Here’s the new M.I.A. video. If you’re interested.
I don’t know quite how it works, but by about the 3:00 mark somehow everything just starts to make sense, musically and visually. And then it’s just hook all the way out, which also makes sense and works, too, as well, and in addition. It’s kind of a rad YouTube clip, is what I’m saying. Which is not to say that it’s not completely absurd. It is. But that’s what makes it a rad YouTube clip, dude.
Die Antwoord’s new video:
In fact, she has no — not one — substantial interaction with women, that I can tell, across the whole Die Antwoord oevre:
- In Enter the Ninja, she’s a buttefly trapped in a room and totally reliant on Ninja’s protection.
- She spends Zef Side flanked by Ninja and DJ Hi-Tek, in charge of dancing sexy with bedroom eyes. There’s a couple scenes where the group’re being asked questions by an off-camera interviewer (male) around some other neighbour dudes. (Sidenote: In Beat Boy – from which Zef Side is a clip — there’s an ambiguous other woman (who I think Yolandi might be embodying in the chorus), but it’s explicit in the lyrics that she has a penis too, which is interesting.)
- In Rich Bitch, Yolandi’s spotlight number, her surrounding cast consists of, again, Ninja, playing her hype man, and a few scantily gold-laméed beefy serving dudes, and the only woman is a vaguely hostile elder-family member form her old “poor girl” life, and she only gets like a blink of screen time.
- In Umshini Wan‘s hermetic world, she really only exists with Ninja and a few hostile and judgmental others (there’s also an abstract collective other that’s always disrespecting them, but it never actually manifests in the short). The others we see are male, and the vague mass we’re not given any reason to think of as gendered, which defaults to male as well.
- There are actual prominent women — gyrating black ones — in Evil Boy, but they never, I don’t think, share screen time with or relate in any way with Yolandi. I almost suspect that they’re only there because of the song’s focus on a black man’s sexuality and the taboo in S. Africa against implied sexual race mixing (we saw that taboo flare up this week) — they needed a feminine celebration of Evil Boy’s uncircumcised erection, but that celebration couldn’t be embodied by a white woman without being completely distracting. Yolandi does, though, have some erotic scenes in the video, but they’re with the very white Diplo. (PS – Re-watching it, there’s also a woman without nipples who pops in to have Ninja sign her breasts. Again, Yolandi’s not around for it.)
- Fok Julle Naaiers again got Yolandi in the hype-man role to Ninja’s rapper. She isn’t playing the sex kitten as much as she is elsewhere, is being a peer more than anything with the guys — the guys being a bunch of vaguely threatening young dudes aggressively displaying a diverse selection of body types (including some bodies the conventional gaze would turn away from, here foregrounded with defiant pride) — but her femininity is conspicuous, and conspicuously unique in the video’s universe.
- And in the latest (above), the graffiti’s got some female genitalia in it (on a male body; and male genitalia on a female body), but it’s a similar story to Fok Julle Naaiers — aggressive male displays that Yolandi gets to share in, while wearing her smoking hot girl-ness, and again, no other flesh-and-blood girls in the universe.
…Yolandi’s world is a sausage fest, is what I’m saying, to the point where I can’t even imagine her interacting with another woman — what that would be like.
Interesting and disturbing to think about. She’s sexy as hell to a large degree because she’s got a sexy as hell body. But she wouldn’t be Yolandi or nearly as sexy if it wasn’t for her persona. Can I honestly say that what’s hot about her persona has nothing to do with that, despite her bluster, she seems totally, safely captured in and dependent on an overwhelmingly masculine lifeworld? Probably not. Does that make me a bad person? Probably.
Adorno’s “Two Pieces for String Quartet,” subtitled for the first couple minutes with a short essay on Adorno’s theory of music:
My fav photo of Adorno in the world:
Link. (Doesn’t seem to be embeddable.)
He’s a character, and it works for him. As for me, I kinda think making speed the point misses the point, which isn’t to say I’m anti-speed. I like The Flight of the Bumblebee as much as anyone, and the fast part of the below that gets going at about 9:00 makes fireworks go off in my brain (though this is a slower interpretation, which adds drama that I appreciate):
My brother did this animation: