web analytics

Blog

  • Friday Throwback – Ownlee Eue

    In 8th grade, one of the dance crews was performing at our junior high school rally. One of the members of the crew was a good friend of mine, so I was excited to see them dance. I honestly don’t remember much about their performance, but mostly because I was mesmerized by the song that came booming out of those speakers that day. In junior high school, kids are easily influenced and start liking things they may not have liked because of who introduced it to them. Well, I can’t say that I wasn’t influenced because one of my friends was dancing on stage and it was very cool, but when music hits you, it just hits you.

    – Yep, those are polka dots. That was his signature look.

    – Dude just busted out with a keytar.

    – “Love, cherish, respect and always be there for you”

    – Is he ever going to play the keytar?

    – This was the first song I’d ever heard where someone told a girl he would drink her bath water. It was disgusting then and still is now.

    – Ah, the old hump the floor dance move.

    Kwame isn’t all that well remembered even though he had 3 songs chart in the top 10 on the rap charts in 1989 and 1990. He actually stopped rapping by the mid 90s but recently came back as a producer and has worked with some main stream folks. I don’t think we’ll see the return of the polka dots, but this is what happens when rap stars go to die. If they have a good understanding with how the music is put together, they become producers.

  • Contender For Worst Song of 2008?: Flobots’ "Handlebars"

    How do I know I’m getting old? Because I constantly get the feeling that music today is infinitely worse than it was when I was a kid. I mean I came up in the era of Paula Abdul, C&C Music Factory and MC Hammer, but while I’ll be the first to tell you that none of that music was incredibly substantial, I’ll also tell you that most late 80s/early 90s pop music has at least some sort of hookiness and pop smarts that justifies the success it had.

    So, I’m out of touch. Whereas you could sit me down with any Top 10 list from 1980-2000 and I’d be able to at least sing the chorus of every song back to you, there’s songs in the Top 10 now that I barely even recognize. Hell, Lil’ Wayne’s “Lollipop” has been the #1 song in the country for four weeks now and I’ve heard it all the way through a grand total of ONCE.

    That doesn’t mean that I’m not interested in today’s music, and when I get wind of a new band that’s making waves, I try to give them a listen to see what they’re about. Sometimes we come up with a winner (Vampire Weekend, The Fray), sometimes we come up with what we think is a winner that later turns out to be something else entirely (Colbie Caillat), and other times, we come up with foul pieces of horse doody.

    Ladies and gentlemen, I now present you with Flobots. By the way, this isn’t the official video, but I couldn’t find a version on YouTube that contained embeddable code. So you’ll just have to suffer through this…if you dare.

    While it’s nice to see at least someone nowadays with a social conscience, this song is so terrible that any redeeming quality in the lyrical content is completely wiped away. First of all, guys, rap/rock died out about 7 or 8 years ago. Isn’t Fred Durst in the witness protection program or something? Not to mention the fact that these guys have the stiffest, most wooden rap flow of anyone I’ve ever heard before in my life. And I sat through the entirety of Kevin Federline’s album! (it’s not something I’m proud of).

    Anyway, what do you think of the song? I think Linkin Park are rolling in their graves whenever this song comes on-and they’re not even dead.

  • "The Happening" and the Fickle Finger of Fate


    I can’t be the only one who’s had (of all things) a Supremes song stuck in his head ever since seeing a trailer for M. Night Shyamalan’s forthcoming disaster flick (which is being heavily touted for carrying Shyamalan’s first R rating): The Happening. Despite the film’s deliciously retro title which evokes images of arsty hippies staging random acts of public randomness, the trailer brims over with Shyamalan’s by now familiar (to the point of virtual self-parody) bubbling stew of supernatural terror and quasi-religious inscrutability. Urgh. On the other hand, the scariest thing about The Supremes‘ positively rapturous 1967 single “The Happening” (their 10th #1 hit on Billboard‘s Pop chart), is the way Diana Ross’s smile (to say nothing of her Bruckheimer-scale hairdo) threatens to consume the rest of her face (and everything else in the immediate vicinity) as she effortlessly maneuvers through the song’s brisk tempo and relentlessly acrobatic melody in this live performance.

    This dizzyingly catchy song, a collaboration between Motown’s venerable Holland-Dozier-Holland team and TV theme composer Frank DeVol (whose most famous composition centers on the story of a lovely lady bringing up three very lovely girls), was written for the 1967 movie The Happening starring Anthony Quinn as a mobster restauranteur who gets kidnapped by a bunch of hapless hippies (including Faye Dunaway in her screen debut!) in a plot that would get recycled for Ruthless People in the mid-80s. But despite the song’s boundlessly chipper veneer, it marks a pivotal point in the Supremes’ history. Their very next single – the #2 hit “Reflections” – would be the first one credited to “Diana Ross and the Supremes”. Meanwhile, Florence Ballard, who gave the group their name, would soon be signing away her rights to it. Considered by many to have the superior voice, Ballard actually sang lead on some of the group’s earlier tracks, but with Ross’s star ascendant, she was increasingly marginalized in the group. Her alchohol problem didn’t help matters: though she sang on “Reflections”, she’d been fired from the Supremes (replaced by Cindy Birdsong of Patti LaBelle and the Bluebelles) by the time it was released. In 1976, she died of heart failure at the age of 32. What did they say about that fickle finger of fate?

    -P. Lorentz