{"id":726,"date":"2008-11-06T10:37:25","date_gmt":"2008-11-06T15:37:25","guid":{"rendered":"http:\/\/wayneandwax.com\/?p=726"},"modified":"2015-01-07T14:05:42","modified_gmt":"2015-01-07T18:05:42","slug":"effervesynths","status":"publish","type":"post","link":"https:\/\/wayneandwax.com\/?p=726","title":{"rendered":"Effervesynths"},"content":{"rendered":"<p>Since I&#8217;ve lately dived headlong into heart-on-sleeve blogging, I may as well keep things going, even if that means losing a few of you hardcore lurkers out there. You see, I&#8217;ve been wanting to gush for a minute now about &#8212; believe it or not &#8212; Ne-Yo&#8217;s &#8220;Miss Independent,&#8221; which has been on heavy rotation on <a href=\"http:\/\/www.jamn945.com\/main.html\">JAM&#8217;N<\/a> for the last several months. Here&#8217;s the video c\/o that lovely new MTV service &#8212;<\/p>\n<p><embed src=\"http:\/\/media.mtvnservices.com\/mgid:uma:video:mtvmusic.com:273668\" width=\"520\" height=\"471\" type=\"application\/x-shockwave-flash\" flashVars=\"dist=http:\/\/www.mtvmusic.com\" allowFullScreen=\"true\" AllowScriptAccess=\"never\"><\/embed> <\/p>\n<p>Although the lyrics are actually quite laudable in an era when women are more likely to appear as strippers than equals in R&#038;B and hip-hop depictions, I confess it&#8217;s the instrumental that initially caught me and continues to tickle me all over. <\/p>\n<p>Where to begin? There&#8217;s the dancehall drum track, which I&#8217;m happy to hear now completely absorbed into R&#038;B&#8217;s all-encompassing palette. (I mean, who even hears this beat as a reggae beat at this point, except for nerds\/headz like me?) And then there&#8217;s that plucky little harp melody, reinforcing Ne-Yo&#8217;s tunefulness. But what really gets me is when that rippling, tactile, crunky\/trancey synth comes in to propel the chorus (as also heard in the intro). <\/p>\n<p>I have to admit that when I first heard these <a href=\"http:\/\/www.nytimes.com\/2004\/11\/28\/arts\/music\/28sher.html\">techno presents find their way into hip-hop<\/a>, I was a little skeptical, especially when <a href=\"http:\/\/www.youtube.com\/watch?v=NVHvnpoVTGY\">garageband loops<\/a> were substituting for actual experimentation (even if one can argue that the very practice is itself inherently innovative &#8212; introducing unlikely material, etc.). But they&#8217;ve grown on me, big time. Indeed, I&#8217;m totally delighted that hip-hop has embraced synths (again, of course, if we remember our <a href=\"http:\/\/www.youtube.com\/watch?v=9h6pcqC6wrI\">history<\/a>) &#8212; so much so that the <a href=\"http:\/\/www.youtube.com\/watch?v=AP2I7hsgdPA\">new Akon &#038; Weezy joint<\/a> sounds like Vangelis meets Van Halen, or sump&#8217;m. <\/p>\n<p>Not to rehash debates about <a href=\"http:\/\/www.duttyartz.com\/2008\/your-boy-about-to-peak\/#comments\">drug determinism<\/a>, but there is something about these synths that wash over you all MDMA-like &#8212; they&#8217;re tingly, soothing, effervescent. And of course it helps that the producer of the Ne-Yo track (who did it, btw?) has structured the synth-line to follow a two\/three-chord, lilting harmonic progression that feels at once melancholy and uplifting. This seemingly &#8220;old school&#8221; approach to arrangement &#8212; harmony, rly? &#8212; takes macro shape at the level of the song&#8217;s form, which includes a classic &#8220;bridge&#8221; (see 3:13) that sets up expectation for the return of the chorus (3:36) and those affective effervesynths. You&#8217;re not likely to hear a bridge in hip-hop tracks, but they remain a common compositional device in R&#038;B despite the genre&#8217;s &#8220;recent&#8221; embrace (going on 10-15 years now) of hip-hop&#8217;s rhythm-driven aesthetics. (Perhaps it goes without saying that hip-hop has been borrowing more recently from R&#038;B&#8217;s harmonic language, oddly enough as filtered through sentimental trance-loops.)<\/p>\n<p>What&#8217;s the point of all this? I don&#8217;t really have one. I just really dig this song right now and wanted to talk about it and how it relates to contemporary pop aesthetics and affect. And I&#8217;m really glad that MTV has made it possible to so easily share hi-qual versions of videos in this way. Although all the distributed, &#8220;illegal&#8221; labor on YouTube has made it a pretty amazing source for pretty much any audio or video one might seek &#8212; especially for indy\/alternative\/foreign\/obscure media &#8212; the possibility of takedowns and the varying (but usually low) quality are two major problems with that repository. So I have to welcome MTV&#8217;s latest venture, making available high quality video streams from their extensive (and presumably perpetually-licensed) video archive. And even though I bristle at the ever-expanding commodification of our social and cultural lives, I&#8217;m heartened by their announcement to <a href=\"http:\/\/www.huffingtonpost.com\/2008\/11\/03\/mtv-myspace-partner-to-te_n_140355.html \">partner with MySpace<\/a> to monetize, rather than penalize, instances where people embed popular music videos on their websites.<\/p>\n<p>As I&#8217;m hinting here, at least as important as making them available, MTV has also made these videos <em>spreadable<\/em>, as Henry Jenkins <a href=\"http:\/\/www.henryjenkins.org\/2007\/04\/slash_me_mash_me_but_please_sp.html \">calls it<\/a>. Not only is it, rather literally, marvelous to have such a trove of music videos at one&#8217;s fingertips, but it&#8217;s wonderful to be able embed these rich little things into our increasingly multimedia conversations. Even if we have so little to say (initially) as, I like this, don&#8217;t you?<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Since I&#8217;ve lately dived headlong into heart-on-sleeve blogging, I may as well keep things going, even if that means losing a few of you hardcore lurkers out there. You see, I&#8217;ve been wanting to gush for a minute now about &#8212; believe it or not &#8212; Ne-Yo&#8217;s &#8220;Miss Independent,&#8221; which has been on heavy rotation [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[404,412,158,205,107,407],"class_list":["post-726","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-hip-hop","tag-internet","tag-rb","tag-synth","tag-tech","tag-video"],"_links":{"self":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/726","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=726"}],"version-history":[{"count":16,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/726\/revisions"}],"predecessor-version":[{"id":8438,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/726\/revisions\/8438"}],"wp:attachment":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=726"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=726"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=726"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}