Snoop Dogg, Pharrell & Stevie Wonder Have Seen the Future in New ‘California …

21 May 2015 | Author: | No comments yet »

Hip Hop Album Sales: Snoop Dogg, “Furious 7” & Tech N9ne.

The video for Snoop Dogg’s Stevie Wonder-featuring “California Roll” has finally arrived, packaging the rapper’s latest tribute to his home state in an elaborate time-travel vignette.In the retro-futuristic music video for their joint track “California Roll,” from Snoop Dogg’s recently released album Bush, the trio give a glimpse at their vision of how the city will evolve.

The video takes place in Los Angeles in 1946, and features a robot called Canubis 420, who takes people on a virtually simulated journey to the future, which includes giant pyramids and flying cars. Opening in a Los Angeles movie theater in 1946, the audience gets more than they bargain for after they are told they are going on a journey into the future — and the film ends up being a futuristic simulator ride! Continuing to hold strong this week is the soundtrack to , the James Wan-directed film which features Atlanta rapper Ludacris, crooner Tyrese and Vin Diesel. The gold-tinted video shows Pharrell and Snoop Dogg rapping atop a pyramid, between takes of Snoop and Wonder casually drifting through the clouds in a flying car. Serving as his first album since 2013’s Reincarnated, Snoop Dogg’s Bush was unable to break into the Top 10 on the Billboard 200, but did manage to move over 27,000 units and obtain a streaming count just short of 3 million.

There are films that have explored the concept, like Jean-Claude Van Damme’s Time Cop (1994), which depicted characters in the (then future) year 2004 wearing clothing from the 1920s. Check out the video (above) to see the futuristic pyramids of Hollywood and Snoop’s 4D joint penetrate through the projector screen (the technology for which patent pending). Whether it’s rapping on top of a solid gold pyramid, cruising in a hover car, or even time traveling to pick up Nia Long, Snoop is still top dogg… even in the future. As the theater scene shifts to a black background, Pharrell, dressed in an elegant long robe, and Wonder appear on a gleaming pyramid to croon about the opportunities available in the Golden State. Note: The first number below is this week’s “total album equivalent units” count, an intersection of album sales, single sales, and streams implemented by Billboard’s new rating system.

The clip finds Nia on a theatrical ride where she is transported to a future filled with flying antique cars, pyramids, next generation smart phones and ancient Egyptian garb. In an interview with Noisey, the video’s director Warren Fu explained the concept behind the clip. “Because it was three superstars I was aiming for ‘event video’ vibes,” he said. Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again. After months of escalating protests and grassroots organizing in response to the police killings of Michael Brown and Eric Garner, police reformers have issued many demands. The moderates in this debate typically qualify their rhetoric with “We all know we need police, but…” It’s a familiar refrain to those of us who’ve spent years in the streets and the barrios organizing around police violence, only to be confronted by officers who snarl, “But who’ll help you if you get robbed?” We can put a man on the moon, but we’re still lacking creativity down here on Earth.

While law enforcers have existed in one form or another for centuries, the modern police have their roots in the relatively recent rise of modern property relations 200 years ago, and the “disorderly conduct” of the urban poor. Like every structure we’ve known all our lives, it seems that the policing paradigm is inescapable and everlasting, and the only thing keeping us from the precipice of a dystopic Wild West scenario. Rather than be scared of our impending Road Warrior future, check out just a few of the practicable, real-world alternatives to the modern system known as policing: Unarmed but trained people, often formerly violent offenders themselves, patrolling their neighborhoods to curb violence right where it starts.

Stop believing that police are heroes because they are the only ones willing to get in the way of knives or guns – so are the members of groups like Cure Violence, who were the subject of the 2012 documentary The Interrupters. There are also feminist models that specifically organize patrols of local women, who reduce everything from cat-calling and partner violence to gang murders in places like Brooklyn. While police forces have benefited from military-grade weapons and equipment, some of the most violent neighborhoods have found success through peace rather than war. Violent offenses count for a fraction of the 11 to 14 million arrests every year, and yet there is no real conversation about what constitutes a crime and what permits society to put a person in chains and a cage. Decriminalization doesn’t work on its own: The cannabis trade that used to employ poor Blacks, Latinos, indigenous and poor whites in its distribution is now starting to be monopolized by already-rich landowners.

To quote investigative journalist Christian Parenti’s remarks on criminal justice reform in his book Lockdown America, what we really need most of all is “less.” Also known as reparative or transformative justice, these models represent an alternative to courts and jails. From hippie communes to the IRA and anti-Apartheid South African guerrillas to even some U.S. cities like Philadelphia’s experiment with community courts, spaces are created where accountability is understood as a community issue and the entire community, along with the so-called perpetrator and the victim of a given offense, try to restore and even transform everyone in the process. Communities that have tools to engage with each other about problems and disputes don’t have to consider what to do after anti-social behaviors are exhibited in the first place. In Mexico, where one of the world’s most corrupt police forces only has credibility as a criminal syndicate, there have been armed groups of Policia Comunitaria and Autodefensas organized by local residents for self-defense from narcotraffickers, femicide and police. Obviously these could become police themselves and then be subject to the same abuses, but as a temporary solution they have been making a real impact.

In New York, Rikers Island jails as many people with mental illnesses “as all 24 psychiatric hospitals in New York State combined,” which is reportedly 40% of the people jailed at Rikers. We have created a tremendous amount of mental illness, and in the real debt and austerity dystopia we’re living in, we have refused to treat each other for our physical and mental wounds. Mental health has often been a trapdoor for other forms of institutionalized social control as bad as any prison, but shifting toward preventative, supportive and independent living care can help keep those most impacted from ending up in handcuffs or dead on the street. The newest volume in Bloomsbury’s 33 1/3 series of books about important albums is on Devo’s 1980 mainstream breakthrough Freedom of Choice, written by Evie Nagy, a staff writer at Fast Company.

Even when the chorus comes in with a more regular stride and promising build, the verse comes sulking back before any real resolution; the overall vibe is the rush-slash-dread of a game of musical chairs. Bostwick, published in The American Magazine in 1919 and reprinted widely in the years following (because the poem was written before 1923, it was not subject to U.S. copyright law when Mark adopted it): The source material is earnest motivational rhetoric, and therefore in the hands of Devo is satire by definition. But we got together in Walter Reed and we wrote all this music, and we’re just happy that we got a chance to sacrifice our mobility for the U.S. of A. We were just trying to get a record deal — we figured at some point we’d start walking, and go ‘Oh my God, it’s like a miracle.’ And we were obsessed with miracles, because Akron, Ohio, had televangelists in town that were incredibly transparent charlatans.” Fortunately Devo avoided the shitstorm that would inevitably have befallen them if the plan had worked, but the idea was classic Devo — some number of people would have fallen for the ploy, and they would only have had themselves and de-evolution to blame.

The answer to “What is it about Ohio that inspired the formation of Devo?” was “Clean living”; what Devo looked for in a girl was “Defects”; their next upcoming commercial venture was “A TV ad for nuclear energy sponsored by the F.E.C. using H-bomb test footage coupled with a Devo soundtrack.” But other answers were relatively sincere, or at least prescient, such as “Q: If you could name one thing that upsets Devo, what would it be? A: Human behavior,” and “Q: Are the weird electronic effects that are so important to the Devo sound a permanent part of today’s pop music or just a passing fad?

Anyone who is really honest will like this stuff!” Even if some people found this kind of double talk irritating, it was very obviously double talk, and the message was clear: nothing we do should be taken at pure face value, and therefore it should not be that difficult to invert it and extrapolate what we’re about. As Mark said in 2010 when discussing the band’s super-focus- grouped, ultra-corporate approach to developing and marketing Something For Everybody, “Devo at our best is people going, ‘Is that real or not?’ It’s a little bit Andy Kaufman.”

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