By Niy Birden

It has been a long, courageous fight for Kesha Rose Sebert, a.k.a Ke$ha, but now stylized as simply, Kesha. When she first came out, she was ostracized and criticized for her extensive auto-tune, party glam, drunk- girl-appropriating- cultures tone of music and imagery, and then three years ago we learned that she had been suffering from sexual abuse from her main producer Dr. Luke , who used to be the owner of Kasz only Inc., which partnered with Sony Records.

While the law dispute seems to have quieted down, Kesha’s voice definitely has not. And for good reasons, of course. If anything, her voice is more unique and louder than ever. Most people don’t know that before and during her “Tik Tok” fame in 2009, she was a singer-songwriter. So it’s actually no surprise at all that her return would not only be one to shatter her prior musical image, but it also shatters the opinions of most of her listeners. “Praying” is Kesha’s most powerful song to date. Don’t be surprised if you hear about the next singing competition winner getting their fame through use of this song. It’s that good. With its powerful chorus, whistle tone-like belt, and catchy melody, it makes you wonder what powerhouses Adele and Christina Aguilera are doing with their releases.

Premiering on July 6th as the first single from her new album “Rainbow”, Kesha actually released her new golden song with an interesting music video, filled with religious symbolism, oddly-masked men, and her walking around a very large outside environment, doing a ritualistic dance and prayer straight from the Indigenous people that she so often uses for accessory. While the video isn’t nearly as powerful as the song, it is classically, a very Kesha video. The most visually stunning shots, however, are the almost-still moments when the color of the video is in a black and white shot, with Kesha laying down on a surface, against a landscape of beautiful water. While the shot is supposed to be one of a solemn moment, it creates a beautiful effect on the eye. A similar scene returns at the very end of the video when she is now walking-on water, might I add- but this time, with a golden sunset played out before her. Looks like she’s been praying indeed.
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Eric Gasa

JAY-Z’s latest music video will be offensive to some and provocative to others; such is the essence of an artist born both in the tradition and spite of the Brooklyn projects. “The Story of O.J.”, directed by Mark Romanek and Jay himself, is as unsettling as it is campy. Jay rhymes over a sharp beat that cuts right into the heart of the post-racial myth in America.

But it’s the animated visual that makes “The Story of O.J.” all the more provoking. In it, Jay is reimagined as an offensive Disney caricature ala Jim Crow, meant to mimic vintage blackface cartoon characters. The idea isn’t exactly meant to make viewers uncomfortable but rather symbolize the antiquated views black persons still face when in the spotlight.

“O.J. like, ‘I’m not black, I’m O.J.’,” the cartoon Jay rolls his eyes and sighs, “…okay.”
Regarding the lyric, the rapper said in the 8-minute mini documentary, Footnotes for The Story of O.J., “O.J. would get a free space where he’s like ‘I’m not black, I’m O.J.’ Like Tiger Woods would say, ‘I’m above the culture,’…And that same person when he’s playing golf, and playing great, [he’s] protected. When you’re not, they’re gonna put pictures of you drunk driving and embarrass you. That world will eat you up and spit you out.”

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Review: “Remember I told You”
By Niy Birden

Dancehall, dubstep and EDM have created a whirlwind of hits for mainstream radio. This has been happening since the 70’s, but with the era of technology and live retweets, when there’s a hit,there’s a hit. For the song “Remember I Told You”, however, this hit is much more interesting due to the roster of artists featured.

Nick Jonas, the legendary ex-Jonas Brother hailing from the teenage stardom of Disney Channel, has come such a long way. From Disney rock, to young-but-still-impressionable rock, and now to R&B and Pop, Nick actually has quite the discography on his hands. While he has only managed to get genuine hits since the start of his “Chains” and “Jealous” year, the hits he make are charming, upbeat, and, if you’re like me, something that you probably wouldn’t mind listening to.

He’s managed to pair with a lot of notable names in the last few years (including Mike Posner, who joins him again for this song), but for this new release, he’s tapped into a little old school and a little new school with sorta-newcomer Anne Marie, who has her first U.S. hit this year with “Alarm” and pop heartthrob Mike Posner, who you might remember from his earlier hits “Cooler Than Me” and “Please Don’t Go”, or more recently, “I Took A Pill In Ibiza”. So what can come from two veteran artists and one newbie? Electro gold, apparently.
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By Niy Birden

There’s something so timeless that comes from a feature with veteran musician Pharrell Williams. Perhaps it’s the endless influence of old school R&B? Perhaps it’s his open mindset? Or maybe it’s the fact that somehow, he really hasn’t aged at all that much? Who knows. But no one can deny: he has a certain Midas touch. He’s even managed to make a traditional EDM DJ be able to sound like a down with the culture disco-clubbing goer.

In all honesty, the only real hint of what most people know of Calvin Harris that shows in this song is actually the soundscape in the very beginning, before any voices come through. But for a DJ like Calvin, this is actually a very good thing. Like Pharrell, Calvin Harris has created a genuine career from his versatile sounds. Pharrell opens up with his classic “Hey!” and immediately the fun begins. One thing that is notable about Pharrell is that he has this impeccable way of always making the listener feel like he is talking directly to them.

The muffled organs and 4 on the floor drum beat take you right back to those early California, rap/song combo, ‘90s-2000s hits he so masterfully created, and he starts by giving you that charming talk that he usually does on collaborations: “Hey!/Well nothing ever last forever, no/One minute you’re here and the next you’re gone/So I respect you, wanna take it slow/I need a mental receipt to know this moment I owe/Do you mind if I steal a kiss? (Chop, chop)/A little souvenir, can I steal it from you?/To memorize the way you shock me/The way you move it here (Hey)/Just wanna feel it from you (Hey)”. So you might get a kiss stolen from you, but at least you’ll be gettin’ down.
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