American Top 40 is meaningless. Never has a more efficient - and perfectly tuned - propaganda machine existed; and yet, none of it matters. Terrestrial transmissions transmute mere humans into viable consumers. Cross-platform viral marketing campaigns succeed in morphing the narrative of an established artist into a legendary snake-oil salesman. But the hit parade no longer holds any clout. The formula is public and pop no longer feels special. An odd single might give previously mundane azaleas new interest - err, controversy - but bandstands across the American nation remains cheapened. Nonetheless, bedroom alchemists continue to labor over the open source code in hopes of conjuring another mythical, magical figure...
...until then, the planet Earth has been visited by two extraterrestrial beings. Short of musical saviors, these inter-planetary creatures are no cause for alarm. No harm at all is meant. Before us are two aliens with a simple goal: to spread joy, provide entertainment, and infect craziness on a mission to turn the entire world into a mega-party.
The spaceship has landed. Damagical's kizomba origins are as murky as the smoke from whence they are introduced. These could be sons of Portugal or distant relatives of Planet Rock's inhabitants. Luckily both Pharao Naldanger (blonde dreadlock owner and cotton-candy themed trenchcoat wearer) and King of Love (loofah adorned, bow-tie wearing, earring visionary) have plenty of work to do. No time is to be spared on biographical details because a party that lacks any signs of life is currently taking place. No one is dancing. Attendees have not a reason to move! At which point the video's two heroes enter the scene. Damagical's two members - at least one of which can apparently exercise the power to self-clone at will - resemble T-Pain and Young Thug in both fashion and Antares affinity. Fortunately, it does not take long to notice the party has been saved from the brink of disaster. Even if the beat resembles zouk more than tarraxinha, Damagical's swagger is undeniable. The choreography is nothing short of obscene. Material idolatry, female objectivization, and 21st century western aesthetics are inseparable from the final product but the song is a banger. Not too long after the video has commenced, the group is gone. Pharao and King, we hardly knew ye; but here is to hoping that your sudden departure is cause for saving another public gathering.
- John Noggle
No comments:
Post a Comment