15.4.08

tell 'em




Biggest selling digital single of all time. Re-establishing the mass via interactive media, almost just through sheer numbers.

The film clip actually represents the 'viral' process of the song. Moves through dance crazes, video phones, youtube clips. Entirely inframediate - its audience knows what they are a part of. God, his album is even called SouljaBoyTellEm.com.

The song itself is an exercise in musical economy. Evcavates any discussions of 'meaning' (let alone regression or cultural decline), the issue here is affect and experience (of the dance, of the midi strings, the repeatedly modulated 'X that ho'). 'Ho' loses all designation as a sexist category and comes to mean about just as much as a lolcat.

There is of course the possibility that Soulja Boy has established something like a direct line of communication with his audience. He actually did popularise the track more or less from the back of his computer class, without any major label supervision. And so to an extent the track's content is 'uncensored'. He is the telos of web 2.0 in the category of music performer.
And so through comes 'immature', titillating lines like 'supersoak that ho' - and yet this itself should be seen as something of a victory. Away from the incessant gangster gangster violence and mystique to a playground chant immaturity. Which itself is a performance, of course. A performance that energises hip hop's popularity.

Tell 'em.

2 riffs:

Dan said...

So I read your post on an obscure urban planning blofosphere about skateboarding:
http://skateandannoy.com/2007/10/09/disciplinary-architecture-and-ocean-howell/#comment-110257

I was wondering if you could send me a list of those articles you mentioned? I'd appreciate it.

cheers,
Dan Dybowski

Lawson said...

hi dan,

i've sent you an email ... i think. if you read this and didn't get anything please let me know how to contact you. my email is on the blog front page. cheers.