notaneophyte.comWebsite Profile

Title: Not a Neophyte | I WASN'T INVITED TO THE BRODEO
Description:Not a Neophyte | I WASN'T INVITED TO THE BRODEO Main menu Skip to content I WASN'T INVITED TO THE BRODEO Home Mixtapes About Submissions Post navigation ← Older posts Grimes Takes You to Hell Posted o is ranked 25408406 in the world (amongst the 40 million domains). A low-numbered rank means that this website gets lots of visitors. This site is relatively popular among users in the united states. It gets 50% of its traffic from the united states .This site is estimated to be worth $2,503. This site has a low Pagerank(0/10). It has 1 backlinks. has 43% seo score. Information

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Not a Neophyte | I WASN'T INVITED TO THE BRODEO Main menu Skip to content I WASN'T INVITED TO THE BRODEO Home Mixtapes About Submissions Post navigation ← Older posts Grimes Takes You to Hell Posted on August 28, 2014 by neophyteblog One recurring trope in science-fiction is the man-made apocalypse, a gloomy, deserted world that’s inhabited by those unlucky enough to witness the side effects of human error. Sometimes it’s from careless behavior like wastefulness, or the threat of a new technology that spreads fear and eliminates empathy, or even the rise of an anarchal state awash in violence. When discussing her new video for “Go,” Grimes hints at the cause for her nightmare-fuel video with: “In the inferno, people’s actions in life echo eternally,” later adding “We shot a bunch at the Salton Sea, which is basically an apocalyptic wasteland filled with dead fish because of human carelessness, a hallway of bullet holes à la Korn ‘Freak on a Leash.'” Grimes casts herself as the beleaguered Dante, traveling through a unique layer of hell with Blood Diamonds as a particularly flossy Virgil (chain and all). Unlike the bullet in Korn’s “Freak on a Leash” that pierces through everyday objects to cause disruption and chaos, the bullet holes in Grimes’ video is a nod to violence that’s already occurred. In fact, at this point one functions more as a peep hole that peers into the blacklit, filtered dance that Grimes (Dante?), performs. The 90s style rave-as-futurism outfits and imagery are reminiscent of Katherine Bigelow’s 1995 film Strange Days, where pre-Millenium Los Angeles is on the verge of chaos in the wake of corrupt cops and new technology that threatens to desensitize citizens to violent imagery. It’s interesting that this particular stylization continues to function as a sign of descent into hellish territory, and at this point I’m not 100% sure why, but I feel like nu-metal might be partially to blame. Angela Bassett in Strange Days It’s worth noting, especially considering Grimes’ bindi-wearing and somewhat sketchy past of cultural appropriation that “Go” also has pause-worthy racial aspects. Though the dancers in the video could be any race, seeing as how the lighting distorts and some of them are wearing masks, in shots of Grimes dancing and wearing a dress in a way that reads future-exotic by way of vague Asian influence, Grimes creates a future (albeit bleak one), inspired by people of color that doesn’t feel like it needs to specifically reference them. Writing about Grimes’ video for “Genesis” (which had similar problems), Julianne Escobedo Shepard called the practice “attaching vague ethnic allusions to coolness without context.” Here’s to a future with less of that. Posted in Music | Tagged blood diamonds, future, grimes, korn, music videos, race, science fiction, strange days, violence | 4 Comments | Let’s Talk for a Minute about Your Stupid Concert Poster Posted on June 6, 2014 by neophyteblog According to the Dallas Observer, last night Perfect Pussy took issue with the concert poster used to promote their show. (While the article says that the bands stopped their set short at 20 minutes, it actually seems like the average amount of time that Perfect Pussy plays a set.) The offending poster: The Dallas Observer quotes singer Meredith Graves: “As women, we’re taken less seriously at the work we do because we work hard. When you see tits on a flyer you feel lonely, weird and isolated.” This is a particularly succinct and damning quote. It’s damning that multiple promotion companies and the venue approved that flyer as representative of a band with a female member and a sarcastic, lady biology-driven name. What’s more disheartening to me, though, is how often I’ve seen variations of that poster: a posed, nude or nearly nude woman used as decoration. It’s so common that I probably wouldn’t have thought much of it if I had seen it in person, minus giving it a hearty eye-roll. Music scenes are notoriously alienating to women band members and fans, and this type of imagery continues that stratification. For more examples I will take you to the Dallas Observer’s now-defunct series, This Week’s Best Concert Posters: “Complete with a naked woman straddling a moose head, surrounded by tiger lillies and bird feces; what more could you ask for?” – May 7, 2013 March 26, 2013 March 12, 2013 February 13, 2013 “Favorite Throwback” So you get the idea, right? Posted in Music | Tagged concert posters, dallas observer, gender, perfect pussy, sexism | Leave a comment | When Women Kill Posted on February 7, 2014 by Katherine P. Hudson A couple of weeks ago, Chelsea wrote about the proliferation of murder ballads, and their tendency to fetishize, in the narrator’s perspective, the destruction of “something beautiful” – a woman. She was prompted to explore how male musicians like Nick Cave view their female subjects after listening to this response song by Hurray for the Riff Raff: I want to present a different take on murder ballads, and showcase different types of songs performed by female artists. Two broad categories emerge: in the first, the woman is the killer. In two of the most famous country songs of this type, she kills in response to unrelenting domestic violence with no help in sight from society – but she also kills for revenge. In the second category, the woman sings the story of her own death. Misogyny is pervasive in these stories; they reflect our culture’s lack of value in women and sing stories back to us that very loosely mirror what so many women have faced. If dead women could sing, would Deanna Cook’s song sound like one of these? Before diving into heavier stuff, there’s a more comedic response to traditional murder ballads that you might remember from its video’s heavy rotation on Country Music Television and other outlets. The Dixie Chicks, now infamous for their criticism of George W. Bush and the subsequent fall from country music grace, survived this controversy before Natalie Merchant’s words in London sparked outrage. “Goodbye Earl” flips the narrative. Songwriter Dennis Linde weaves a tale of two women that support each other from girlhood to burying Wanda’s abusive husband – who they poisoned black eyed peas. Wanda is portrayed as a victim who seeks a legal solution, but when the law fails to protect her, she and Mary Ann cook up a scheme (literally) to get rid of him and live happily ever after. The women are never caught, unlike the narrator of the quintessential murder ballad, “Delia’s Gone,” who laments his tale to his jailer. The music video highlights the comedy; a sleazy lawyer and Keystone cops round out the cast of absurd characters, and a dance break at the end features zombified Dennis Franz. Of course, conservative country radio had a problem with it. While the song peaked at #13 on the Billboard Hot Country chart, many stationed refused to play it (or at least had it in a very light rotation), and plenty turned to their listeners ... Whois

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