The Apples in Stereo Travellers in Space and Time
(Yep Roc/Simian Records/ Elephant 6)
Releasing: 20 April
You may have thought Elijah Wood had already done everything in his power to ensure his position as the ne plus ultra of hipster video stars, but he takes it to another level in the new promotional clip for the new Apples in Stereo record, Travellers in Space and Time. The fact that there is very little actual music featured is beside the point. More shenanigans can be found at stepthroughtheportal.com.
01 The Code
02 Dream About the Future
03 Hey Elevator
04 Strange Solar System
05 Dance Floor
07 No One in the World
08 Dignified Dignitary
09 No Vacation
10 Told You Once
11 It’s All Right
12 Next Year at About the Same Time
13 Floating in Space
14 Nobody But You
15 Wings Away
16 Time Pilot
Welcome to the inaugural episode of the Moving Pixels Podcast. For the initial editions of this new feature at PopMatters, we will be hosting a mini-series of sorts. A number of regular contributors to our Multimedia Section and the Moving Pixels blog here at PopMatters, G. Christopher Williams, Rick Dakan, Nick Dinicola, and Thomas Cross, will be spending the next six weeks discussing the topic of storytelling in video games.
For our first episode, we decided to look at “The Role of Story in Video Games,” focusing our discussion on the history of story in video games and how gaming has been transformed over the past few decades in light of narrative becoming an almost inseperable part of the game enthusiast’s experience of the medium.
“This is what change looks like”—President Obama on the passage of the health care bill 2010.
“How y’ah like me now”—Kool Moe Dee on passage of fly lines and breaking beats.
“Phew! Now let’s continuing governing”—The American people as we persevere in lining up with one another, and marching to a steady beat.
Now that “We, the People” can get late breaking news without the big media fixture… we can watch the admin online. “This is what change looks like.” I didn’t know, and I wasn’t sure, so thanks for clearing that one up, Big B. I’m a gen-XYer, which means that I was exposed to plenty of MTV and more than my share of bad governance. Governance was so bad under that mesmerizing era when the late Mr. Jackson was singing “Beat It!” that our leaders actually boasted of out-sourcing the care taking of most public goods. Social inequality expanded exponentially, but on MTV all we saw were those who came out on top; now we call it bling! Big bucks bred big benefits for what was presented as a benign few. Money just grew for anyone who worked hard was what the TV was selling. Now, at least, more folks know that to be untrue, not when public goods like a nation’s health security are compromised. But these are all the facts one misses when these stories are consumed and regurgitated to us by big media. Thanks to the Internet, we can surf the White House’s channel directly. “How y’ah like me now!”
Bollywood’s got their Big B, Mr Amitabh Bachchan himself, a 68-year-old film star that continues to appropriate pop cultures’ latest trends to reproduce his stardom. Bollywood’s Big B and his son each have commercial hip-hop videos—outtakes of sing ‘n’ dance film in full Bollywood array. Then Big B’s son married Bollywood’s fairest maiden. (And fair skin is big bucks in India, hence dames like Big B’s daughter-in-law are necessarily Fair and Lovely like the popular skin-bleaching cream. See the picture here of Big B, Aishwarya and Lil B before the major-event-wedding in 2007, and back when Indian chicks on screen could still boast some flesh—now thin is absolutely IN!) This courtly affair commands the attention of millions, and is its own marketing machine that could sustain that family’s wealth for generations to come even if none of them ever worked again. Until just over a year ago, it felt like America only had those sorts of stars—that kind of Bollywood Big B—the wealth alliances and fantasies sold to the masses of poor, one rupee at a time. But, apparently I was blind, because now I see watershed decisions made by those elected to govern. Like crack to a fiend, or like dark chocolate to me, Sunday, March 21st, 2010 feels like Tony Toni Toné: It feels good, yeah. It feeeeeels good!”
Thursday’s “The Future of Online Music Videos” panel, featured Nick Stahl of Brightcove, an “Internet TV service that provides everything you need to add video to your website”; Alexander Kisch, who is responsible for all incoming content and its syndication at VEVO, a video and entertainment site, owned by Sony, Universal Music Group, and Abu Dhabi Music Co.; John Sasso who heads advertising for all Sony sites, artists and labels; Eric Snowden, who defines and scopes Atlantic Records’ digital product; and William Wilson from the National Association of Recording Merchandisers (NARM), which is a think tank for standardizing the streaming of digital content. There were no music artists or video makers on the panel.
In the music of the disenfranchised, it should not be a shock to anyone to often find a motif of unity. After all, the artists in question tend to be driven to create their music by a sense of difference, of outsidership, and in turn, their core audience can very much relate to that feeling and are thus drawn to the music. In the rock pantheon, this is a constant source of inspiration: The Who’s “My Generation”, the Ramones’ “Cretin Hop”, and Sham 69’s “If the Kids Are United”.
Naturally, this tradition carried over into rap music, especially in its developmental years. Examples of what this writer likes to call “posse anthems” include but are not limited to “Posse on Broadway” by Sir Mix-a-Lot, “Too Much Posse” by Public Enemy, and “Rollin’ wit’ the Lench Mob” by Ice Cube. Like the above-mentioned, these tracks express a departure of the artist from what can be termed the mainstream, but also makes clear that the artist is far from alone in this, citing the allegiance of the artist’s friends and compatriots.