000091008.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

000091008.Pdf DISC 1 01 Intro (Delirium) 02 Aftertaste 03 Something In The Way You Move 04 Keep On Dancin’ 05 On My Mind 06 Around U 07 Codes 08 Holding On For Life 09 Love Me Like You Do 10 Don’t Need Nobody 11 Don’t Panic 12 We Can’t Move To This 13 Army 14 Lost And Found 15 Devotion 16 Scream It Out DISC 2 01 The Greatest 02 I Do What I Love 03 Paradise 04 Winner 05 Heal 06 Outside Calvin Harris Featuring Ellie Goulding 07 Powerful Major Lazer Featuring Ellie Goulding & Tarrus Riley i Cherrytree/Interscope Records. 2220 Colorado Ave., Santa Monica, CA 90404. Manufactured and distributed in the U.S.A. by Universal Music Distribution. PC 2015 Polydor Ltd. (UK) under exclusive license to Interscope Records in the U.S.A. All rights reserved. B0024106-02 INTRO (DELIRIUM) But tonight I’m gonna lose it all Now I always hear always hear them talking I just want to be around you You and me just Love me like you do, love me like you do Playing with fire, I was the first to fall Talking about a girl, about a girl with my name Is that too much to ask Running towards the light Love me like you do, love me like you do AFTERTASTE Honey, is sinking like a cannonball Saying that I hurt you, but I don’t still don’t get it Don’t tell I’m wrong, I could be there Giving up the fight Touch me like you do, touch me like you do Baby, kill it, what’re you waiting for? You didn’t love me, no not really Don’t tell I’m wrong, I could be there Hoping we survive What are you waiting for Hold me like nobody else does I just want to be around you Do I get the best of your love Something in the way you move Wait, I could’ve really liked you Is that too much to ask You and me just Love me like you do, love me like you do I bet, I bet that’s why I keep on thinking about you Even when our bodies are drunk Something in the way you do it. Don’t tell I’m wrong, I could be there Strangers in the night Love me like you do, love me like you do Is it me you’re stumbling from It’s a shame, you said I was good Don’t tell I’m wrong Something in the way you move Giving up the fight Touch me like you do, touch me like you do Forget the words that you said So I poured it down, so I poured it down I could be there Waiting to ignite Something in the way you move What are you waiting for With your fingers spell out my name If only you’d let me in Something in the way you do it. Take away the sky in our breath And now I don’t understand it I could be there Holding on for life (x8) Remember love is a game, love is a game Something in the way you move You don’t mess with love, you mess with the truth Just tell me where and tell me when I’ll let you set the pace And I know I shouldn’t say it So tired of these roads going nowhere Lost in you, lost in me Because I’m not thinking straight Don’t break, don’t fade But tonight I’m gonna lose it all But my heart don’t understand But I know your love takes me somewhere Afraid of love, in too deep My head’s spinning around, I can’t see clear no more While we’re not real, we’re never too late Playing with fire, I was the first to fall Why I got you on my mind So we just run and hide What are you waiting for Make time, it won’t hurt Honey, is sinking like a cannonball Why I got you on my mind CODES Said I’ll go now, but you said it first Baby, kill it, what’re you waiting for? Why I got you on my mind Lightening fast, felt the crash Love me like you do, love me like you do Why I got you on my mind Damn, boy you make it hard Scared to lose, fear attacks Love me like you do, love me like you do I know there’s nothing that I can do to make you stay Something in the way you move But my heart don’t understand Shouldn’t need a riddle to unlock your heart We only know goodbye Touch me like you do, touch me like you do But one thing I know that will always remain Something in the way you do it. Why I got you on my mind So, say what’s on your mind What are you waiting for And that’s the aftertaste Something in the way you move You think you know somebody We got other things that we could do with our You and me just Why I got you on my mind Time, we could rule the world The aftertaste x4 Something in the way you move Running towards the light Love me like you do, love me like you do You think you know somebody Know you say you never need another girl Giving up the fight Something in the way you do it. Love me like you do, love me like you do Why I got you on my mind But, you’re not making sense Hoping we survive In the midst I’m seeing your face Something in the way you move Touch me like you do, touch me like you do And I can’t believe this is fake You think you know somebody Trying to keep it moving while you’re on the fence What are you waiting for Blow the blossom into your room Why I got you on my mind You and me just Tell me black and white Strangers in the night As you throw me in disarray. KEEP ON DANCIN’ There’s a button that I need to press You got yourself in a dangerous zone Why I’m here tonight Giving up the fight DON’T NEED NOBODY There’s a face that I need to kiss Because we both had the fear, fear of being alone I can’t read the signs Waiting to ignite People like to talk because they don’t know what to say And I still don’t understand it Come on, give me your heart and your head I’ve been too numb to understand Running from the truth because the truth too much to take You don’t mess with love, you mess with the truth Stop talking in codes, stop talking in codes Make you conscious never resist, never resist. Holding on for life (x8) I’m just a victim of the weapon in my hand I keep raising glasses because I only got today And my heart don’t understand it Let me know what’s up, can’t do it no more I just keep moving, I just keep moving Understand it, understand it So many casualties of love Don’t break, don’t fade. I need a love to celebrate If you wanted love like this But I’ve been bulletproof, I’m staring at the sun While we’re not real, we’re never too late Stop talking in codes, stop talking in codes Blowing up with every kiss Why I got you on my mind Make time, it won’t hurt You can hurt me, I’ll find another Should’ve known better You think you know somebody Said I’ll go now, but you said it first You can love me, you’ll be my lover Let me know what’s up, can’t do it no more I was the one you took home Happy, in rain or thunder Why I got you on my mind So baby, take it all the way Then you find yourself alone Never a flame to burn slow You think you know somebody Stop talking in codes I know there’s nothing that I can do to make you stay Baby I keep Chilling you right to the bone But I was hoping you’d see me a different way But one thing I know that will always remain I keep on, I keep on, I just keep on dancing No, should’ve known better AROUND U It’s a mystery So many bodies I’ve touched And that’s the aftertaste. I just keep on dancing I know that something happened in your history Hopelessly holding on Crashing around me like dust The aftertaste x4 I just keep on dancing I just want to be around you Oh, it’s too much to risk To all those perfect nights You are the realest thing I’ve never had to fake Is that too much to ask You give me some, but you’ve been holding most of it Let’s pretend it’s not gone I know there’s nothing that I can do to make you stay Can you see my, see my headlights I just want to be around you Back, so it’s no surprise And say we’ll never die But one thing I know that will always remain I don’t need nobody, need nobody but You can come ride shotgun with me Is that too much to ask Everything you do, I over analyze And that’s the aftertaste I don’t need nobody, need nobody but you Whatever you like, ever you like Breathe, in and out You and me just The aftertaste x8 I don’t need nobody, need nobody but you Every time I look at those stars When I look into your eyes Baby, give me something new to think about Running towards the light Know they ain’t got answers for me Boy, I’m feeling delirious Giving up the fight I don’t need nobody, need nobody but you But I’ll be alright, Ill be alright But you know this is serious Tell me black and white Hoping we survive SOMETHING IN THE WAY YOU MOVE I’m sticking to you like glue Why I’m here tonight I’m just so used to emptiness You can hurt me, I’ll find another Only see you now and then, but I know we could have it all I can’t read the signs You and me just Can’t feel your heartbeat when I’m lying on your chest It’s the strangest feeling You can love me, you’ll be my lover Because before I was cynical, baby you were just cool Strangers in the night You’re different from the ones before Feeling this way for you Happy, in rain or thunder Stop talking in codes, stop talking in codes Giving up the fight There’s something in the way you move I know you don’t believe it’s you I’ve waited for Baby I keep I just want to be around you Let me know what’s up, can’t do it no more Waiting to ignite Something in the way you move Is that too much to ask I need a love to celebrate I keep on, I keep on, I just keep on dancing I was the one you took home I just keep on dancing I just keep on dancing Don’t tell I’m wrong, I could be there Stop talking in codes, stop talking in codes Holding on for life (x8) With you I’m never healing Don’t tell I’m wrong, I could be there Let me know what’s up, can’t do it no more Never a flame to burn slow It’s heartache through and through I just want to be around you You can hurt me, I’ll find another So baby, take it all the way Holding on for life (x8) But I was hoping you’d see me a different way There’s something in the way you move Is that too much to ask Stop talking in codes So many bodies I’ve touched Something in the way you move You can love me, you’ll be my lover Don’t tell I’m wrong, I could be there Hopelessly holding on Crashing around me like dust Don’t know what it is you do.
Recommended publications
  • Soiiy Discos to Close Warehouse Nationality, Argues Bolz
    `N SYNC'S INDIRECT PATH TO THE TOP (Continued from page 6) (responsible for producing Spears) less where a record was produced, many." million albums sold worldwide are in haven't. We've just had to spend a lot with Kristian Lundin under the within the industry BMG Ariola BMG Ariola's head of internation- the U.S., according to BMG. The of time in the U.S." supervision of BMG A &R exec Munich is the first to admit that in al, Susie Armstrong, says that the group has been busy satisfying U.S. The band's agenda for this year Andreas von Oertzen in Munich. The 1997, a German- produced American climate changed over the time that demand, which has resulted in the will concentrate on the U.S. The label and creative team was a simi- boy band was not necessarily on top 'N Sync was being developed. BMG U.K. label Northwestside hav- group will play arenas there from lar constellation to what led to the of every affiliate's wish list, and it "Five years ago, I would not have ing to wait until May to release the March to May, then visit the U.K. to Backstreet Boys' European success. encountered resistance among col- had a fighting chance with this act" album. launch the album there. June sees The album was originally released leagues. However, the attitudes of key "We've had difficulty bringing the act recording, then a third set of in May 1997: That version has sold For Thomas M. Stein, BMG's executives in the U.S.
    [Show full text]
  • KMP LIST E:\New Songs\New Videos\Eminem\ Eminem
    _KMP_LIST E:\New Songs\New videos\Eminem\▶ Eminem - Survival (Explicit) - YouTube.mp4▶ Eminem - Survival (Explicit) - YouTube.mp4 E:\New Songs\New videos\Akon\akon\blame it on me.mpgblame it on me.mpg E:\New Songs\New videos\Akon\akon\I Just had.mp4I Just had.mp4 E:\New Songs\New videos\Akon\akon\Shut It Down.flvShut It Down.flv E:\New Songs\New videos\Akon\03. I Just Had Sex (Ft. Akon) (www.SongsLover.com). mp303. I Just Had Sex (Ft. Akon) (www.SongsLover.com).mp3 E:\New Songs\New videos\Akon\akon - mr lonely(2).mpegakon - mr lonely(2).mpeg E:\New Songs\New videos\Akon\Akon - Music Video - Smack That (feat. eminem) (Ram Videos).mpgAkon - Music Video - Smack That (feat. eminem) (Ram Videos).mpg E:\New Songs\New videos\Akon\Akon - Right Now (Na Na Na) - YouTube.flvAkon - Righ t Now (Na Na Na) - YouTube.flv E:\New Songs\New videos\Akon\Akon Ft Eminem- Smack That-videosmusicalesdvix.blog spot.com.mkvAkon Ft Eminem- Smack That-videosmusicalesdvix.blogspot.com.mkv E:\New Songs\New videos\Akon\Akon ft Snoop Doggs - I wanna luv U.aviAkon ft Snoop Doggs - I wanna luv U.avi E:\New Songs\New videos\Akon\Akon ft. Dave Aude & Luciana - Bad Boy Official Vid eo (New Song 2013) HD.MP4Akon ft. Dave Aude & Luciana - Bad Boy Official Video (N ew Song 2013) HD.MP4 E:\New Songs\New videos\Akon\Akon ft.Kardinal Offishall & Colby O'Donis - Beauti ful ---upload by Manoj say thanx at [email protected] ft.Kardinal Offish all & Colby O'Donis - Beautiful ---upload by Manoj say thanx at [email protected] om.mkv E:\New Songs\New videos\Akon\akon-i wanna love you.aviakon-i wanna love you.avi E:\New Songs\New videos\Akon\David Guetta feat.
    [Show full text]
  • New Roots Jamaican Ontologies of Blackness from Africa to the Ghetto
    African Diaspora 7 (2014) 234–259 brill.com/afdi New Roots Jamaican Ontologies of Blackness from Africa to the Ghetto Wayne Modest National Museum of World Cultures, The Netherlands [email protected] Rivke Jaffe Department of Human Geography, Planning and International Development Studies University of Amsterdam, The Netherlands [email protected] Abstract This article explores contemporary ontologies of blackness in the Caribbean island of Jamaica. Approaching blackness as an ontological issue – an issue that pertains to the being, or the existence, of a category of people – we emphasize the spatial dimension of such ontologies. Drawing on Jamaican contemporary art and popular music, we pro- pose that the site of blackness, as it is imagined in Jamaica, has shifted from Africa towards ‘the ghetto.’ Tracing changing Jamaican perspectives on race and nation, the article discusses how self-definitions of ‘being black’ and ‘being Jamaican’ involve the negotiation of historical consciousness and transnational connectivity. During much of the twentieth century, various Jamaican social and political movements looked pri- marily to the African continent as a referent for blackness. In the twenty-first century, the urban space of the ghetto has become more central in Jamaican social commentary and critique. By tracing the historical shifts of the spatial imaginary onto which racial belonging and authenticity are projected, we seek to foreground the mutability of the relation between blackness and Africanness. Keywords Jamaica – contemporary art – dancehall – ontologies of race – spatial imaginary © wayne modest and rivke jaffe, 2014 | doi: 10.1163/18725465-00702004 This is an open access article distributed under the terms of the Creative Commons Attribution-Noncommercial 3.0 Unported (CC-BY-NC 3.0) License.
    [Show full text]
  • Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers Across 900 Popular Songs from 2012-2020
    Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers across 900 Popular Songs from 2012-2020 Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Karla Hernandez & Kevin Yao March 2021 INCLUSION IN THE RECORDING STUDIO? EXAMINING POPULAR SONGS USC ANNENBERG INCLUSION INITIATIVE @Inclusionists WOMEN ARE MISSING IN POPULAR MUSIC Prevalence of Women Artists across 900 Songs, in percentages 28.1 TOTAL NUMBER 25.1 OF ARTISTS 1,797 22.7 21.9 22.5 20.9 20.2 RATIO OF MEN TO WOMEN 16.8 17.1 3.6:1 ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 FOR WOMEN, MUSIC IS A SOLO ACTIVITY Across 900 songs, percentage of women out of... 21.6 30 7.1 7.3 ALL INDIVIDUAL DUOS BANDS ARTISTS ARTISTS (n=388) (n=340) (n=9) (n=39) WOMEN ARE PUSHED ASIDE AS PRODUCERS THE RATIO OF MEN TO WOMEN PRODUCERS ACROSS 600 POPULAR SONGS WAS 38 to 1 © DR. STACY L. SMITH WRITTEN OFF: FEW WOMEN WORK AS SONGWRITERS Songwriter gender by year... 2012 2013 2014 2015 2016 2017 2018 2019 2020 TOTAL 11% 11.7% 12.7% 13.7% 13.3% 11.5% 11.6% 14.4% 12.9% 12.6% 89% 88.3% 87.3% 86.3% 86.7% 88.5% 88.4% 85.6% 87.1% 87.4% WOMEN ARE MISSING IN THE MUSIC INDUSTRY Percentage of women across three creative roles... .% .% .% ARE ARE ARE ARTISTS SONGWRITERS PRODUCERS VOICES HEARD: ARTISTS OF COLOR ACROSS SONGS Percentage of artists of color by year... 59% 55.6% 56.1% 51.9% 48.7% 48.4% 38.4% 36% 46.7% 31.2% OF ARTISTS WERE PEOPLE OF COLOR ACROSS SONGS FROM ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 © DR.
    [Show full text]
  • Identities Bought and Sold, Identity Received As Grace
    IDENTITIES BOUGHT AND SOLD, IDENTITY RECEIVED AS GRACE: A THEOLOGICAL CRITICISM OF AND ALTERNATIVE TO CONSUMERIST UNDERSTANDINGS OF THE SELF By James Burton Fulmer Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Religion December, 2006 Nashville, Tennessee Approved: Professor Paul DeHart Professor Douglas Meeks Professor William Franke Professor David Wood Professor Patout Burns ACKNOWLEDGEMENTS I would like to thank all the members of my committee—Professors Paul DeHart, Douglas Meeks, William Franke, David Wood, and Patout Burns—for their support and guidance and for providing me with excellent models of scholarship and mentoring. In particular, I am grateful to Prof. DeHart for his careful, insightful, and challenging feedback throughout the writing process. Without him, I would have produced a dissertation on identity in which my own identity and voice were conspicuously absent. He never tried to control my project but rather always sought to make it more my own. Special thanks also to Prof. Franke for his astute observations and comments and his continual interest in and encouragement of my project. I greatly appreciate the help and support of friends and family. My mom, Arlene Fulmer, was a generous reader and helpful editor. James Sears has been a great friend throughout this process and has always led me to deeper thinking on philosophical and theological matters. Jimmy Barker, David Dault, and Eric Froom provided helpful conversation as well as much-needed breaks. All my colleagues in theology helped with valuable feedback as well.
    [Show full text]
  • Stureplansgruppen Stolt Samarbetspartner Till Denniz Pop Awards
    Stureplansgruppen stolt samarbetspartner till Denniz Pop Awards Under 2014 arrangeras Denniz Pop Awards till minne av en av Sveriges genom tidernas största låtskrivare Denniz Pop. Den 12 juni delas priset ut under en gala på Berns i Stockholm. Låtskrivaren och producenten Denniz Pop avled i cancer 1998, endast 35 år gammal. Han var en av initiativtagarna bakom hitfabriken Cherion och med produktioner signerade Denniz Pop som sålt i omkring 50 miljoner ex. Visionen bakom Denniz Pop Awards är att hitta och lyfta fram nya låtskrivare, producenter och artister i Denniz Pops anda samt att samla in pengar till Denniz Pops minnesfond. Initiativtagare är forna Cherionmedlemmar, kollegor, vänner och familj till Denniz Pop. Grundtanken är att instifta ett pris för att stötta unga talanger inom musikindustrin att ta vid där Denniz Pop slutade. Genom stiftelsen har den som är producent, låtskrivare eller artist möjlighet att söka ett bidrag för att kunna fortsätta ditt kreativa skapande. Det finns även en kategori för dig som är rookie och är helt ny inom ditt gebit. Juryn består av några av världens nio mest framgångsrika producenter; Andreas Carlsson, Max Martin, Jörgen Elofsson, Jacob Schulze, Rami, John Amatiello, David Kreuger, Per Magnusson och Kristian Lundin. Sista ansökningsdag är 20 maj. Läs mer om priset och stiftelsen samt ansök nu på www.dennizpopawards.com Priset delas ut den 12 juni under en gala på Berns. Under galan hålls en insamling till förmån för Denniz Pop Awards Stiftelse, vars uppdrag går ut på att stötta Radiumhemmet, Sveriges första behandlingshem för cancersjuka. 2013 anordnades Denniz Pop Awards för första gången, då med vinnarna Albin Nedler och Kristoffer Fogelmark (Rookie Songwriter/producer), Saturday, Monday feat.
    [Show full text]
  • “Nothing Breaks Like a Heart” Feat. Miley Cyrus
    2018-11-30 09:45 CET Mark Ronson är tillbaka med nya singeln “Nothing Breaks Like A Heart” feat. Miley Cyrus Efter att ha varit involverad i ett flertal stora hits i år, är den femfaldigt Grammyvinnande artisten och producenten Mark Ronson tillbaka med den egna singeln “Nothing Breaks Like A Heart” tillsammans med världsstjärnan Miley Cyrus. Lyssna på "Nothing Breaks Like A Heart" här “Nothing Breaks Like A Heart” skrevs av Mark Ronson och Miley Cyrus, tillsammans med Ilsey Juber, Thomas Brenneck, The Picard Brothers och Conor Rayne Syzmanski. Låten är producerad av Ronson med ytterligare produktionshjälp av The Picard Brothers och Jamie XX, och spelades in på legendariska Rick Rubins studio Shangri La Studios. Detta är den första singeln från Mark Ronsons studioalbum som kommer nästa år. Se YouTube-videon här Den snygga musikvideon filmades i Kiev, Ukraina, regisserades av WAFLA (We Are From LA) och exekutiv producent till videon är Romain Gravas (MIA, Jay-Z, Kanye West, Jamie XX), som tidigare prisats två gånger på MTV Video Music Awards. "Nothing Breaks Like A Heart" är Ronsons första popsingel som framförande artist sedan "Uptown Funk" som blev ett kulturellt och musikaliskt fenomen. "Uptown Funk" vann två Grammy Awards år 2015, däribland "Record of the Year". Musikvideon till “Uptown Funk” har streamats över 3 miljarder gånger, och singeln höll förstaplatsen på Billboard Hot 100 Chart i hela 14 veckor i följd. Det är den högst rankade låten i detta århundrade och den fjärde bäst presterande låten någonsin på Billboard Hot 100. "Uptown Funk" är också den 10:e låten i historien att uppnå Diamantförsäljningsstatus enligt RIAA.
    [Show full text]
  • Lykke Li Featured in Third Episode of Wetransfer's 'Work in Progress' Series
    ⏲ 17 October 2018, 16:00 (CEST) Lykke Li Featured in Third Episode of WeTransfer's 'Work In Progress' Series Lykke Li opens up for the first time about the death of her mother, the birth of her child and the end of her relationship in the third episode of WeTransfer’s documentary series. October 17, 2018 - The latest episode of WeTransfer’s new series about the creative process, Work In Progress, launches today. It focuses on iconic Swedish indie-pop artist Lykke Li and can be watched on WeTransfer’s editorial platform WePresent here. In the short film (just over 6 minutes), set to Lykke Li’s latest album so sad so sexy, the acclaimed singer-songwriter gives an intimate account of her own real-life struggles in recent years. Lykke Li talks about the loss of a parent, becoming a mother and having her heart broken - and how she emerged stronger and more empowered, both mentally and creatively. Produced by Pi Studios and directed by Kaj Jefferies and Alice Lewis on 16mm film, the episode is dreamlike and melancholic at times but always underlined with a unique, raw feminine beauty. The short film acts as a candid interview and offers viewers an intimate insight into Lykke Li’s life, with personal video camera recordings of her as a child and growing up. In the footage, Lykke Li express her views on love and pain and the therapeutic nature of the creative process. This is the third episode of Work In Progress - a documentary series which celebrates the spirit of creative collaboration which defines WeTransfer's products.
    [Show full text]
  • Anything Could Happen Free Ebook
    FREEANYTHING COULD HAPPEN EBOOK Will Walton | 281 pages | 29 Nov 2016 | Push | 9781338032499 | English | United States Ellie Goulding - Anything Could Happen Lyrics Will Walton's ANYTHING COULD HAPPEN perfectly captures the sometimes soaring, sometimes heart-crushing nature of unrequited adolescent love. His prose is sophisticated but accessible, and the relationships in Tretch's life are presented in this nuanced but beautiful way, allowing us to see how this really special protagonist engages with those most important to him. Goulding penned this song having embarked on a relationship with Dubstep producer Skrillex after breaking up with BBC Radio 1 DJ Greg James. She explained to Cosmopolitan magazine: "I wrote 'Anything Can Happen' because I'd been in a relationship with Greg or two years, who I absolutely adored and still do. Then that ended very unexpectedly and it threw me off. "Anything Could Happen" is a song by English recording artist Ellie Goulding, released as the lead single from his second studio album, Halcyon (). Written and produced by Goulding and Jim Eliot of English electropop duo Kish Mauve, the song received positive reviews from music critics. Anything Could Happen A randomizer from Humblebee. Outside of Stinson, no one who played on Bash & Pop's album, Friday Night Is Killing Me, appears on 's Anything Could Happen, but the two records share a very similar sound and feel. Stinson has said that he wanted the return of Bash & Pop to sound like a band with a good vibe playing live in the studio, and that's exactly what Anything Could Happen delivers.
    [Show full text]
  • Rastalogy in Tarrus Riley's “Love Created I”
    Rastalogy in Tarrus Riley’s “Love Created I” Darren J. N. Middleton Texas Christian University f art is the engine that powers religion’s vehicle, then reggae music is the 740hp V12 underneath the hood of I the Rastafari. Not all reggae music advances this movement’s message, which may best be seen as an anticolonial theo-psychology of black somebodiness, but much reggae does, and this is because the Honorable Robert Nesta Marley OM, aka Tuff Gong, took the message as well as the medium and left the Rastafari’s track marks throughout the world.1 Scholars have been analyzing such impressions for years, certainly since the melanoma-ravaged Marley transitioned on May 11, 1981 at age 36. Marley was gone too soon.2 And although “such a man cannot be erased from the mind,” as Jamaican Prime Minister Edward Seaga said at Marley’s funeral, less sanguine critics left others thinking that Marley’s demise caused reggae music’s engine to cough, splutter, and then die.3 Commentators were somewhat justified in this initial assessment. In the two decades after Marley’s tragic death, for example, reggae music appeared to abandon its roots, taking on a more synthesized feel, leading to electronic subgenres such as 1 This is the basic thesis of Carolyn Cooper, editor, Global Reggae (Kingston, Jamaica: Canoe Press, 2012). In addition, see Kevin Macdonald’s recent biopic, Marley (Los Angeles, CA: Magonlia Home Entertainment, 2012). DVD. 2 See, for example, Noel Leo Erskine, From Garvey to Marley: Rastafari Theology (Gainesville, FL: University Press of Florida, 2004); Dean MacNeil, The Bible and Bob Marley: Half the Story Has Never Been Told (Eugene, OR: Cascade Books, 2013); and, Roger Steffens, So Much Things to Say: The Oral History of Bob Marley, with an introduction by Linton Kwesi Johnson (New York and London: W.W.
    [Show full text]
  • Brother Leo Bio Where Does Ola End and Brother Leo Begin? “It's A
    Brother Leo Bio Where does Ola end and Brother Leo begin? “It's a question that's been rattling around in the constantly whirring mind of the Grammy nominated Swedish artist for a while, and like all good pop mysteries, may never be solved. “Brother Leo means freedom. The name comes from a reoccurring dream I had as a kid. In the dream I had a twin brother, he was a free spirit, brave, confident and always had the answers to everything. He had superpowers and his name was Leo”. A highly respected songwriter and producer in his own right, Ola Svensson has been reborn, ready to take on the world with an impressive array of songs and emotions, as Brother Leo. “The whole idea behind creating the alias was to provide an honest and creative place that forced me outside of my comfort zone. As Brother Leo I’m able to challenge and push myself as a artist and songwriter. In a way, I can be more me”. Fuelled by his winding musical journey so far, and spurred on to dig deeper into his creative expression, Ola, channelling Brother Leo, has crafted a suite of songs that are unafraid to alchemise his emotions and experiences into bold, unabashed pop anthems. These are songs for the masses, communicating universal emotions. Be they playful like the sleek ode to love, Naked, or be they heartbreaking like the redemptive hymn, Hallelujah, or the zeitgeist critical new single, Strangers on an Island; a gold-plated banger produced by British dance music legend Fatboy Slim.
    [Show full text]
  • TREE of CLUES: a Packet for Popheads
    TREE OF CLUES: a packet for popheads Written by Kevin Kodama 1. In one song by this artist, a background clicking noise slows down as she sings “I found another way / To caress my day”. One of this artist’s videos is a single shot of her as both a giant goddess and tiny dancers that slowly zooms out. A track by this artist that she described as “a medieval march through the destruction of a relationship” laments “I never thought that you would be the one to tie me down”. This artist asks “Why don’t I do it for you” in a video that showcases her pole-dancing skills, and she explained a part of her name as “a selection of letters that sounded... masculine and strong”. For ten points, name this artist who released “Cellophane” for her 2019 album MAGDALENE. ​ ​ ANSWER: FKA twigs (accept Taliah Debrett Barnett) ​ ​ ​ ​ 2. This song’s heavily ad-libbed bridge includes the James Brown-inspired lyric “Good God! I can’t help it!”. In the music video for this song, the artist crawls on the ground sporting white polka dotted lipstick. This song begins with a series of tongue clicking and a breathy “yeah” along with some funky guitars. The video for this song uses pink, purple, and blue lighting in a scene where the artist runs between a male flirt and Tessa Thompson. This song’s artist describes herself as “an emotional sexual bender”, which is a nod to her pansexuality. For ten points, name this top r/popheads track of 2018, a Janelle Monae song that was the lead single for the album Dirty Computer.
    [Show full text]