For their 4th etude of our summer adventures in technomusicology, my students produced their own YouTube montages (as I’ve discussed here and there), and, as usual, I’m smitten by the results. I even shed a few YouTubeTears in class as we screened them together. I’ve rounded them up in playlist form, but allow me to embed here several examples that are well worth a watch.
Many students did the mega-montage thing, and they selected quite a range of songs and routines to explore this way. Their subjects run the gamut from predictably enduring songs such as “Imagine” or “Smells Like Teen Spirit” to more recent upstarts such as “Let It Go” and “Thinking Bout You” to such YouTubey phenomena as “Canon Rock” and routines inspired by K-pop and the collectively-sourced cultural products built around Vocaloid software to tango warhorses. Wow!
A few videos merit a little more contextualization, so here they are with the students’ explication:
This is a video montage of “Bar Bar Bar,” the popular song by K-pop band, Crayon Pop. K-pop is largely characterized by bubble gum tunes and catchy lyrics, and “Bar Bar Bar” is no different. However, the song has somehow managed to rise above the rest of the K-pop scenery, taking Korea by storm and causing a multitude of different dance covers to surface in the past year . The various groups shown here range from Korean police departments to taekwondo teams in Korea, and this montage attempts to offer a vivid perspective into one aspect of the pop culture minutiae that permeates through Korean life today.
Kokoro x Kiseki is an original Vocaloid mix of two versions: Kagamine Rin’s and Kagamine Len’s. In Len’s version, he usually sings over a recording of Rin, but not vice versa. In some parts of this montage, it is possible to hear just Rin’s version, just Len’s version, as well as the mix of the two versions.
Due to the nature of this being a Vocaloid song, there is heavy emphasis on the accompanying video. Though there are some vocal and instrumental covers of the song, the majority creative works kept the original song but changed the video. In the different videos, people got creative with using their own drawings to make an animation, making slideshows of pre-existing art and playing with timing, cosplaying and acting out the story of the song, translating the song, and playing with camera angle and various other features of the Miku Miku Dance (MMD) program. There is an official dance for this song, so the dance is the same in the videos that use the dance, but the smoothness of the dance, the camera, and the backgrounds and costumes are noticeably different.
In this video montage, I focused on showing the different videos that people have uploaded onto Youtube. The song’s lyrics tell a linear story, so I wanted to keep the flow of the story of the song. I achieved this by keeping the video clips with their respective section of the song and by giving the videos their own space in the limelight. The only video that I showed multiple times throughout the montage was the Official Live version. The Live performance of a Vocaloid song is impressive, and I felt that letting it flit through the montage follows the story of Kokoro x Kiseki.
Since the majority of videos used the original song, it was not very difficult to sync the videos to make a smooth song. The difficulty in creating this montage was choosing which frame to switch videos because this song is riddled with pickups. Depending on what followed the pickup, I alternated between changing videos on pickups and on downbeats. The instrumental/vocal covers also used the original song, so even if they weren’t perfectly synced 100% of the time, they always met back at the start of new phrases. I decided not to forcibly sync the covers with the original song because it would be destroying the artistic license of a human musician.
Aside from the videos with creative animations, MMDs, cosplays, and covers, there are some videos there that are more featured for the translation. The few that I incorporated into this montage are Vietnamese, Spanish, and English subs, which give a small view at how popular and widespread this particular song is.
In the pre-WWII era, the song was recorded throughout the world by classical, jazz, opera, and popular music artists, swing bands, and orchestra’s. I have tried to pull from my own research into the song: the ripped collection of videos as well as those recordings and amusing or exciting interludes that best exemplify most of the era’s this song has run through, as well as some really old Tango dancing by Rudolf Valentino (who was really quite passionate about Tango dance) from the film, The Four Horsemen of The Apocalypse and taken from a video that mashed up Rudy’s moves with the Italian pop singer Mina’s over the top production of the song from 1968.
I also include some very nice dancing by Tango artist Chicho, dancing with a lot of ornamentations with his partner to a recording of a live band. A little later in my clips, I cut in Mina’s production film as she is singing the last verse of lyrics from the popular version, an ending to the effect of, to paraphrase: “the sun no longer shines the same on the abandoned bedroom, and even our dog stopped eating because you left and finally ran away from me, on seeing me so miserably alone.” An amusing farce indeed! Since it matched up to the Mina versions eventual cheesy guitar passage, I added Gene Kelly’s solo stepping to the song, from Anchor’s Aweigh. On a humorous note, I close it out with a scene from Some Like It Hot, when Daphne (Jack Lemmon disguised as a woman) forgets and starts taking the Tango lead from his/her would-be suitor and the orchestra plays an interesting version of La Cumparsita.
I took advantage of the many pauses and lurches inherent to the song and made single audio layer with plain cuts of the phonographs playing 78’s and a 45 rpm of the song. I did the same with the cuts between the live Tango orchestra’s of Alfredo De Angelis and Juan D’Arienzo. I did not need to do any fading or layering until at the end of Mina singing the farcical passage after which the song starts again with a real twanging 60’s guitar and a rock beat. That is when I fade it out and in comes Gene Kelly dancing a relatively soft shoe tap dance to the song. I enter the song from that scene of Anchor’s Aweigh since it matches with Mina’s rock passage, and that then easily lends to the rather interesting version from Some Like It Hot.
And I’ll close with an example that departs from the collages above as one student was inspired to take a page from Kutiman‘s book and create his own YouTube sourced jam session that opens with an overture of sorts, revealing the sources of his palette:
It’s been *crickets* here on the blog for a while, and the main reason is that I’ve been spending more time behind a tractor and less in front of a laptop. And loving it.
I don’t spend very much time on the tractor, actually, because the work I do at Belmont Acres, a 5 acre farm 5 minutes from my house, is always a varied mix of seeding, weeding, transplanting, watering, harvesting, and other forms of ongoing and ad-hoc maintenance. I’ve learned tons about farming in the process, and spending so much time doing physical work, outdoors, with simpatico people, all the while attending and responding to the forces of nature — and gnoshing on fresh vegetables — has made me substantially healthier and happier. I’m pretty sure humans were made to do the kinds of work that farming involves. In its way, agriculture simply seems like a particular (sedentary) approach to hunting and gathering.
But I’m sorry for the silence in this space, especially since I have continued to publish things about music that may be of interest here — and to teach my favorite class in the world, Technomusicology. And I intend to share a bunch of that stuff here very soon. (Famous last words, I know. Also: the sorriest sort of blog post is the apology for not blogging, so enough already.)
A bit more about Belmont Acres: the farm is run by a lovely family who live down the road, and the farmer, Mike, has turned the operation at this long-farmed plot of land — allegedly since the 17th century, though you wouldn’t know it by the rock load — from an oldschool corn-stand into a place that grows a great variety of vegetables without the use of pesticides or other “conventional” farming methods. (Belmont Acres is not certified organic, but our growing practices are concerned with sustainable, food-web-friendly agriculture.)
Last year, Mike and crew grew over 120 varieties of vegetables, and this year we’re on par for a similar showing. (And people say the farm looks as good as it ever has. You can judge for yourself.) This week alone you’ll find the following at the stand: beets, bib lettuce, new potatoes, fingerling potatoes, broccoli, cucumbers, zucchini, artichokes (!), green peppers, green beans, faro and caraflex cabbage, garlic, scallions, sage, parsley, oregano, chard, and Tuscano kale. (For those who are local, you should come check the place out, pick up some of the freshest food you’ll find in the vicinity, and say hi. The stand is open Tues 3-6pm, Fri 2-5, & Sat 1-5, and we’re located just across Blanchard Road from Fresh Pond.) They even let me indulge my enthusiasm for abundant, delicious “weeds” like purslane, which has now appeared in shares as well as on the stand.
Though I haven’t written much about it on this blog, I think that supporting small-scale, sustainable agriculture like that practiced at Belmont Acres is one of the most important ways of nourishing our food system and our families and communities, and I’m just delighted to be so directly involved, getting my hands dirty in a way that feels so wholesome. I haven’t blogged much about it — or anything, recently — but I hope to find the time to share a lot more from this new realm of fascination and commitment. I suspect some of you may see a kinship between my work on music ecologies and my interest in food webs.
To whet appetites, or at least give a glimpse, allow me to present a convergence of sorts — a farmey soundscape I cooked up last month as a brief demo for my class. It’s not an accomplished work, or even a finished one, but it does offer a sense of the sights and sounds of the place (the smells I’ll have to leave to your imagination):
Over at Complex, David Drake offers up a supercut that “trac[es] the lineage of the Migos flow” — that is, the 8th note triplets that underpin “Versace” and have been making waves across the rap world.
For Drake, the recent, remarkable spread of the so-called “Migos flow” offers compelling evidence that, even as it may rankle all manner of commenters, the Migos’ Quavo is no less than “the most influential rapper of 2014“:
part of the reason Quavo has become so influential is because his rapping isn’t overly concerned with the intricacies of lyricism. Instead, he’s imprinted a very specific rhythmic pattern on hip-hop’s psyche. By finding a flow that stood apart and emphasizing it, he shifted the way rappers rap.
This is a contentious claim, and the technomusicologist in me loves that Drake has gone the extra mile to put together some audible evidence to convince the skeptics — a video montage that speaks for itself. So don’t take my word for it, or Drake’s, just peep the supercut:
As you’ll note, the montage not only depicts the undeniable post-Migos spread of the flow, it also includes a series of clips that predate Migos and show how the flow has been around for quite a while, especially in Southern hip-hop but even all the way back to a memorable turn in Public Enemy’s “Bring the Noise”!
Such an audible genealogy is certainly convincing, and even the pre/proto-Migos examples don’t necessarily lessen Drake’s argument about Migos’ role in popularizing the flow for 2014. (As something of a sidenote, it’s interesting that this sort of cross-rhythm is also a consistent presence in recent juke/footwork tracks from DJ Rashad and cohorts. That’s one helluva hemiola!)
That said, I’m not totally persuaded that, as Drake further contends
No single rap artist has so completely popularized a single, distinct flow.
I suspect we could pick out a few examples from the 80s or 90s or 00s, but even in the last few years — as Drake himself notes — something like Lil Reese’s / Chief Keef’s trademark stuttered, splattered, staccato syllables would seem to offer a similar example. It may be true that that flow has had less “reach” than the Migos flow, relatively speaking, but it’s still a remarkable spread. Rihanna’s “Pour It Up” was maybe the most obvious example of copping that flow and making it “pop,” but echoes continue in “Drunk In Love” and other recent recordings. Moreover, far as I can tell, that Chicago drill flow has less of a history than 8th note triplets, which have been a staple flow — if not for entire verses — for a couple decades, especially if we look to, say, Bone Thugs’ early oeuvre.
But perhaps I need to make a supercut to make my point ;) Better yet, sign up for my Technomusicology class this summer and you can do it as homework!
For whatever reason, I’ve now become the guy that your crazy internet uncle (in my case, El Canyonazo) now forwards emails about Jeff Goldblum remixes. The latest, which appeared delightfully unsolicited in my inbox last week, samples his unnervingly odd laugh from Jurassic Park (which someone else has turned into a 10 hour version if that sort of thing is your thing) to great effect over some trappy beats. Deservingly, it’s got over 600k plays after just a month —
Why do I deserve this? Probably for, at various points in the last several years, linking to the two transformative takes on Jeff Goldblum I embed for your convenience below. You can thank me later, if you haven’t already.
That last one is still criminally underwatched, so I don’t mind sharing it here again.
Do keep me abreast, all you crazy uncles out there!
I’ve realized that I neglected to mention such obviously indigenous YouTubery as dhol playalongs and keystyling vids (wherein one “freestyles” a few bars in the comments section of a hip-hop instrumental), but these clearly have their precedents in pre-online-video cultures — if far less public and “permanent” — whereas the K-pop reaction video, which Alexis “@pm_jawn” Stephens recently brought to my attention, is one of the best examples I’ve seen yet, in part because so recent and in part because so inextricable from YouTube. (And which I used to frame the “Sorry Sorry” montage I made last month.)
A reaction video is when someone records themselves watching a music video for the first time via a webcam and then uploads it to YouTube. In K-pop reaction videos, there is often a picture-in-picture showing the progress of the music video, or MV, so that the viewer can follow along with the YouTube userâs knee-jerk, often funny responses. Nothing gets more up close and personal as YouTube, because it gives you a direct visual portal into the living spaces of other fans. The popularity of the K-pop reaction video has grown alongside K-popâs ascent as an international cultural phenomenon.
Recorded all over the world and in a variety of languages, these reaction videos can themselves rack up hundreds of thousands of views — a staggeringly popular form of meta-voyeurism. (Surprising but persuasive, Alexis proposes a possible genealogical link, or at least predecessor, in the 2 Girls 1 Cup meme from a few years back.) And of course, they aspire to be as effectively performative, complete with tropes and archetypes, as the original spectacles to which they bear affective witness.
Alexis shares the following example, instructive and quintessential in a number of ways:
What immediately struck me was the self-conscious performance of fandom here — and the remarkable parallels between the mastery of codes and forms by reacting viewers and by the spectacular performers of K-pop. The particular viewer-performers above are from the UK but totally fluent in contemporary American/global slang, much of it in the form of stylized African-American vernaculars (including black men’s, women’s, and queer idioms) — indeed, about as fluent, it strikes me, as the K-pop performers themselves (who, it must be admitted, are pretty virtuoso in this regard).
Along these lines, if one frame removed, the video by G-Dragon they’re reacting to above clearly merits a multitude of reactions:
It’s amazing, dense, vivid, masterful, and playful. Clearly, it would be a mistake to reduce the pleasures of K-pop to a simple if charming form of mimesis. Rather, this is sui generis mastery of craft and gesture. Observing K-pop stars making a splash at fashion weeks around the world may offer a better angle from which to appreciate K-poppers’ distinctive synthesis of an irreducible array of signifiers, whether or not many of them are cribbed straight from the (Af-Am) hip-hop playbook.
It seems to me that K-pop’s “appropriations” demand a different frame of analysis (although, this video prolly owes MIA money) — and the reaction vids, including entire networks of African-American appreciators help complicate the picture further. (My “Sorry Sorry” montage includes a group of black college students watching the Super Junior video, with one singing and one dancing along.) In contrast to many other “global” (ie, local, non-US) hip-hop scenes, K-pop’s take on hip-hop does not begin to pretend to any alignment with the margins of society. The only authenticity operative here, it seems, is a demonstrated commitment to cultural currency. It’s purely a matter of style and swagger and savvy manipulation of global symbols, musical and sartorial and gestural &c.
And it’s pretty damn impressive.
Stepping back another frame again, there’s something perfect in how reaction videos themselves function so similarly, often mobilizing and reaffirming the same sets of codes and signs. K-pop reaction videos are an amazing and amusing performance of fandom in an age when it’s easier than ever to share that experience with others. They’re an imagined but also, notably, asynchronously witnessed form of collective joy — of the pleasure of sharing an appreciation for cultural codes and their spectacular, affective enactment (across language lines or other borders).
In some interesting ways, then, reaction videos might be understood as attempts to bridge the gap that Michael Warner contends is always there for so-called publics. For Warner, publics are necessarily constituted imaginatively and asynchronously as people engage the same circulating text, privately, and then imagine themselves as part of a collective addressed by it. Reaction videos may still be “private” engagements both in their production and reception, requiring private attention, but their publicness and persistence would seem to heighten the feeling of sharing such collective engagements with public texts. These private moments of attention become a lot more visible, perhaps even more intimate, ironically.
As such, and in contrast to publics gathered around print material, K-pop reaction communities may better resemble the “counterpublics” that, for Warner, “make expressive corporeality the material for the elaboration of intimate life among publics of strangers” [p.76].)
And without a doubt, reaction videos — which may soon transcend K-pop as a genre, if they don’t already — are a “native” YouTube genre par excellence. O Brave New World that has such people watching people watching people in it!
Last month, Nico and Charlie each made their own sourdough starters — the yeast + bacterial cultures that have been used to leaven bread since…leavened bread (which predates sliced bread, by the way).
Nico began hers the simple, local, wild way: just take some flour — in our case made from Western, MA wheatberries we milled at home — and add water, more or less in equal parts (to make a thick batter), then give it a stir or two every day and sometimes a little more flour or water.
Charlie’s was similar in composition but included a spoonful of beer trub, harvested from the bottom of a carboy of a recent batch of ale — to give it a sure kick of (commercially-cultivated) yeast and to see whether it might otherwise effect the process (of fermentation) or the product (the bread).
They also both contained what Charlie — and then all of us — began referring to as “finger yeast,” which we think may contribute another key source of wild microbes. Here they explain the process, with some gentle prodding (and some useful prompts c/o Christina Agapakis, synthetic biologist, science blogger, and infamous maker of “human cheese” [who blogged about us here!]):
Perhaps predictably, Charlie’s culture got off to a quick start as the “beer yeasts” went (back) to work doing what they do: munching carbs and belching air and alcohol. Within a day Charlie’s starter was bubbling away and smelling boozy. The yeast still seemed to want to make beer! And despite making things quite bubbly very quickly, the beer yeast seemed to be making a thinner and, ironically, less vigorous starter. Nico’s took a little longer to grow, but after 3 or 4 days of stirring and feeding, it began to build steam, and it more quickly took on the sour notes — rather than beer notes — we were hoping for. When fed, it would also puff up a lot more than Charlie’s, which was more likely to pool.
Eventually, both starters got to a place where they seemed ready for a test run — sufficiently sour and ready to go to town on some fresh flour — so we baked a loaf from each of them a week or so ago in order to compare and taste our homemade sourdough.
Our bread recipe was a synthesis of some variations on a few approaches we’ve been trying for the last few months: Peter Reinhart’s, Chad Robertson’s (and Michael Pollan’s remix), and Jim Lahey’s popular “no knead” recipe (which, crucially, helped us first get our feet wet, or hands sticky). Notably, though they’re all different in various ways, all involve a long/delayed fermentation and relatively little kneading.
Our own approach mixes as it departs from them all. We’re totally into starters and soakers and long fermentations and low kneading and hearty country loaves, but we’re hardcore about ingredients: we’re using 100% whole wheat flour (a lot of so-called whole wheat loaves are actually 70/30 or 50/50, with plenty of refined white flour to up the gluten ratio to better trap air and make the bread bubbly & springy); we’re also making “lean” breads (as opposed to “enhanced” with fats or sweeteners) and we’re trying not to use any active dry yeast — just flour + water + (homegrown) microbes + salt. It’s a challenge — for many, it’s long been a holy grail — but it feels elemental. And rewarding. Even when a loaf comes out flat, it still has amazing depth of flavor.
After mixing up their own soakers (water + flour, to help soften the bran and begin enzymatic processes) and starters (essentially, 60 grams of their cultures + 200g flour + 150g water) the night before, and letting them each go to work for 12 hours, they woke up and mixed their final doughs the next morning.
I baked the loaves for the girls while they were at school, scoring each one with a first initial, and they came out just lovely — and were even tastier than they were beautiful.
We’re still not sure why Charlie’s didn’t get as nice an oven-spring as Nico’s — may have been the beer yeast, or the hydration, or my kneading (which needs improvement). But both she and Nico — and Becca and I — were very happy with the results.
We’re looking forward to future experiments with microbes — maybe future videos too. It’s been fun to learn about all this stuff together, and we hope some people might want to copy our experiments and share theirs with us. We’ll do our best to keep you posted on future things a-brewin’.
In that vein, while we’re here, I should note that — indeed, as is speculated with regard to the intertwined history of brewing and baking — Nico and Charlie had already made their first homebrews before their first starter cultures and loaves of bread. They began with a base of cracked & milled (but not malted) spelt, water, sugar, and preserved fruit, mixed to their own proportions —
Rather than going totally wild with the microbes, though, in this case they each used some trub to get things started. And I can attest, as the sole guinea pig several days later, that their very-small-batch beers (micro-micro-brews!) were not bad: a bit odd, a tad flat & a touch sourish, but nonetheless, beery.
an utterly awesome eight-year-old diva, via YouTube
This past week I’ve whipped up another couple YouTube montages in the vein of Gasodoble, Bump con Choque, and my students’ projects in last year’s technomusicology class. Unlike my previous efforts, which not too surprisingly involve reggaeton, these new mega-montages engage repertories that I don’t generally mess with: opera and K-pop.
The dear colleagues I have to blame for these excursions are two Berklee faculty, Isaiah Jackson and DJ Hatfield. I’m collaborating with them, as well as with Lori Landay (who has posted her own video here) and Darcie Nicole, to explore the possibilities for using YouTube in the classroom, as well as in our efforts as scholars — and as artists.
We’re giving a collective presentation at Berklee tomorrow morning as part of the college’s annual BTOT event (Berklee Teachers on Teaching), and I’m grateful to Isaiah — an ol’ friend, an acclaimed conductor, and a consummate gentleman — and the others for letting me interlope and help guide the discussion.
In a nutshell, or an abstract, here’s how we’re framing the thing —
We are all familiar with YouTube as an endless archive of weird, ordinary, awesome, and awful performances, but suppose we approach YouTube itself as a creative teaching resource. Since we can now remix video as easily as audio, YouTube performances can be edited into montages that 1) tell vivid stories about contemporary music culture; 2) stand as artworks in their own rights; and 3) supply valuable insights to students seeking to understand the role of social media. This session will explore the ways in which everyday audio/video software and global publishing sites now render visible and audible a staggering variety of musical performances. Participants will learn how they can harness new tools for examining the state of musical arts.
Of course, I have my own favorite examples in this regard, from Kutiman’s collages to the works that I and my students have cooked up, but I was excited to partner with other faculty, with their own realms of expertise, to see how the technique of using montage to represent a song or dance’s social life, as made visible by YouTube, might play out in other musical and cultural domains.
The first (mega)montage I’d like to share reveals the remarkably sustained “virality” (i.e., the ability to find new hosts) of a tune composed more than 200 years ago. Isaiah suggested that I take on Mozart’s well-worn soprano aria, “Queen of the Night,” as the sort of musical text so resonant that surely a staggering number and variety of performances would reside on YouTube.
Sure enough, Isaiah picked out (and annotated!) about 30 instances for me to consider, a small selection all told, but a fine cross-section of contexts, modes of performance / reception, and arrangements. Notably, one of these selections, which I didn’t actually use, was itself a mega-montage of some 40 different renditions. (In that regard, it’s worth noting that the amateur montage is something of a native YouTube genre in its own right, though as Lori will explain tomorrow, as a cultural form “Soviet” montage has been ascendent for some time.)
I’ve been chatting with Isaiah about what has emerged from this exercise, asking how a text so, well, old could continue to enjoy so lively a social life — only glimpses of which are revealed by trawling YouTube — even into the media-suffused 21st century. And despite clearly calling for a certain virtuosity (which some deliver and some do not), one significant detail that Isaiah noted about the story behind this favorite aria from The Magic Flute is that it was composed precisely to inspire such a desire to sing along (or hum or whistle). Apparently, Mozart’s friend Emanuel Schikaneder, who wrote the libretto and played the role of Papageno in the production’s first run, encouraged him to make the aria short and punchy, the sort of thing that would be popular at “the Lodge,” as Isaiah put it (they were both Freemasons). In this sense, Mozart’s aria might be thought of as a proto pop song, written to be short and catchy and popular. It sure looks and sounds that way according to YouTube.
To my eyes and ears, the montage, which aside from a slightly extended coloratura section essentially sticks to the original (brief) length of the composition, vividly reveals how the aria spans professional and amateur contexts, gender and age, virtuosity and cringeworthiness, various modes of reception (e.g., note which examples contain applause), drama and humor, private and public settings — the sort of versatility that helps to secure a certain longevity. Despite pre-dating “participant culture” theory by a few centuries, surely this is a spreadable song for the ages!
The other montage I worked up may be more familiar in some ways, if you keep up with YouTubey dance memes, but I find it no less interesting or revealing when it comes to grappling with YouTube and what it shows us about music culture in the contemporary moment. DJ Hatfield’s central text is a song — and, crucially, accompanying dance — called “Sorry Sorry,” performed by the popular K-pop “boy band” Super Junior. (And yes, there are already other fan-produced montages of it floating around.) Like lots of other popular song+dance routines (e.g., Crank Dat), one can search for “Sorry Sorry” on YouTube and discover a plethora of examples, from solo routines at home to large numbers performing their mastery of the popular steps in public.
Pointing me to just over 20 examples — again, a small slice of what’s up — DJ led me down a K-pop rabbithole, wherein I found residing alongside each other a marvelous variety of instances: slick commercial productions from Korea and ambitious spoofs from Mexico, goofy karaoke sessions, dead serious tutorials, all manner of home- and school-based versions, breathless TV broadcasts, anime remixes, toy robots, and of course, Filipino prisoners. (You just haven’t made it as a dance meme if the CPDRC hasn’t immortalized the choreography in all their orange splendor.) You can even see the choreographers of the dance, two guys from Los Angeles, strutting their stuff in their own darkened dance studio version. It’s really quite a rich set of instantiations, raising on old question for me: what’s the text and what’s the paratext? (EL QUĂ?!). Take a look yourself —
One genre that I couldn’t resist including here, and which may also deserve the status of “YouTube native,” is the K-pop reaction video. Apparently, watching people watching people on YouTube on YouTube is a thing. Special thanks to longtime W&W interlocutor Alexis Stephens, aka @pm_jawn, for bringing this phenomenon, which really deserves a post or two of its own, to my attention. The K-pop reaction video gave me a way to frame the whole montage that was just too meta to resist.
What makes the example especially interesting to DJ — and notably what doesn’t show up as much on YouTube as the dance routine per se — is that, back in 2009 or so, the particular hand-rubbing gesture for “Sorry Sorry” entered the greater gestural lexicon. People would do that hand-rub gesture anytime they apologized! Such quotidian moments don’t show up especially well on YouTube, but one other interesting example of the dance’s “migration” connects to DJ’s work on music in Taiwan. As you’ll see at the end of the montage, a Taiwanese artist named Suming incorporates the gesture into a video for his song “Kapah” that mashes up a variety of traditional and popular Taiwanese (and other) gestures and references.
There’s a great deal to be teased out here, obviously, and it’s our collective hope to do some of that tomorrow morning while also gesturing (sorry sorry) to other possibilities and uses of YouTube, whether we’re thinking (or singing or dancing) as scholars, teachers, artists, choreographers, or toy robots.
Been thinking about “native” YouTube genres, or genres which, in their way, are “native” to the platform, having necessarily emerged on YouTube — new forms and conventions, in other words, essentially made possible by YouTube’s existence and special features (especially, but not limited to, unprecedented access to an endless archive, thanks to massive uptake and network effects).
Lots of forms and practices that might seem novel to YouTube have been around as amateur / fan / folk / underground culture forever, which is why it may be instructive to ask not only about what is now more spectacular or obvious or invigorated (though those are all good queries), but what is also necessarily new (i.e., native). This would help us get a better idea of this juncture’s interplay between creative process, media ecology, and tech affordances/constraints.
I liked how several of my students’ YouTube montages from last fall — in seeking to plumb a song’s social life as depicted, richly if always incompletely, on YouTube — revealed certain YouTubey genres alongside and amidst the sundry contexts of meatspace (homes, buses, studios, stages) and their associated, overlapping genres (personal, public, pedagogical, performative and so on). Things like, say, Sponge Bob or Barack Obama belting cut-n-paste pop jams —
In addition to productions like these, native genres to YouTube would also have to include the likes of YouTube Poop, which, as the name suggests, is fairly obvious (if meta/dada) in its YouTubeness.
A lot of these examples are, tellingly, pastiches or other remixes — not surprising, given 1) wealth of access and 2) ease of editing — but native genres on YouTube are not limited to that mode. Something like the “Harlem Shake,” for instance, in centering on a shareable/viral syntax rather than a particular gesture or sign, suggests a class of YouTubey forms that are distinct from, say, the latest neighborhood dance step to jump from the corner to all corners (though those are also, as I’ve explored before, very much themselves YouTube abetted now).
In search of other native genres, I tried a little poll yesterday on Twitter, and I was treated to at least one class (or maybe more) of arguably native YouTube genres that have little if anything to do with remix or pastiche. One particularly interesting rabbithole, or more like a vacuumtube (if not quite a 9 hour suck), led me into a world of looooong non-musical sound clips on YouTube.
S/o Young Heraclitus / Dreamboat Slim for promptly pointing me to a video given the alluring billing of “Vacuum Cleaner Relaxation White Noise Sound Sleep Colic” and tagged with such canny search engine optimization as —
Mask Tinnitus, Sleep Aid, Enhance Privacy ,Block Distractions, Pacify children and pets, Soothe Migraines, Increase Focus
Lessen Stress vacuum cleaner sound
vacuum cleaner noise
sound of vacuum cleaner
noise of vacuum cleaner
Included in the description, you might be glad to hear, was a link to a page where one can download a 109mb 717 minute mp3. The page helpfully reads: “1 Man, 12 Hours of Vacuuming” and “You’ll get an MP3.”
Incidentally, I think the epic “performance” may simply be a 15 minute-or-so loop, but I haven’t studied it so closely; that said, I did have it on for a good hour yesterday. At low volume, I found it remarkably compelling.
Anyway, before you download, you might want to check it out on YouTube:
I should have suspected, I suppose, but it turns out there are LOTS of videos in this vein. The vid above leads, via YouTube’s recommendation engine, to any number of similar or indistinguishable efforts (especially at low volume). This 8 hour piece claims to be a “remix” but I have no idea what that means:
Truth be told, there’s a veritable plethora of epic ambient videos freely available on YouTube for your very own epic ambient experience, which, based on the descriptions and comments, mainly seems to be sleep. These include such evergreens as “Airbus 320 Cabin Sounds – 12 Hours – Take Off and Complementary treats served” or “The Sound of a Air Conditioner.” But for my money (i.e., earballs), you just can’t beat “Sucks 9 Hours” (tagged: Hood Fan Sound, Range Hood, Ventilation Fan, Cooker Hood, Extractor Hood, ASMR), though “The Sounds of a Box Fan 8hrs” (also available in mp3) is a close second —
This particular form’s nativity is, of course, directly related to one relatively big affordance: the unprecedented access to time that YouTube now provides. People, especially the non-Warhol sort, just didn’t typically make 7-12 hour films very frequently prior to the advent of unlimited time on YouTube. So one emerging “native” dimension of vernacular video we might lay at YouTube’s feet is the sudden desire to exploit the “platform” as something other than a visual medium — but not just as a jukebox, rather as a long duration white noise machine (or pink, if you prefer).
But another arguably “native” dimension here — at least in terms of popular practice — is this particular use of sound, via YouTube, to produce physical/psychological/psychosomatic effects. Many of the videos like those above, you may notice, are also tagged with ASMR — i.e., âAutonomous Sensory Meridian Responseâ — which Joshua Hudelson describes in a post on Sounding Out! as “a pseudo-medical designation whose native soil is YouTube.” (h/t @pm_jawn)
For Hudelson, ASMR videos “traverse the gap between the sonic and the haptic.” Notably, for all its “nativity,” this blurring across sensory registers as well as cultural domains / listening contexts, and this particular use of YouTube as source of pleasure and therapy, makes for an uneasy and sometimes rather dissonant experience. According to Hudelson,
The slow-paced, low-volume respite that Whisper videos offer is made all the more necessary by the fact that viewers must go online to watch them. This paradox is amplified by YouTubeâs advertisements, which will sound especially abrasive because viewers tend to turn the volume up while listening to Whisper videos.
While this discordance may be more acute in the “Whisper video” genre Hudelson examines, than, say, low-volume and interminable ambient noise clips, it does suggest that native genres on YouTube are not exactly “at home” there even if that’s where they reside. In other words, just because something is native to an ecosystem doesn’t mean it will enjoy ideal symbiosis.
Which is certainly one insight to emerge from this vacuumhole.
But what else am I overlooking/hearing/touching? Let me know. I’m all earballs.
Whether or not you read Western notation, it’s easy to follow along with the animation (indeed, it makes a good score-reading exercise just to watch the bouncing notes). And there’s something simply amazing about seeing, as you’re hearing, the music unfold in all its vertical and horizontal glory.
The one for “So What” is definitely the winner for me, perhaps because it includes most of the ensemble. It’s so engaging to watch the different, deeply familiar parts unfold on the page —
Cohen adds apologies to Jimmy Cobb, the drummer and the one member of the ensemble left out, but he couldn’t source notation for the drum part. (Classic Eurocentric lacuna there, no fault of Cohen’s.) It would be nice if some drum geek were to draw one up for it! Imagine eventually mapping thousands of jazz recordings this way, perhaps even automatically, a la Melodyne. It would be a stunning archive, at any rate, and an incredible resource for entertaining edification.
Western notation appears nice and precise, but I don’t find it all that beguiling to look at. As such, Cohen’s animations may not not achieve the game-console dazzle & quirk of the Rites of Spring graphical score I linked to last spring, but there’s dazzle enough in the musical performances to justify watching them through.
“Confirmation” and “Giant Steps” are more minimal than “So What,” but awesome in their own right —
Thanks to Todd Burns for the keen editing, making things nice and concise. Per usual, I’m going to take the opportunity to use my blog to run an author’s cut, or an unabridged version. A couple missing paragraphs below help flesh out the picture, especially regarding the Afro-Jamaican roots — and, hence, pan-Caribbean / Afrodiasporic resonance — of the dancehall riddim that started it all. A phrase like “Steely & Clevieâs post-Poco riddim” might seem like a slightly cryptic reference without this particular passage (i.e., paragraph #4 below); but maybe people thought I was calling it post-colonial, which is also true.
I’m also happy to report that a forthcoming issue of Wax Poetics will feature an article I wrote entirely about the (once mysterious) origins of reggaeton’s bedrock riddim on the unlikely outpost of Long Island, heavily featuring Boom’s manager Pucho Bustamante (who I interviewed a few years ago on MySpace). Will let you know soon as that one’s ready to read!
For now, head over to RBMA for their slick version, see below for the full monty, & check out this video I whipped up (also at the RBMA site & embedded below) to see & hear how the various versions all relate. If you want to get even more dembow in your ears, there’s lots to find around the web, but here are a couple of mixes I’ve made that focus on it: Dembow Legacies, Dembow Dem.
Without further ado, let’s loop —
In the world of sample-based music, few recordings have enjoyed so active an afterlife as the Dembow. A two-bar loop with unmistakably familiar kicks and snares, it underpins the vast majority of reggaeton tracks as an almost required sonic signpost. Thanks to crossover jams like Lornaâs âPapi Chuloâ and Daddy Yankeeâs âGasolina,â the Dembow has spread its distinctive boom-ch-boom-chick to glossy Latin pop, raw electro-chaabi in Egypt, transnational moombahton, and Indonesian dangdut seksi, to name a few.
With such remarkable resonance and staggering frequency of appearance, the Dembow would seem to deserve a place alongside such well-worn loops as the Amen break, the Triggerman, the Tamborzao. All these brief but inspired moments âon tapeââand all of them rolling drum rhythmsâafter having been sampled and looped and diced and spliced by hundreds and hundreds of digital-age producers, have proven so crucial to the sound of entire genres that they have taken on names, and lives, all their own.
There are a few things, however, that make the Dembow an unusual member of the sample canon. For one, the recording most often identified as the origin of the sample is not actually the source of reggaetonâs favorite loop, not exactly anyway. Itâs true that Shabba Ranksâs anti-gay, anti-imperialist anthem âDem Bowâ may as well be patient zero for the infectious rhythm that still carries the songâs name, but samples of the track accompanying Shabbaâthe riddim in reggae parlanceârarely actually turn up in reggaeton. Jamaican studio duo Steely and Clevie deserve credit for the bouncy beat they boiled down for Bobby Digital, but not as the creators of a intensely re-used sound recording. Rather, their riddim planted the seed that would grow into what we now call Dembow.
Like other popular riddims the duo produced in the early 90s, especially Poco Man Jam (to which Dembow is audibly indebted), the track accompanying Shabbaâs rally-cry draws on the deep rhythms associated with Pocomania, a neo-African Jamaican religion with practices and aesthetics that run parallel to other post-slave cultures across the Caribbean. The driving boom-ch-boom-chick that emerges between the steady kick on each beat and the polyrhythmic play of the snares, can also be threaded through rumba, salsa, soca, bachata. Itâs at the heart of whatâs been called jazzâs âSpanish tinge,â known variously as the cinquillo or the habenera. This may help explain the broad appeal of these particular Jamaican recordings, why Puerto Rican hip-hop producers moved more or less wholesale into making Spanish dancehall, and how reggaeton so quickly swept across dance scenes across the Americas and beyond. Shabbaâs âDem Bowâ was a big chune in the wide world of reggae, and not just because of its bullish stance, colorful lyrics, and catchy chorus.
But rather than samples of Steely & Clevieâs riddim resounding from trunks across the Spanish-speaking world, and rather aptly given reggaetonâs transnational roots, the set of sounds most often identified as the Dembow per se (as opposed to just the generalized rhythm which, confusingly, is also sometimes called Dembow), is a version cooked up by Jamaican and Panamanian collaborators laboring on Long Island, NY in the early 90s to create reggae en espaĂ±ol anthemsâand succeeding.
By the early 90s, Philip Smartâs HC&F studio was the premier spot for producing dancehall hits, Jamaica notwithstanding. A native Kingstonian who apprenticed under King Tubby, Smart moved to New York in the mid-70s and launched HC&F in 1982 enlisting as house musicians such fellow expatriates as Dennis âThe Menaceâ Thompson, the sole musician credited with âDub Mix II,â better known today as the Dembow riddim, or in Panama, the Pounda. Initially crafted as an instrumental for Panamanian vocalist Nando Boomâs âEllos Benia,â a close translation of Shabbaâs âDem Bow,â Thompson captured the rhythmic essence of Steely & Clevieâs post-Poco riddim while adding some digital timbales and other touches for extra sabor at the prompt of Ramon âPuchoâ Bustamante, the Panamanian manager of Nando Boom who helped engineer the reggae en espaĂ±ol movement. The wordless version that would soon play backing track to hundreds of Puerto Rican rap parties was not actually released until two NYC-based Jamaican deejays, Bobo General and Smiley Wonder, recorded their own single over the riddim, âPounder,â with the dubbed-out instrumental as a quickly coveted B-side. (âA bad custom of the Jamaicans,â Bustamante once told me.)
When instrumental CDs such as Pistas de Reggaeton Famosas include a âDem Bowâ trackâand they always include at least oneâthe track labeled as such is nearly always based on the drums Dennis the Menace laid down for Nando Boom at HC&F. Likewise, do a search for âdembow loopâ on YouTube or 4shared, and youâll hear the same echoes there too. By this point, the instrumental has been looped, compressed, remastered, and reconstituted dozens of times over. But the lineage is audible, and it makes Dennis and companyâs Dembow one of a few recordings, like the Funky Drummer or the Apache break, which has provided the basis for hundreds if not thousands of other tracks.
The story of the Dembow and its legacy gets even more complicated, since beyond a relatively small circle of reggaeton producers and connoisseurs, when most people say Dembow, they refer to its rhythmâthe boom-ch-boom-chick patternâmore generally. And in practice, reggaeton producers have been chopping up dancehall riddims and recombining them with a greater interest in split-second allusion than faithful reproduction. While wholesale loops of Dembow do sometimes appear, reggaeton drum tracks tend more often to comprise samples drawn from a small storehouse of treasured timbres: a handful of reggae riddims which have animated Spanish-language dancehall for decades. Bam Bam, Fever Pitch, Drum Song, and yes, Dembow, are all common sources, but the ingredients could come from almost anywhere if they sound right. Reggaetoneros swap sample sets like playing cards, and a willy-nilly archive of reconfigurable samples traverses the North and South American Hulkshare-osphere like a reggaeton robotics kit. For lots of listeners and producers, any of the snares from these well-worn riddims, or any snare with similar properties, could suffice to say Dembow.
A line can be drawn from Steely & Clevie, though Smart and Thompson and Bustamante, to what we call Dembow today, but for all that collective, transnational effort, the foundation for this single recordingâs remarkable resonance was most crucially fashioned in mid-90s San Juan by proto-reggaeton pioneers like DJ Playero and The Noise. On their seminal underground mixtapes, these Puerto Rican producers took a hip-hop hatchet to dancehall riddims, chopping up favorite drum loops, baselines, and riffs to create dynamic, reference-laden collages of contemporary club beats for local rappersâ double-time, flip-tongue, street-level lyrics. Over the course of Playero 38 or The Noise 6 one hears a constantly shifting bed of beats composed of signature samples from Bam Bam, Fever Pitch, and the like. Dembow was such a staple source that the entire genre for a time, after being known as underground but before reggaeton, was simply called dembow.
Crucially, around the turn of the millennium, the Dembowâand Puerto Rican reggae en espaĂ±ol more generallyâwas transmuted and extended by DJ Blass. With the rise of Fruity Loops and other software, techno-inspired bleeps, presets, and arpeggios could be sutured to Dembow snares for a killer club-ready concoction. Blassâs mixtapes like Sandunguero and Reggaeton Sex changed the sound of what would soon be crowned reggaeton while maintaining important links to predecessors. Namely, by chopping well-worn loops into discrete kicks and snares, Blass could nod to the riddims that dancers, vocalists, and audiences had come to love while shaping the sounds into his own lean patterns. Blassâs influential techniques carry forward into the productions of the duo who finally took reggaeton to the pop charts and the Anglo mainstream, Luny Tunes.
If you listen to the track Luny Tunes produced for their biggest hit, âGasolinaââor most of their other pistasâyouâll hear snare samples swap every four measures, embodying in their own subtle but audible manner the loop-switching practices of Playeroâs proto-reggaeton. Revising the Dembow as something more general, more flexible, and in its way, less Jamaican than it had been, Luny Tunes honored reggaetonâs rhythmic and timbral heritage while opening it up to a new variety of textural, harmonic, and melodic gestures, especially âpan-Latinoâ sounds. When Wisin y Yandel reprise Shabbaâs chorus for their club-friendly, bachata-steeped, Luny Tunes-produced update of âDem Bowâ in 2003, the phrase has little to do with imperialism or sexual orientation and everything to do with the backbone beat and criss-crossing snares that compel people to perreo, or do the doggystyle dance so synonymous with the genre.
In the decade since reggaeton galloped into the mainstream, the Dembow has been Cubanized, Colombified, Peruvinated, watered-down, dressed-up, and recomposed to fit a thousand new contexts. Recently, the rhythmâand to a lesser extent, the riddimâhas even made inroads into the more frequently foursquare world of EDM via Dave Nadaâs moombahton, where Dembow comes full circle in a strange and surprising way. Nada famously invented moombahton by slowing down Dutch house tracks to please a house of reggaeton-loving teens, but the reason this worked was precisely because Dutch house had itself absorbed Caribbean rhythms via bubbling, a short-lived but influential local club scene clustered around Rotterdam, Amsterdam, and the Hague. Producing personalized soundtracks for dance battles, first- and second-generation kids from Curacao and Suriname made hyperspeed, bricolage remixes of the same dancehall riddims that had Puerto Rican youngsters going nuts across the Atlantic.
Slowed down once again and rebranded as moombahton, Nadaâs wildly successful experiment introduced the Dembow to new listeners across the networked world, especially after producers like Rotterdamâs Munchi heard ways to move beyond screwed house remixes and connect the burgeoning genre to its Puerto Rican cousins. Munchi was initially drawn to the genre because of his love of Dembow and reggaeton and the possibilities moombahton offered to revisit these irresistible rhythms: âThe idea was so simple,â Munchi wrote to me, describing moombahton as âTHE chance for reggaeton to get out of its hole.â Having nearly abandoned the stagnant genre, Munchi noted that âIt felt so good that I could make âreggaetonâ again.â And while no one would confuse Munchiâs genre-busting work with reggaeton per se, no one could deny the genreâs presence in his tracks.
For his part, Nada himself has occasionally sampled the actual Dembow riddim for his moombahton productions (though he wouldnât say which ones), but like many others, Nada more often recreates his own Dembow-indebted patterns using a variety of drum sounds and samples. âI’ve used it in the past to help dirty up a few tracks. I’ll mangle the sample and bury it though.â
Moombahton may have already enjoyed its moment in the social media sun, but there are other corners of the so-called global bass scene where that old boom-ch-boom-chick still resounds. âThe post-tropical flight from Caribbean percussion at the end of the mini-Moombathon craze has left a large side of EDM dembowless lately,â says Rizzla, whose soca and reggaeton influences help to keep Caribbean polyrhythms in the metropolitan mix. Rizzla trawls 4shared and Hulkshare for Dembow tracks and samples but reports that, âMost of the time I use sampled individual drums and reconstruct a Dembow with variations I make myself.â
Dubbel Dutch describes a similar process for his own productions: âI personally have never sampled the Dembow riddim but have used various rhythmic cousin ‘Dembow’ loops in my productions. Most of these I’ve found via reggaeton sample packs downloaded from 4shared while searching for Mexican tribal and perreo tracks.â Bearing witness to the sonic priorities of digital bass culture, Dutch confesses that, âAdmittedly, my awareness of certain loops has even preceded my knowledge of their origins.â Accordingly, he repurposes cherished dancehall loops without being parochial, which actually places him squarely in the reggaeton tradition: âOne of my favorite âDembow’ loops comes from the Fever Pitch riddim. That one keeps popping up at various speeds in a lot of my tracks. It manages to work flawlessly at just about any tempo, whether it’s a Dutch bubbling track or an 80 bpm reggaeton beat, which is sort of a rare quality for any loop to have.â
Not unlike their sample-raiding peers in reggaeton, then, producers such as Rizzla, Dubbel Dutch, and Uproot Andy tend toward an inclusive idea of what constitutes the Dembow riddim, complicating simple narratives of a single sampleâs afterlife. âI’d say the Fever Pitch (aka Rich Girl) âDembowâ loop is a better possible candidate,â Dubbel Dutch argued, âfor an Amen or Think type breakbeat.â
For Uproot Andy, who recently released Worldwide Ting, which he calls âan hour long celebration of the Dembow in all kinds of contexts, some natural and some forced,â even such tributes are necessarily mongrel in their make-up: âThe opening track is a song I just made called the âWorldwide Dembowâ and itâs sort of an homage to the Dembow rhythm, it samples Pablo Piddy, a Dominican dembow artist, saying âsi tu quiere dembow,â and the tune is basically a reimagining of Drum Song riddim (melodically), and Fever Pitch riddim (rhythmically), although it doesn’t actually sample either of them, but pretty much picks apart the elements and recreates them with more synthetic sounds.â
Uproot Andyâs reference to Dominican dembow bring us full circle for this lively, and living, story of a loved loop. No place today can lay stronger claim to bearing the Dembow flame than the Dominican Republic, where a rejuvenated version of San Juanâs proto-reggaeton, in all its referential richness, manages to move kids on the streets (and YouTube) and, increasingly, to move into the pop sphere as well.
In the mixes of DJ Scuff and countrymenâor, say, just about anything in the Dominican dembow Soundcloud groupâthe Dembow (as such) is on constant, quicksilver rotation with chops and stabs from Bam Bam, Fever Pitch, Poco Man Jam and the like. But once again, enthralled as Dominican dembow may be with such well-worn samples, its restless producers also emulate the voracious and pliant approach of their mid-90s muses, Playero and the Noise. So a classic hip-hop break like Think, or even funk cariocaâs Tamborzao, might make it into the mix. But no matter how wide the circle of references, the name of the genre bears witness, at bottom, to the fact that Dominican dembow is built on a commitment to some relatively old riddims and some far older rhythms.
For Linton Kwesi Johnson, the UK-based dub poet and bass culture theorist, the same dancehall riddims so central to the Dembow variations were popular precisely because they can sound at once modern and traditional. âOn one hand, this music is totally technological,â he notes, âon the other the rhythms are far more Jamaican: they’re drawn from Etu, Pocomania, KuminaâAfrican-based religious cults who provide the rhythms used by Shabba Ranks or Buju Banton. So despite the extent of the technology being used, the music is becoming even rootsier, with a resonance even for quite old listeners, because it echoes back to what they first heard in rural Jamaica.â
Uproot Andy offers a similar take: âIf reggaeton took the rhythm and ran with it, Dominican dembow brings it strictly back to the roots.â
Here’s what you’re seeing/hearing in the video above:
first, shabba ranks’s “dem bow” produced by steely & clevie (for bobby digital)
then, nando boom’s “ellos benia” produced by dennis the menace (for philip smart & pucho bustamante)
then, the instrumental of the boom track, released as “dub mix II” on b-side of “pounder” by bobo general & sleepy wonder
then, a commonly circulating version of the dembow riddim (“original”), audibly related to the dennis the menace instrumental, if a bit beefed up and boiled down
finally, a return to “dub mix II” to hear how dennis the menace added subtle dub effects to his track — sounds which never turn up in reggaeton productions because of the way the loop circulates as a digital (re)sample rather than a vinyl b-side
Wow, this is quite an amazing piece of work. Stephen Malinowski collaborated with Jay Bacal to make an animated graphical score of Stravinsky’s controversial classic. I love tracking music this way, far more interesting than a static and graphically impoverished waveform. Now that’s what I call technomusicology!
Malinowski and Bacal have carefully pegged shapes and colors to elements of orchestration and pitch, which makes it even more edutaining! Very cool to see all those tone clusters in action. Pitches have been matched to a twelve color wheel, and each shape corresponds to a family of instruments–
ellipse: flutes (also cymbals and tam-tam)
octagon: single reed (clarinet, bass clarinet)
inverted ellipse/star: double reeds (oboe, English horn, bassoons)
rectangle: brass (also, with “aura,” timpani, guiro and bass drum)
See the YouTube instantiations for an FAQ and more info, but I’m embedding parts 1 & 2 here for your viewing pleasure —