Here is a fantastic new clip about leadership tensions in Australian politics. A great parody of the Gotye song 'Somebody I Used to Know' - and worth remembering that parody and satire have only been legal in this country for less than a decade - pure gold, check it out!
Showing posts with label Song of the Moment. Show all posts
Showing posts with label Song of the Moment. Show all posts
Wednesday, February 15, 2012
Thursday, September 15, 2011
Song of the Moment: Work of Art
Global cooperation, empowerment, self-acceptance, celebration of diversity, tolerance, and love. Work of Art was written by a global team and is sung in 19 languages by Haikaa.
Thursday, August 5, 2010
Ozi Batla: Put it on Wax
There is a new great song out by an Australian hip-hop MC called Ozi Batla (he also MCs with the Herd). The lyrics state that downloading music has not hurt the music industry but that the internet has aided artists to make direct connections with their audience. The song was released earlier this year and is really worth taking a look at - you can see the clip here: http://www.elefanttraks.com/node/7385
Friday, June 11, 2010
Women’s Revolution Blue King Brown
Updated: Today Blue King Brown, one of my most favourite Australian bands, released a new single called Women’s Revolution. This song has been previewed this week on Australia’s Government Youth Radio station Triple J but I was not lucky enough to hear it until I purchased it myself. The release of a new album or song by an independent group such as this serves as a great example of how the internet can assist with the dissemination of information about music.
I was notified through an email that the release date was today and have patiently waited all week to be able to listen to the song. Interestingly enough there is a mention of finishing their new album on Facebook but so far no post about the release of the new single. I had also read that the song was available through MySpace this week but when I visited their page I could not see the song available for streaming (maybe I missed something). Googling the song this morning for the lyrics showed that the lyrics do not appear to be available independently from the song as yet however there were some write ups about the song. This begs the question as to whether they are really using the web in the most productive way to communicate their messages.
While it is early days yet in the promotion of the new single, this appears to be a disjointed release which could have been coordinated a little better. The other perspective, of course, is that a staggered web release may actually extend the time in which the single gains exposure. I will attempt to keep an eye on how this is managed, and if lucky enough to ever interview them (yes have sent in my ethics approval report to keep this as an option for my doctorate) I will be sure to ask what strategy they employ and what they see as being the most effective way for an independent band to use the net for getting the word out about their music.
In the former spirit and vein of a vinyl single, an iTunes purchase results in two tracks – the first listed being a remix featuring Queen Ifrica (with video clip) and the second being the song (only)with slightly different lyrics. I appreciate getting two versions of the song for the price of one and respect them for not short changing their listeners. Indeed, on their website, which contains a relatively small graphic about the single, they state: “The special price and free video download is our way of saying thank you to all the fans who have supported BKB over the years”.
The song is more like a sound track than a popular song in places with a beat and tempo more suited to listening or watching than dancing. Indeed while the song is reggae/hip hop in style, the most notable thing to me is the tempo. Depicting the way women are held back in the world through sexism, violence and systematic discrimination, the pace of this song feels like it is being held back too.
The two versions of the song have slightly different lyrics but they are otherwise very similar. The central message is one of unity against rape and the unfair treatment of women. The lyrics speak of sisters, inequality, revolution, and not being afraid. The chorus states that through women’s resistance ‘freedom finds a place to dream’.
The instrumentation and use of samples help to create a sense of dreaming with the unity of voices through both the backing singers and Natalie/Queen Ifrica illustrating the collective voices of women around the world. The structure of the song is unusual and seems to reflect the complexity of womens issues.
Blue King Brown are undoubtedly the thinking audiences’ band and it is no surprise that they would release a single with a strong feminist message. Despite not speaking directly to their male listeners they are not likely to suffer detriment because of this. Their consistency as writers/recorders of political songs is a fundamental part of who they are and for them this is not a risky song but true to their overall objectives and style.
More Information
Blue King Brown Website: http://www.bluekingbrown.com/
I was notified through an email that the release date was today and have patiently waited all week to be able to listen to the song. Interestingly enough there is a mention of finishing their new album on Facebook but so far no post about the release of the new single. I had also read that the song was available through MySpace this week but when I visited their page I could not see the song available for streaming (maybe I missed something). Googling the song this morning for the lyrics showed that the lyrics do not appear to be available independently from the song as yet however there were some write ups about the song. This begs the question as to whether they are really using the web in the most productive way to communicate their messages.
While it is early days yet in the promotion of the new single, this appears to be a disjointed release which could have been coordinated a little better. The other perspective, of course, is that a staggered web release may actually extend the time in which the single gains exposure. I will attempt to keep an eye on how this is managed, and if lucky enough to ever interview them (yes have sent in my ethics approval report to keep this as an option for my doctorate) I will be sure to ask what strategy they employ and what they see as being the most effective way for an independent band to use the net for getting the word out about their music.
In the former spirit and vein of a vinyl single, an iTunes purchase results in two tracks – the first listed being a remix featuring Queen Ifrica (with video clip) and the second being the song (only)with slightly different lyrics. I appreciate getting two versions of the song for the price of one and respect them for not short changing their listeners. Indeed, on their website, which contains a relatively small graphic about the single, they state: “The special price and free video download is our way of saying thank you to all the fans who have supported BKB over the years”.
The song is more like a sound track than a popular song in places with a beat and tempo more suited to listening or watching than dancing. Indeed while the song is reggae/hip hop in style, the most notable thing to me is the tempo. Depicting the way women are held back in the world through sexism, violence and systematic discrimination, the pace of this song feels like it is being held back too.
The two versions of the song have slightly different lyrics but they are otherwise very similar. The central message is one of unity against rape and the unfair treatment of women. The lyrics speak of sisters, inequality, revolution, and not being afraid. The chorus states that through women’s resistance ‘freedom finds a place to dream’.
The instrumentation and use of samples help to create a sense of dreaming with the unity of voices through both the backing singers and Natalie/Queen Ifrica illustrating the collective voices of women around the world. The structure of the song is unusual and seems to reflect the complexity of womens issues.
Blue King Brown are undoubtedly the thinking audiences’ band and it is no surprise that they would release a single with a strong feminist message. Despite not speaking directly to their male listeners they are not likely to suffer detriment because of this. Their consistency as writers/recorders of political songs is a fundamental part of who they are and for them this is not a risky song but true to their overall objectives and style.
More Information
Blue King Brown Website: http://www.bluekingbrown.com/
Sunday, June 6, 2010
John Butler Trio – Revolution
My ‘Song of the Moment’ right now is the first track on the John Butler Trio’s new album April Uprising. This song is another brilliant composition from this band. It starts with a soft dawning of sounds – the dawning of the Revolution.
The track goes onto develop as an anthem with the tempo increasing as the song progresses. Just prior to the chorus there is a loud crash of cymbals announcing that the time has come to take action. The lyrics near the end of the song shout out in a demanding tone: ‘Take back your hands, take back your feet, take back your words, take back your land, take back your heart, take back your pride, don’t got to run, don’t got to hide – Revolution’.
I really love this song – I find the passion in John Butler’s voice uplifting and empowering. The album has only been out for a few weeks and so far this song has not been released as a single but I hope it is and that it is put on high rotation by radio stations world wide. It is a fantastic song and just one of many great songs on the April Uprising album.
More Information
The Jon Butler Trio website: http://jbtserver.com/blog/
The track goes onto develop as an anthem with the tempo increasing as the song progresses. Just prior to the chorus there is a loud crash of cymbals announcing that the time has come to take action. The lyrics near the end of the song shout out in a demanding tone: ‘Take back your hands, take back your feet, take back your words, take back your land, take back your heart, take back your pride, don’t got to run, don’t got to hide – Revolution’.
I really love this song – I find the passion in John Butler’s voice uplifting and empowering. The album has only been out for a few weeks and so far this song has not been released as a single but I hope it is and that it is put on high rotation by radio stations world wide. It is a fantastic song and just one of many great songs on the April Uprising album.
More Information
The Jon Butler Trio website: http://jbtserver.com/blog/
Thursday, June 18, 2009
Song of the Moment: Fifty in Five
UPDATED: I sit here and listen to the last song on the new Hilltop Hoods CD – Fifty in Five off the album State of the Art – and I am literally speechless.
Listen to this song. Read the lyrics.
This is a narrative about humanity. My interpretation of the title is that it reflects on the last fifty years of world events in five minutes and it does so with absolute style and precision.
I was listening to it repeatedly last night knowing that I wanted to write about it and yet hours later still feel that I cannot find the words to do it justice. I had thought to write up something about all of the individual events that the lyrics cover but what I really want to write about is the emotion that this song brings out in me. This song makes me feel sad, angry, disappointed and worried. The lack of repetition and the lack of chorus are indicative of the fact that this song is not an anthem. It is not there to make us want to do something. It does not try to bring people together to make a positive change. It is the epitome of sadness and the confronting, bitter truth.
The sheer volume of lyrics is overwhelming. I have written shorter essays than this. They cover an enormous range of topics and events with an international perspective that shows the wide spread damage and devastation of the corruption and decay of modern society. I hesitate to give examples because the nature of the lyrics are to mention so much in such a short space that not one thing is given priority over another; it is a list. I wonder if the composers had to restrict themselves and had to leave things out. Ironically we might applaud the level of detail and quantity of information they have included and yet the song itself is written to speak of the sheer dissatisfaction of how so much wrong has occurred in just fifty years.
It mentions the future but only in context and connection with the past. It is not at all hope for what may change or what may come next. It tells us how we have set ourselves up to fail. How stupidity, ignorance, lack of leadership and ourselves are to blame for what comes next: ‘the generation next will degenerate and die’.
In sections the song talks about the distractions that prevent us from seeing the destruction that is before us. Things like the Macerena, superman, chicken dance and botox. The song reflects on the youth – women getting fake tits and young kids in detox. My interpretation is that references to technology including the internet and 3g cellular phones are also negative statements about distractions and how we have the technology to communicate and yet we just don’t in the way that matters. The reference to how ‘mp3s saw the death of an industry’ reflects on how the loss of the music industry renders poets/musicians incapable of helping us to make sense of the world and to be the agents of social change that we so desperately need.
Towards the end, the lyrics move from merely being a list to using cultural references to characterise the distraction of society. It warps into text that includes numerous references to horror movie titles and the names of drugs – aspects of our culture that reflect the sentiments of the song: the terror and dependence that we suffer. At the height of the passion, questions are asked - a rhetorical question: 'what happened to the love?' and another that asks 'what happened to the cubs?' [they were fed to the wolves]. Questioning the loss of the positive motivations of the 1960's and the focus on the needs of children, brings an element of uncertainty to the lyrics when concepts rather than events are considered.
The musicality of the song is well worth mentioning too.
As with most hip hop, the lyrics flow without a break but here the lack of pauses and the perpetual motion illustrate how these events have taken place one after the other without room for reflection, without the chance to stop and take account of what’s happening. The flood of events and the flood of lyrics parallel a world that does not have a chance to take its breath.
At one stage the lead singer sounds like he is gritting or clenching his teeth in frustration or disgust. He is easily heard above the music but as the song builds he becomes louder, more predominant and has more and more angst. The incomprehensible sweet whispering layered above the tale reminds me of the sugar coating of the media but perhaps is really meant to be the spoonful of sugar to be taken with the medicine.
The music has moments that seem regular – when it is not overwhelming and provides a solid background to the text. At others times there are distinct samples and the integration of instruments and styles – a sample of Martin Luther King (the loss of hope), John F Kennedy (a small, barely audible sample that depicts that we can no longer hear or remember what he said), groaning/moaning (pain), helicopters, rifles, a bomb (war), a brass line from an 'olden days' song at the same time as the discussion of right wing overlords and refugees, the building of tension and urgency by the use of piano chords and the interposing of another voice which yells out key words (adding emphasis and trying to get our attention).
Indeed the dynamics of the song depend heavily on the change of colours in the underlying score with little change in the pitch and speed of the vocalist and drums that have a consistent tempo. The song does not noticeably speed up but rather the consistency illustrates the persistence and unrelenting nature of the chaos that we face.
When discussing the ozone layer and the how the earth is cooking itself the music becomes harsh and percussive which reflects the pain, discomfort and discord of the global suicide that is taking place.
Finally, at key points the music goes quiet with a small number of instruments playing a thin or light melody in the background. This gives the lyrics the space to make some points stand out from others: ‘A blowjob brought about the fall of a dynasty, and Mp3s saw the fall of an industry... Rich bleeding the kind, the blind leading the blind and history competes, no competing with time... The government and church on which we try to rely, both rob us til it hurts chasing lie after lie.’
The song finishes with resignation: ‘Can you believe what we have become? As we walk into the sun.’ The phrasing here speaks of how things are going to get worse; disgust and disbelief; and makes the statement that the end is here. This part is sung by a different vocalist which completely removes it from the body of the song.
The music at the end of the song is a solo piano - this contrasts dramatically with the thick and heavy instruments that come before it. The sound is much more melodic and has a sense of simplicity about it. The music in this section is far less challenging - more mainstream and verging on romantic in nature - perhaps highlighting the idea that this is the part of the message that everyone should hear or that we over romanticise the idea that humanity is good or that it will survive despite it all.
The contrast between the vocals and music in the last section of the song compared with what has occurred earlier depict how removed we are from our own history - how we look on these events as though they are someone elses responsibility and someone elses past. The very last vocal sound is a breath - the last gasp of air or a sigh - perhaps this the death of humanity or at least an expression of disappointment.
This is, at the same time, the most brilliant and yet most awful political song I have heard. I became very emotional after I listened to it tonight. I HATE THIS.
FUCK.
________
I was having trouble working out the origin of the brass line that I refer to above as the 'olden days' song as well as the whispering voice that is layered over the top.
Given the frequency of the whispering voice it is likely that this is the sample from a 1960s song called 2010 referred to in the following articles - see: GroopieBlog, Hilltop Hoods Preview State of the Art Tracks (6 April 2009) <http://www.pagesonline.it/groupieblog/archives/1880> at 19 June 2009 & all aussie hip hop blog, State of the Art Preview (10 June 2009) <http://allaussiehiphop.wordpress.com/2009/06/10/state-of-the-art-album-preview/> at 19 June 2009. There are 27 songs listed with this title on iTunes - none of these appear to be the original all having release dates after 1990.
The brass line is also an important sample. While I realise the parameters of the song suggest that only samples from the past 50 years are likely to be included this seems to be a type of sound much older than the 1960s - it has a serenade feel to it. It verges on a type of 'national anthem' and to me feels more like something from the 1920s or 1950s.
These are important samples to this song and I would like to trace their origins - much like the need for this song to trace society's past to reach a conclusion. The architecture of the internet and the lack of copyright registrations prevent me from knowing with certainty where they have come from. While I do not, at this point, wish to delve into a detailed discussion of sampling and copyright law (even though I could!) it is worth noting these as examples of how this form of culture can take elements of the past and say something new with them, provided the regulatory forces at work enable that to happen.
I was also thinking about the place of this song on the CD. It is the last track and my first thought was that this was because it is the most serious of the songs - it is different from the content of the other tracks at least in its overt nature. On a more artistic level perhaps it is located at the end of the CD because this is the last thing, we as a society, want to hear or pay attention to - or because time is running out and our responses will undoubtedly be at the last minute.
I also took time to reflect on the fact that it is at the end of the CD from a tangible format perspective. Consider for a moment the nature of pay per song download stores and how unlikely it is that those that consume music on a song by song basis will ever hear this. Even the disconnection from the printed lyrics in the digital age presents a major hurdle to the consumption of the message of this song - lyric sites are on the web but their accuracy can sometimes be questionable.
A major label would definately hesitate to release this as a single but hopefully Golden Era Records don't. The loss of the tangible format presents may complications including the fact that things we need to hear cannot be packaged with the things we choose to hear - so many young kids will never hear this song - the world and the industry have indeed changed: we need to make it for the better.
[Imagine how long it took to compose this - the hard work and the dedication.... It is so rare to have a contemporary song so rich in detail; artistic and powerful... Will this make it to the mainstream media?...Imagine the beauty of the mashup that could be done with the video to this song... I could go on forever about this track but I have to stop here... for now...]
Listen to this song. Read the lyrics.
This is a narrative about humanity. My interpretation of the title is that it reflects on the last fifty years of world events in five minutes and it does so with absolute style and precision.
I was listening to it repeatedly last night knowing that I wanted to write about it and yet hours later still feel that I cannot find the words to do it justice. I had thought to write up something about all of the individual events that the lyrics cover but what I really want to write about is the emotion that this song brings out in me. This song makes me feel sad, angry, disappointed and worried. The lack of repetition and the lack of chorus are indicative of the fact that this song is not an anthem. It is not there to make us want to do something. It does not try to bring people together to make a positive change. It is the epitome of sadness and the confronting, bitter truth.
The sheer volume of lyrics is overwhelming. I have written shorter essays than this. They cover an enormous range of topics and events with an international perspective that shows the wide spread damage and devastation of the corruption and decay of modern society. I hesitate to give examples because the nature of the lyrics are to mention so much in such a short space that not one thing is given priority over another; it is a list. I wonder if the composers had to restrict themselves and had to leave things out. Ironically we might applaud the level of detail and quantity of information they have included and yet the song itself is written to speak of the sheer dissatisfaction of how so much wrong has occurred in just fifty years.
It mentions the future but only in context and connection with the past. It is not at all hope for what may change or what may come next. It tells us how we have set ourselves up to fail. How stupidity, ignorance, lack of leadership and ourselves are to blame for what comes next: ‘the generation next will degenerate and die’.
In sections the song talks about the distractions that prevent us from seeing the destruction that is before us. Things like the Macerena, superman, chicken dance and botox. The song reflects on the youth – women getting fake tits and young kids in detox. My interpretation is that references to technology including the internet and 3g cellular phones are also negative statements about distractions and how we have the technology to communicate and yet we just don’t in the way that matters. The reference to how ‘mp3s saw the death of an industry’ reflects on how the loss of the music industry renders poets/musicians incapable of helping us to make sense of the world and to be the agents of social change that we so desperately need.
Towards the end, the lyrics move from merely being a list to using cultural references to characterise the distraction of society. It warps into text that includes numerous references to horror movie titles and the names of drugs – aspects of our culture that reflect the sentiments of the song: the terror and dependence that we suffer. At the height of the passion, questions are asked - a rhetorical question: 'what happened to the love?' and another that asks 'what happened to the cubs?' [they were fed to the wolves]. Questioning the loss of the positive motivations of the 1960's and the focus on the needs of children, brings an element of uncertainty to the lyrics when concepts rather than events are considered.
The musicality of the song is well worth mentioning too.
As with most hip hop, the lyrics flow without a break but here the lack of pauses and the perpetual motion illustrate how these events have taken place one after the other without room for reflection, without the chance to stop and take account of what’s happening. The flood of events and the flood of lyrics parallel a world that does not have a chance to take its breath.
At one stage the lead singer sounds like he is gritting or clenching his teeth in frustration or disgust. He is easily heard above the music but as the song builds he becomes louder, more predominant and has more and more angst. The incomprehensible sweet whispering layered above the tale reminds me of the sugar coating of the media but perhaps is really meant to be the spoonful of sugar to be taken with the medicine.
The music has moments that seem regular – when it is not overwhelming and provides a solid background to the text. At others times there are distinct samples and the integration of instruments and styles – a sample of Martin Luther King (the loss of hope), John F Kennedy (a small, barely audible sample that depicts that we can no longer hear or remember what he said), groaning/moaning (pain), helicopters, rifles, a bomb (war), a brass line from an 'olden days' song at the same time as the discussion of right wing overlords and refugees, the building of tension and urgency by the use of piano chords and the interposing of another voice which yells out key words (adding emphasis and trying to get our attention).
Indeed the dynamics of the song depend heavily on the change of colours in the underlying score with little change in the pitch and speed of the vocalist and drums that have a consistent tempo. The song does not noticeably speed up but rather the consistency illustrates the persistence and unrelenting nature of the chaos that we face.
When discussing the ozone layer and the how the earth is cooking itself the music becomes harsh and percussive which reflects the pain, discomfort and discord of the global suicide that is taking place.
Finally, at key points the music goes quiet with a small number of instruments playing a thin or light melody in the background. This gives the lyrics the space to make some points stand out from others: ‘A blowjob brought about the fall of a dynasty, and Mp3s saw the fall of an industry... Rich bleeding the kind, the blind leading the blind and history competes, no competing with time... The government and church on which we try to rely, both rob us til it hurts chasing lie after lie.’
The song finishes with resignation: ‘Can you believe what we have become? As we walk into the sun.’ The phrasing here speaks of how things are going to get worse; disgust and disbelief; and makes the statement that the end is here. This part is sung by a different vocalist which completely removes it from the body of the song.
The music at the end of the song is a solo piano - this contrasts dramatically with the thick and heavy instruments that come before it. The sound is much more melodic and has a sense of simplicity about it. The music in this section is far less challenging - more mainstream and verging on romantic in nature - perhaps highlighting the idea that this is the part of the message that everyone should hear or that we over romanticise the idea that humanity is good or that it will survive despite it all.
The contrast between the vocals and music in the last section of the song compared with what has occurred earlier depict how removed we are from our own history - how we look on these events as though they are someone elses responsibility and someone elses past. The very last vocal sound is a breath - the last gasp of air or a sigh - perhaps this the death of humanity or at least an expression of disappointment.
This is, at the same time, the most brilliant and yet most awful political song I have heard. I became very emotional after I listened to it tonight. I HATE THIS.
FUCK.
________
I was having trouble working out the origin of the brass line that I refer to above as the 'olden days' song as well as the whispering voice that is layered over the top.
Given the frequency of the whispering voice it is likely that this is the sample from a 1960s song called 2010 referred to in the following articles - see: GroopieBlog, Hilltop Hoods Preview State of the Art Tracks (6 April 2009) <http://www.pagesonline.it/groupieblog/archives/1880> at 19 June 2009 & all aussie hip hop blog, State of the Art Preview (10 June 2009) <http://allaussiehiphop.wordpress.com/2009/06/10/state-of-the-art-album-preview/> at 19 June 2009. There are 27 songs listed with this title on iTunes - none of these appear to be the original all having release dates after 1990.
The brass line is also an important sample. While I realise the parameters of the song suggest that only samples from the past 50 years are likely to be included this seems to be a type of sound much older than the 1960s - it has a serenade feel to it. It verges on a type of 'national anthem' and to me feels more like something from the 1920s or 1950s.
These are important samples to this song and I would like to trace their origins - much like the need for this song to trace society's past to reach a conclusion. The architecture of the internet and the lack of copyright registrations prevent me from knowing with certainty where they have come from. While I do not, at this point, wish to delve into a detailed discussion of sampling and copyright law (even though I could!) it is worth noting these as examples of how this form of culture can take elements of the past and say something new with them, provided the regulatory forces at work enable that to happen.
I was also thinking about the place of this song on the CD. It is the last track and my first thought was that this was because it is the most serious of the songs - it is different from the content of the other tracks at least in its overt nature. On a more artistic level perhaps it is located at the end of the CD because this is the last thing, we as a society, want to hear or pay attention to - or because time is running out and our responses will undoubtedly be at the last minute.
I also took time to reflect on the fact that it is at the end of the CD from a tangible format perspective. Consider for a moment the nature of pay per song download stores and how unlikely it is that those that consume music on a song by song basis will ever hear this. Even the disconnection from the printed lyrics in the digital age presents a major hurdle to the consumption of the message of this song - lyric sites are on the web but their accuracy can sometimes be questionable.
A major label would definately hesitate to release this as a single but hopefully Golden Era Records don't. The loss of the tangible format presents may complications including the fact that things we need to hear cannot be packaged with the things we choose to hear - so many young kids will never hear this song - the world and the industry have indeed changed: we need to make it for the better.
[Imagine how long it took to compose this - the hard work and the dedication.... It is so rare to have a contemporary song so rich in detail; artistic and powerful... Will this make it to the mainstream media?...Imagine the beauty of the mashup that could be done with the video to this song... I could go on forever about this track but I have to stop here... for now...]
Thursday, July 24, 2008
Song/Clip of the Moment: System of a Down, Boom
I am in the middle of drafting a paper for a conference early next year (I hope) and have been referring to much of the music that I have been writing about on my blog.
One of the points that I am seeking to make is that for contemporary music, sometimes the film clip can inform the lyrics of the track and ehance the political content.
I am using this System of a Down clip – Boom – as an example of this and given that it is available to freely and legitimately share, I thought to add it to my blog for those who haven’t seen it:
According to wikipedia, the clip was made with the assistance of Michael Moore.
Of course my earlier analysis of the Dukes of Windsor Clip for ‘It’s A War’ shows that the opportunity is not always taken to put forward a political statement in video clips.
One of the points that I am seeking to make is that for contemporary music, sometimes the film clip can inform the lyrics of the track and ehance the political content.
I am using this System of a Down clip – Boom – as an example of this and given that it is available to freely and legitimately share, I thought to add it to my blog for those who haven’t seen it:
According to wikipedia, the clip was made with the assistance of Michael Moore.
Of course my earlier analysis of the Dukes of Windsor Clip for ‘It’s A War’ shows that the opportunity is not always taken to put forward a political statement in video clips.
Sunday, July 13, 2008
Song of the Moment: Self Evident
I played the Ani Di Franco song, Self Evident, as the first track on my first radio show –it is well worth a listen if you have time.
She talks initially about the role America has played in the world prior to 911 and then goes into more detail about the impact of those events on the American people.
The role of the media is also an important point with recognition of the use of the media to convince citizens that the war in Iraq is justified as well as America’s involvement in other parts of the world.
She also refers to freedom of choice for women, the inhumanity of the death penalty, the way technology distracts people from their awareness of political issues, the events that led George Bush to be elected, the environment, fossil fuels and the place for public transport.
The lack of substantive democracy in the United States is another theme of this track with multiple references to the American people being little more than pawns.
This track is spoken word with backing music. It clearly demonstrates the role that music can play in educating and informing people of political issues and policies.
Di Franco encourages listeners to think carefully about these issues and to take steps to rectify the problems that are self evident.
“The lessons are all around us and the truth is waiting there. It’s time to pick through the rubble, clean the streets and clear the air...”
Sunday, June 29, 2008
Song of the Moment: The King is Dead
I am pleased to be finding some new Australian political music as part of my thesis research and preparation for my new radio show. I really love the song ‘The King is Dead’ by The Herd which is about former Prime Minister John Howard being voted out of office. The interesting point to note is the need for contextual relevance. Like many political tracks this one is not only relevant to a particular geographic location but also likely to be relevant to that audience for a short period of time. In twelve months the music itself will still be excellent but as time moves on the lyrics will date.
If you’re not already aware of the song go to their MySpace page and listen to it.
Further Reading
The Herd, MySpace <http://www.myspace.com/runningwiththeherd>
If you’re not already aware of the song go to their MySpace page and listen to it.
Further Reading
The Herd, MySpace <http://www.myspace.com/runningwiththeherd>
Sunday, June 22, 2008
Song of The Moment: Dukes of Windsor - It's a War
UPDATED: The Melbourne group Dukes of Windsor have released a new single titled ‘Its A War’ with lyrics that clearly refer to the futility of war - ‘All for none and none for all, Its a War’. Jesse Hughes from Eagles of Death Metal is the guest vocalist on the track.
The single is available as a free download from their website. There is also a YouTube competition to make an alternative video clip. The Grand prize is a day at their next video shoot, the opportunity to meet the band and CDs and DVDs of Universal music releases. Five runners up will also win the CDs and DVDs .
The band have what appears to be the official version of their film clip available on their MySpace page but it does little to inform the viewer of their interpretation of the lyrics. Although dressed in army greens, predominantly the clip features the band members running through the snow and having a snow ball fight with each other. There is a short section in which they run past a child doing a painting and throw red and yellow at each other which could be analogous for war particularly as red paint is left in the snow. The clip ends with one of the band members running into a shack and closing the door only to re-open it seemingly surprised that the others did not make it there.
In my opinion this clip lets down what might otherwise be a powerful political song. The song has (sound) samples of marching both at the beginning and at the end but the clip itself does little to depict war or to inform the audience of what appears to be the underlying message to the lyrics. Its a very safe clip indeed.
The YouTube competition was announced on their website on the 4 June 2008 and so far there are not many entries however if you have time check out the video uploaded by Hottidownunda1, do. This is a fantastic clip which provides a much better illustration of the sentiments of the song.
Another entry to the competition by eggplantboy7 encourages a war against pathetic Hollywood Films – perhaps someone might be inspired to upload a clip about the war on file sharing.
Both of these entries use images that would be subject to copyright protection in Australia (although may well be within the Fair Use provisions of the USA Copyright Act). Australians could not lawfully make these clips despite this clearly being a non commercial use. It is also arguable that just downloading clips which contain images that are protected by copyright in Australia is a breach of the law and possible that the band may be seen as authorising a breach of copyright by holding the competition.
This further illustrates why Australian copyright law is out of step with the every day use of creative works and inhibits creativity. It would be interesting to know if Universal music actually take steps to see whether the entrants are from the USA, Australia or another jurisdiction.
More Information
Dukes of Windsor website: <http://www.dukesofwindsor.com.au/>
Dukes of Windsor MySpace: <http://www.myspace.com/dukesofwindsor>
Dukes of Windsor YouTube Competition: http://www.youtube.com/group/itsawar
Triple J, Duke Of Windsor blame triple j for Jesse Hughes cameo (18 April 2008) <http://www.abc.net.au/triplej/musicnews/s2221236.htm> at 22 June 2008
TechDirt, Is Watching An Infringing YouTube Video Copyright Infringement? (16 May 2008) <http://www.techdirt.com/articles/20080514/1736121116.shtml> at 21 May 208
CNet News, Legal liability for YouTube viewers (19 May 2008) <http://news.cnet.com/8301-13739_3-9936833-46.html> at 23 June 2008
The single is available as a free download from their website. There is also a YouTube competition to make an alternative video clip. The Grand prize is a day at their next video shoot, the opportunity to meet the band and CDs and DVDs of Universal music releases. Five runners up will also win the CDs and DVDs .
The band have what appears to be the official version of their film clip available on their MySpace page but it does little to inform the viewer of their interpretation of the lyrics. Although dressed in army greens, predominantly the clip features the band members running through the snow and having a snow ball fight with each other. There is a short section in which they run past a child doing a painting and throw red and yellow at each other which could be analogous for war particularly as red paint is left in the snow. The clip ends with one of the band members running into a shack and closing the door only to re-open it seemingly surprised that the others did not make it there.
In my opinion this clip lets down what might otherwise be a powerful political song. The song has (sound) samples of marching both at the beginning and at the end but the clip itself does little to depict war or to inform the audience of what appears to be the underlying message to the lyrics. Its a very safe clip indeed.
The YouTube competition was announced on their website on the 4 June 2008 and so far there are not many entries however if you have time check out the video uploaded by Hottidownunda1, do. This is a fantastic clip which provides a much better illustration of the sentiments of the song.
Another entry to the competition by eggplantboy7 encourages a war against pathetic Hollywood Films – perhaps someone might be inspired to upload a clip about the war on file sharing.
Both of these entries use images that would be subject to copyright protection in Australia (although may well be within the Fair Use provisions of the USA Copyright Act). Australians could not lawfully make these clips despite this clearly being a non commercial use. It is also arguable that just downloading clips which contain images that are protected by copyright in Australia is a breach of the law and possible that the band may be seen as authorising a breach of copyright by holding the competition.
This further illustrates why Australian copyright law is out of step with the every day use of creative works and inhibits creativity. It would be interesting to know if Universal music actually take steps to see whether the entrants are from the USA, Australia or another jurisdiction.
More Information
Dukes of Windsor website: <http://www.dukesofwindsor.com.au/>
Dukes of Windsor MySpace: <http://www.myspace.com/dukesofwindsor>
Dukes of Windsor YouTube Competition: http://www.youtube.com/group/itsawar
Triple J, Duke Of Windsor blame triple j for Jesse Hughes cameo (18 April 2008) <http://www.abc.net.au/triplej/musicnews/s2221236.htm> at 22 June 2008
TechDirt, Is Watching An Infringing YouTube Video Copyright Infringement? (16 May 2008) <http://www.techdirt.com/articles/20080514/1736121116.shtml> at 21 May 208
CNet News, Legal liability for YouTube viewers (19 May 2008) <http://news.cnet.com/8301-13739_3-9936833-46.html> at 23 June 2008
Tuesday, June 17, 2008
Song of the Moment: The Offspring – Hammerhead
I downloaded a copy of the new The Offspring track this afternoon called Hammerhead. This song, which is being made available as a free mp3 download from their site, has a great beat and strong lyrics.
The first time I read the lyrics I instantly thought 'this is an anti war song' but on second take they could be open to a wider interpretation. The lyrics refer to the hammering of war, questions where it will end and makes reference to others hiding behind their desks. However in other parts of the song the lyrics refer to the taking of a life so that ten others might live, suggesting that this is just the way it goes - I think this is sarcasim but others might see it as a justification for war.
They have also announced a YouTube video clip contest for US residents. Fan created clips for the Hammerhead track can be uploaded to their YouTube group with instructions to:
Be creative. Be current. Be literal. Be abstract. Use your own self-shot/documentary footage. Find the right footage for your voice. Share your experiences. Use this as another way to tell your own story. Whatever makes sense to you to make the best video you can.
The band will select from the top rated videos with the following prizes:
Grand Prize Winner: $10,000 (picked by band)
Most Viewed Submission: $3000
Most Favourited Submission: $2000
Entries are being accepted until the 24 June 2008 – see their website for more details.
More information
The Offspring <http://www.offspring.com/>
The Offspring, Hammerhead Video Contest Announcement <http://www.offspring.com/cgi-bin/WebObjects/Offspring.woa/wa/news?newsID=437018> at 17 June 2008
The first time I read the lyrics I instantly thought 'this is an anti war song' but on second take they could be open to a wider interpretation. The lyrics refer to the hammering of war, questions where it will end and makes reference to others hiding behind their desks. However in other parts of the song the lyrics refer to the taking of a life so that ten others might live, suggesting that this is just the way it goes - I think this is sarcasim but others might see it as a justification for war.
They have also announced a YouTube video clip contest for US residents. Fan created clips for the Hammerhead track can be uploaded to their YouTube group with instructions to:
Be creative. Be current. Be literal. Be abstract. Use your own self-shot/documentary footage. Find the right footage for your voice. Share your experiences. Use this as another way to tell your own story. Whatever makes sense to you to make the best video you can.
The band will select from the top rated videos with the following prizes:
Grand Prize Winner: $10,000 (picked by band)
Most Viewed Submission: $3000
Most Favourited Submission: $2000
Entries are being accepted until the 24 June 2008 – see their website for more details.
More information
The Offspring <http://www.offspring.com/>
The Offspring, Hammerhead Video Contest Announcement <http://www.offspring.com/cgi-bin/WebObjects/Offspring.woa/wa/news?newsID=437018> at 17 June 2008
Friday, June 13, 2008
UPDATED: Song of the Moment
UPDATED: I was thinking of starting a new segment called 'Song of the Week' but (those who know me will laugh at this...) I am too BUSY to say it will happen every week.
So the song of the moment is Pinks 'Cos I Can' and I quote:
"I don't give a damn. I don't play your rules I make my own... I'll do what I want. Cuz I can..."
Check it out if you haven't already
Sal
(PS yes I know this is not overly political but it was for someonelses benefit ... political songs will be the main types of songs I blog about so if you want to suggest one feel free to leave a comment!)
So the song of the moment is Pinks 'Cos I Can' and I quote:
"I don't give a damn. I don't play your rules I make my own... I'll do what I want. Cuz I can..."
Check it out if you haven't already
Sal
(PS yes I know this is not overly political but it was for someonelses benefit ... political songs will be the main types of songs I blog about so if you want to suggest one feel free to leave a comment!)
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