JFF - The Dirty Tees Remix of Beyonce's "End of Time"

The Dirty Tees have remixed Beyonce's "End of Time" for the DIVA's remix competition. They did a gorgeous job. The fusion of piano and synths is absolutely energizing.  Make sure to vote for their remix HERE.

Unapologetically,

Gregory

Madonna Mouth

Everyone's talking about Madonna's upcoming Super Bowl performance, as they should. She is THE Queen of POP, after all! Rumor has it that Elton John made yet another dig at her, saying "Make sure you lip-synch good!" Let's ignore his minor grammar mistake, shall we? He is an icon, and deservedly so. However, it all gets me thinking. I don't know if any of you watch Wendy Williams (talk show host de Jerzey, PREMIER!), but those of you who do may recall when she spoke about this issue a few weeks ago. Wendy stated that she'd rather see Madonna, and other dance-type performers, like Janet and Britney (in her hey-day) lip-synch and dance, as opposed to stand and actually sing, and I agree! I'm no doctor, but I'm pretty sure it's almost physiologically impossible to sing beautifully while doing a complex, physically taxing dance routine. Even the strongest people can only exert their bodies to a certain extent. Y'all may not believe me, but even Beyoncé (allegedly) rerecords live versions of her dancier tracks for performances, adding vocal flourishes here and there to fool us into thinking that she's singing live, and that's fine! I'm down for buying into the illusion. She has the ballads to prove her vocal prowess. You have to be practically immortal to be able to dance and sing at the same time. Beyoncé is one of the best dancers out of all POP stars currently around, so if she has to (allegedly) mime the dance numbers, that's fine with me. I want to see her shake her groove thang. Lots of people can sing; not everyone has the capacity to memorize and then perform a set of intricate choreography.

With all that said, Madonna has practically reached god-like status, and understandably so. After years of complaints about her (alleged) lip-synching, she sang live on her last two tours. Using what sounded like auto-tune type plugins to work out various vocal kinks, she was able to dance and sing at the same time, which takes some sort of immortal stamina - I think she made a deal with the devil. The only other performer who's able to do both simultaneously is P!nk, and she was a gymnast for years.

Anyhow, I love Madonna for her music, performances, and most importantly, impact on pop-culture and feminism. Whether she sings live or not at the Super Bowl won't matter to me. I just want to see her DANCE! So all of you complaining about the lip-synching situation (including you, Elton - and I say that respectfully. Love you!), shut your traps and sit down. Madonna was made to MOVE. :)

Unapologetically,

Gregory

Sugary Sweet Sia

Can I just say how damn proud I am of Sia? Some of you may remember her from the song, Breathe Me, which appeared on the series finale of Six Feet Under. That song seeped through my skin straight to my heart. GURL can write an emotional hook, and her voice is thick and raspy, like molasses. Sia’s 2010 album, We Are Born, contained a wide spectrum of POP tunage ranging from decadent balladry, like I’m In Here, to upbeat numbers, such as Clap Your Hands.

Sia performing on "The We Are Born Tour"

One of Sia’s best qualities is that she doesn’t take herself too seriously, despite the dedication she has for her craft and the emotional purity evident in her songs. So many POP artists think they’re the second coming. In doing so, they drain any and all entertainment value out of their music and performances! Sia, on the other hand, is well known for adding multiple doses of sugary fun to her stage shows. She loves goofy, colorful props, and provides glow sticks for all audience members! This works for me; though I’m 23, I’m really 6 on the inside. Sia’s style is perfect for my next birthday party at Chuck E. Cheese’s, open bar included. (Side note: I like my freshly squeezed juices and vodka in a sippy cup served by scruffy bartenders.)

This indie-POP Aussie is now beginning to write for superstars, which means that her talents are finally being recognized in a BIG way. The music industry spits out so much garbage (yes, I’m talking about you, boys of Hot Chelle Rae), that whenever I see songwriters/producers/performers with real chops and emotion to boot, I can’t help but feel happy. The Sias of the world raise the standard for the industry as a whole.

It all started when she worked on Christina Aguilera’s ill-fated album, Bionic. Sia and her songwriting/production partner, Samuel Dixon, composed the most beautiful songs (You Lost Me, I Am, All I Need, and Stronger than Ever). After that project was completed, Sia gained more attention as a songwriter. Producers wanted to tap her skills for other artists’ music. Diplo even approached her about working with Beyoncé  (which, unfortunately, never panned out).  In this MTV interview, Sia spoke about getting the opportunity to write with big-name producers, like Rodney “Darkchild” Jerkins and Jukebox, for artists including Leona Lewis, B.o.B, and Janelle Monáe.

You may have heard Sia’s song with David Guetta, Titanium, which she wrote completely on her own! According to our friends at Flop of the Pops, the song was first pitched to Katy Perry, who rejected it, and then to Mary J. Blige, who recorded it. However, the version that made it onto Guetta’s album, Nothing But The Beat, is the demo with Sia’s voice! She went into the studio simply expecting to write the song, but ended up on the record! Unsurprisingly, she sounds GREAT. The layer of unfiltered emotion over a dance beat is reminiscent of Robyn’s material. As mentioned by Flop of the Pops, this song was released as a single everywhere but the States, and it’s been a HUGE hit worldwide. Surprising? I don’t think so.

Most recently, she wrote and sang the hook on Flo Rida’s latest single, Wild Ones. Some people might think it weird that she’s worked with a somewhat misogynist rapper, but she gives the tune a much-needed human touch. I absolutely love it. It’s insanely addictive.

Oh Sia, Minna and I are so very happy for your success! We can’t think of any POP act more humble, and thus, more deserving. You’re indie-heart-&-soul style works marvelously in a mainstream context, as evidenced by the aforementioned two tracks. We’re excited for what’s to come. (Rumor has it that you’re working with Madonna on her upcoming album…) Congratulations! Muah, big kiss, XOXO.

Unapologetically,

Gregory

Grammy Album Of Year - What SHOULD Have Been Nominated?

2

Holler!

This is a continuation of yesterday's entry, "Grammys - Album of Year NomNomNoms." Once again, 

in my opinion, an Album of the Year nominee should meet at least one of the following two requirements:

1. The album should be innovative / ahead of the curve.

2. The artist has taken risks, trying out musical/production/vocal/lyrical styles that are completely different from what's out there (and/or what's expected of him/her).

In place of Loud, Wasting Light, and Doo-Wops & Hooligans, the Academy should have nominated any of the following:

a) My Beautiful Dark Twisted Fantasy by Kanye West. Yes, Kanye is a jerk, but he's an intelligent, introspective, and analytical jerk. As Minna says, Kanye's a tragic figure, filled with hubris, egotism, talent, power, and fame. This album, and the minnie movie accompanying it, Runaway, is a masterpiece, proving Kanye's genius. It's an analysis of loneliness from the perspective of one who has achieved fame, fortune, and loss. This all makes sense - Kanye's unbearable ego and search for validation through fame acts as a thin veil for his gaping insecurity and lack of self-worth.  

Kanye is a master sampler and producer, mixing the old with the new, the shiny with the gritty, but never leaving a rough, unfinished edge in sight. My Beautiful Dark Twisted Fantasy is truly his OWN work, his own artistic vision. It's no wonder he's taken such a liking to GaGa - they're kindred spirits, living for their art. (Of course, GaGa has a closer connection to, and appreciation for, her fans, making her far more likable.) This is a real album, a whole body of work, rather than a bunch of single-worthy songs smushed together into twelve slots. It's filled with different colors and textures, both sonically and lyrically. It's an absolute shame that it wasn't nominated. The reason as to why is most likely political. I'm sure the Grammy voters are turned off by Kanye's unfiltered honesty and mistimed outspokenness, so they've nominated him in the untelevisized rap categories and only one major category, Song of the Year (for All of the Lights). That way, if he wins, he won't be an embarrassment. 

This album meets requirements #1 and #2. It's risky and experimental, mixing a bunch of different genres (including the blues, hip-hop, indie, electronica, and POP) and artists (from Fergie to Bon Iver) together. It's also ahead of the curve. Kanye's an innovator. As a producer, he's bound to have an effect on what's to come since so many clamor to work with him. Also, this album is at least as experimental, sonically and lyrically, as GaGa's Born This Way, but it sounds more accessible to the American radio POP ear. Therefore, other artists can take bits and pieces from this album and easily incorporate them into theirs without worrying about losing their mainstream fan bases.

b) Bon Iver by Bon Iver Speaking of My Beautiful Dark Twisted Fantasy, Justin Vernon of Bon Iver owes at least a bit of his recognition from the Academy to Kanye, who raised the indie musician's profile by featuring Woods in Lost in the World. I wouldn't have even thought of including Bon Iver in this category if the group (led by Justin) hadn't received four Grammy nominations, three in the major categories! That's because I'm not a big fan of Justin's music - I only like a few Bon Iver songs. It's a bit too slow for me and makes me sleepy. Pot smokers love it for this reason, but that I am not, so I can't relate. However, I do have great respect for Justin's musicianship. Even though I don't foresee too many big time artists taking cues from this album, I love Bon Iver's disregard for what's trendy. For that reason, Bon Iver meets requirement #2.

c) Body Talk (Pt. 3) by Robyn Oh Robyn, how I adore thee. I could go on and on. For someone who started out as a teen POP star predating Britney, this girl's come semi-full circle (full circle will be when DJs play her on the radio and she gets back into the Top 10 of the Billboard Hot 100, where she belongs.)

I love love love how soulful this album is. Who ever thought that dance music could be as emotional as an Adele song? Robyn, duh! We all love a good ballad to cry to, but Robyn addresses the same insecurity, pain, and desire for love that we all crave, while motivating us to get up and dance through the hurt, instead of lying under the covers like motionless mummies. How does she do this? She and her producers write many of the songs acoustically on piano or guitar, first, to capture the raw emotion. It's only after that they add the beats and silky layers of synths. This is in contrast to a lot of music on the radio, in which the melodies and production have been constructed first, with the lyrics written as an afterthought to the existing beats.

I love that Robyn makes dance music just because it's fun. She's not trying to be part of the current dance craze. She simply remembers what it was like to be a club kid during the '90s, so she tries to recreate that sentiment on Body Talk (Pt. 3). She's worked with such an eclectic mix of producers on this album, including up and comers Klas Åhlund, Billboard, Andrew Kleerup, and Röyksopp. Robyn reunites with Max Martin (Britney, N'Sync, Backstreet Boys, Katy Perry, P!nk, Ke$ha) on one of my two favorite songs, Time Machine. (My other favorite is Stars 4-Ever.) She works with Diplo (M.I.A.) on Dancehall Queen. I don't usually like Diplo's production (his songs have this tribal vibe that gives me jungle fever. I prefer an air conditioned 4 star hotel room. Thanks.), but even I really like this song! She exchanges verses with Snoop Dog on U Should Know Better - uber cool.

Body Talk (Pt. 3) is simultaneously diverse and consistent. Girlfriend's lyrics range from soulful (as mentioned previously) to silly (Exhibit A: that song with Snoop). The production remains light and airy throughout. This kind of dance POP is definitely more accessible than the heavy sound on GaGa's Born This Way album. This record meets requirements #1 and #2. The producers have created a sound that perfectly matches Robyn's style and personality. It's super fresh and super yum, like a bottle of Reddi-wip. Also, the fact that the songs are built from the ground up, first acoustically and then produced, gives them a sense of realness that makes them easier to emotionally connect with than songs from Britney, Usher, etc. Her lyrics and singing style are like nothing I've heard before. Furthermore, the sound is so accessible that I can totally foresee artists in need of chart-topping hits borrowing elements from this record. Robyn was robbed. She totes deserves this nomination.

d) 4 by Beyoncé for the aforementioned reasons in the Rihanna Loud section of "Grammys - Album of Year NomNomNoms." 

In the last decade or so, the Grammys lost the credibility and caché they used to possess. Instead of nominating the best in music (as the Oscars nominate the best in film, no matter how large or small the film), they've nominated the most popular in music, making the awards show seem like a corporate attempt to make more money (which it is, but it shouldn't JUST be that). With Arcade Fire winning Album of the Year last February, things started looking up. It's encouraging to see someone like Bon Iver, who's music is so different from what we hear on popular radio, get three nominations in the major categories, of which there are five. Hopefully, this trend will gain momentum, and the Grammys will continue to look beyond the Billboard charts when choosing the nominees in the coming years. 

Make sure to tune into the Grammys on Sunday, February 12 at 8/7c on CBS!

Unapologetically, 

Gregory

Countdown: 10 Reasons Why I Love Beyoncé

by Phoenix Tso (Gregory's friend)

10. The Gap Commercial Aesthetic of her Countdown Video

First, it functions as really clever shorthand for all of the eras displayed in this video, the mix of music styles, and the longevity of the relationship that she is singing about.

Also the West Side Story-like dancing and the pretty color blocking are just so damn enjoyable to look at.

9. Countdown

I remember Gregory once saying to me (yeah, I know Gregory in real life. Jealous?) that he found the beginning of Countdown, which sounds like a ballad, the best part of the song, and the rest a bit disappointing. I am of the opposite opinion – I love all of those great hooks mashed together into one song, making it so nimble and energetic. The different styles also let Beyoncé show how strong and versatile her voice is.

8. Commitment

A Beyoncé song (and the artist herself) can come off as silly or crazy. Countdown with lines like “Me and my beau in my beau-coup riding,” (which hilariously sounds like “Me and my BOOF in my BOOF-BOOF riding) is no exception. But because she shouts/sings those words like they’re as profound as Keats poetry (though I guess nobody really thinks to belt out an actual Keats poem) makes me overlook how much that line plays to the lowest common denominator of materialism and intelligence.

Moreover, Beyoncé can make the most anti-feminist-making-light-of-the-most-important-civil-rights-figure song empowering. I’m talking of course about Upgrade U.

7. Flights of Fancy

I have incredible stage fright, my vocal range is miniscule, and my friends call me “Elaine” every time I dance in public. But watching Beyoncé perform in one of her great music videos, or even just listening to one of her singles, makes me believe that I too can one day sing, dance, and be as much of an exhibitionist as her.

6. Party

It seems like a lot of people on the Internet are underwhelmed by this song, but those people are f***ing crazy. Party is the best song on 4, nay, the best Beyoncé song ever (with Sweet Dreams being a close second), with its smooth harmonies, soft-rock radio production, its equation of having sex with a guy she’s attracted to as momentously huge and fun as a house party, and of course, the Andre 3000 verse. This song is the best outcome of her going retro and bucking the trends for her current album, and is also the song that cemented my love for her.

5. Dramatizing the song so well in that video

I was around New Jersey in August, Bey. Why wasn’t I invited to Party at a trailer park, lounge around a kitty pool, and mow the lawn with you in a fur jacket?

And though I’m disappointed about the substituting of J. Cole for Andre 3000 in this video, I can’t deny that the guest rapper is pretty hot.

4. Her Ego

How else can you explain her revealing her pregnancy at the VMA’s, complete with microphone dropping and rubbing her belly in a bejeweled suit? Credit to her and Jay-Z’s charisma that the moment came off as unguarded and adorable instead of narcissistic.

3.  Okay, I’ve run out of reasons. So I’ll just pad out the rest with the aforementioned videos.

Countdown Video

2. Party Video

1. Sweet Dreams Video

Phoenix Tso thinks it would be great if everybody started counting down on their fingers like Chinese people do to Countdown.

Spooky POP Playlist, Part 7

Holler!

This is my very last installation of Spooky POPNESS, so I'm making it as POPPY as POSSIBLE. Enjoy!

33. Justin Timberlake - Cry Me A River: We all know this as the song Justin wrote about his breakup with Britney, but it works perfectly on a Halloween playlist, too. That synthesized intro, with the man-voice singing "heeeeee" is super spooky. Also, when Justin coos, "You don't have to say / what you did / I already know / I found out from him," I'm reminded of I Know What You Did Last Summer. S to the CARY.

34. Britney Spears - Circus: The girl for whom Justin's track was written turned out her own Halloween worthy tune. The electronic intro on this one is creepylicious, too. Plus, it's one of my favorite songs, so any excuse to shake my booty to it works for me.

35. Beyoncé - Sweet Dreams: Beyoncé embraces her inner dance diva on this track, which is why it's my favorite Beyoncé single of all time. Can you hear the sample of Michael Jackson's Beat It mixed in? Also, when was the last time we heard such beautiful lyrics in a big POP piece? This is one beautiful nightmare I certainly do NOT want to wake up from. (Check out girlfriend's live performance from the 2009 MTV European Music Awards. WORK.)

36. Shakira - She-Wolf: I can't think of a better song with which to end this list. When She-Wolf was released, I listened to it NON-STOP (and I was never a Shakira fan). It's so undeniably catchy. LOVE LOVE LOVE it. I'm not even into wolves (or animals in general - sorry PETA), but I'll be a She-Wolf any day! (Potential costume idea...)

This was fun! Hope y'all dance up a sweaty storm this Halloween. When in doubt, dance it OUT!

Unapologetically,

Gregory