15 Hymn for the Weekend Coldplay Full Track 12 The Blacker the Berry Kendrick Lamar Full Track Matt Chamberlain Full Track 7 Hurtin’ (On the Bottle) Margo Price Full Track The album remained at the top of Taiwans Korean-Japanese Music. 4 Get Away Syd Tha Kyd & The Internet Full TrackBonamana was originally made by moves from Michael Jacksons MVs choreographed together.23 Stressed Out Twenty One Pilots Full Track 22 Weh Dem Feel Like Vybz Kartel Full Track 19 Partita for Eight Voices Caroline Shaw Full Track When and where will we listen to it? Will other people be there? Should people own music? Who should write it — the performers? What’s a normal amount to release at once? How will we find out about it? Will there be pictures? Are you absolutely, definitely sure we have to pay money for it? For the moment, there’s only one answer to these questions that seems to connect strangers in a truly monocultural way: We shall gather in huge, fawning riots around towering pop singles to trade politicized takes on them.It’s not the worst thing. We’ve spent the past century or so trying, in creaky and convulsive ways, to figure out what music is even for, and how we intend to use it. This wasn’t always the case. Either I needed to dutifully consume this object of conversation and develop an opinion about it or I needed to develop a defense of why I hadn’t yet done so.The point being: Here, for a moment, was music that actively dragooned me into paying attention to it, based not primarily on sound, performance or composition, but on the rolling snowball of perspectives, close readings and ideological disputes accreting around it.It’s songs that do this now individual songs and mass opinion, working in tandem. A decision had to be made. It’s just that Beyoncé released “ Formation” on a Saturday, and then performed it at the Super Bowl on Sunday, and as of Monday I hadn’t gotten around to it, for reasons that are incredibly uninteresting: I happened to have been doing other stuff, which seems as if it’s probably among my rights as an American.By then, though, the song had become such an intense focus of discussion at the digital water cooler — to the point where it felt difficult to turn on a computer without someone’s views about “Formation” and its various sociopolitical valences reaching out and grasping for your throat — that my not having heard it acquired some kind of political dimension.One song, one digestible thing, with millions of people standing in a circle around it, pointing and shouting and writing about it, conducting one gigantic online undergraduate seminar about it, metabolizing it on roughly the same level that cable-news debate shows metabolize a political speech. Showing off your eclectic, handpicked treasures? This has become such a common online performance that there’s no one left in the audience.So these days it’s the song, and the scale of the event surrounding it. And curator, sorting through songs to assemble our own reflections. Then came high-speed Internet and a touching enthusiasm for the idea of playlists: With so much of the world’s music at our fingertips, we’d express our intelligence and taste by playing D.J. For a long while, the idea was that young people could use music to shape their style — their clothes, their haircuts, their sense of cool.
![]() Lagu Super Junior M Swing Album Full Track 12But it does throw into stark relief the things we have a much harder time talking about, at least with strangers: the way songs make us feel, the things we discover in them that aren’t already on other people’s minds, the obscure pleasures we’re willing to risk trying to explain from the darkness. I don’t begrudge Beyoncé or the world one second of it. What do we make of her dancers’ Black Panther styling? Is she “allowed” to work with beloved artists from New Orleans or use references to the aftermath of Hurricane Katrina? How does the song sound through a feminist lens, through a queer lens, through an anticapitalist one? Can we have a conversation about her daughter’s hair, and also about police violence? People talked about these things until, three days in, I’d been quoted every last line of a song I still hadn’t heard.We’ve found a way to collect around the handful of songs we all have in common, yoke them with our opinions and make a (mostly) joyful noise. Thus can we argue not about what the song says to us, but about what we think the rest of the world needs to be told, and whether Beyoncé is telling it right. A song like “Formation” isn’t set up as a story, or an interior monologue — it’s set up as Beyoncé, the public celebrity whose biography you already know, addressing the world, like an op-ed with drums. ![]() ![]() He became besties with Diplo and Skrillex — together “Jack Ü” — and they made an excellent song together, “ Where Are Ü Now,” irksome umlauts notwithstanding. Say what you will about the decisions surrounding his very public personal life in his sonic shopping spree for “Purpose,” after a year of terrible decisions, Bieber made good. And “Sorry” is a savvy suspension of ego in the service of the hit-making machine. So who’s sorry now? ♦Mary H. You used to hate him, and now it’s pointless. But what does any of this actually matter? In case you missed it, Bieber won. Yes, he’s lousy at skateboarding. Yes, Justin Bieber’s lyrics are insipid — worse still, disingenuous. Consider, for example, the confusing, protracted drama of Kanye West’s latest album release, which involved a huge fashion show, several tweet storms and title changes all leading up to “The Life of Pablo,” a record that’s being finished in real time on a platform no one wants to pay for.So what is it, exactly, that we want from Bieber? Likability? Yes, Justin Bieber is a contrivance. Arabic fonts for macThese are legitimate ‘Hamilton’ tickets for Friday March 11, 8 p.m., purchased though Ticketmaster. To wit, this Craigslist ad: “I bought tickets for the wrong night. And the resale market has achieved spit-take-level hilarity. The musical is sold out — for, like, ever. Then there’s being locked out of “Hamilton.” And with all due respect to Bruno Mars (and God), being locked out of “Hamilton” is crueller — as farce, but still. Great seats! $933.80 per ticket.
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