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Found 2 results

  1. This is a joke release more or less, why it's here y'kno... but, anybody familiar with Dudesy, and knows all d'noes 'dat are involved.. and also bloody "Space Invaders" 'n bl'uddy "Nintendos" 'n.... so, basically, those who know, kn'ooooos, 'awrite? Now, this is a small thing 'rite, featuring three things 'dat I did, and I just wanna share them here... 'awrite?!... don't get ya tits tangled.... if ya 'laff, ya 'laff, nuthin' wrong, and 'nuthin' said,.... or, if ya chuckle, and 'den ya don't use ya knuckle, 'den good on ya, jus' enjoy it, 'fah 'fook sake mate: 1. Super Mario (with Dudesy Podcast): https://www.youtube.com/watch?v=gAn9Jo5Sl80 2. Street Fighter 2 (with Dudesy Podcast): https://www.youtube.com/watch?v=foGFxqpS-3g 3. Smashmouth's All Star, but re-made into a rally cry against corporations (with... basically everyone on the planet cause HMPH!!! Amirite?!!!...) https://www.youtube.com/watch?v=eOWH7wp75rs
  2. http://joshhall.net/post/81578386910/fascism-and-colonialism-in-the-work-of-cut-hands-and I was wondering what watmm makes of this (the ethics about musical influences, titling, etc in general and the Bennett/BEB example in particular). It's an interesting read, though it's difficult to separate the writer's objective research from the strong activistic overtones (many of his conclusions have a very accusing tone and this combined with the fact that, as a reader, you're likely to already be sharing the writer's point of view from the start, the text borders on getting witch-hunt propagandistic itself - despite his good intentions that's not the way to go). This is a bit where I found the article to be maybe reading a little too much into it all. These are all clear narrative techniques. The guy is influenced by African music, appropriates it and just creates a fictional context for it, obviously influenced more by schlocky exploitation movie trailers than anything even remotely authentic. It's a make-believe Africa he's describing. People really do have a strong sense of disbelief, that they only suspend consciously and temporarily to watch the movie or listen to the music. Sure, there will always be a handful of fascist idiots who actually take the fictional setting seriously and use it as fuel for their views, but I don't believe that means the music itself is "dangerous". I mean, should we conclude that artists like AtomTM or Legowelt are being insincere or unethical in some way by having aliases that suggest they're making music from a different ethnic background than they do? Later on in the article there's also a line where the writer suggests a male doesn't have the right to appropriate feminist imagery because the meaning of it get turned around somehow an becomes misogynist instead... I dunno. I sort of get the logic, but it seems more preoccupied with pointing fingers than with the question of equality (I mean doesn't the act of declaring an image, a concept or a right exclusively to one gender support a form of gender inequality; are males by default excluded for actively supporting or discussing feminism). That's a delicate subject and there is so much material to read up on that a somewhat objective reasonable discussion is difficult. Anyway, many things related to the writer's core concern have popped up on watmm in the past (in Vatican Shadow and Muslimgauze threads for example, even in the Vaporwave one), so maybe a more focused thread would be interesting? I have some Vatican Shadow records/tapes and one particular track is a beautiful piece of music and then I look at the title and it's called "Bin Laden's Corpse". What does that mean? Is it some sort of cynical critique? And of what? Why are these particular military officers on the covers? What do they stand for and what, then, does the music stand for? Maybe making you uncomfortable enough to ask yourself these questions (and maybe read up on any politics behind the iconography and track titles) is the only thing VS wants to achieve with it? Forcing you to at least question certain things in contemporary society?
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