, I forgot why I fell in love with her music. So, it pains me to write that Santigold, again playing second fiddle to M.I.A., has become the Jesus Christ of Indie music, bearing the cross of obscurity, smug “authenticity” and a seriously warped view of popular music that can only be compared to “rockstar envy.”
The Line Between Viral and Obscurity is a Thin Tweet and The Right Endorsement
The land use to be complicated to own. There were no gurus or kings because everything was so isolated and complex that nobody knew how to utilize it. Some might see me as the great opportunist, but I’m really the great connector. I learned fast how to build bridges in the intricate neighborhood, and I ruled it. It was everything I could have ever wanted. It had commercial potential with all that control and freedom I could have ever desired. Everyone was obsessed over what I conquered, but for a very long time no one knew how to conquer it for themselves, and that made me king.
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