I don’t like Chris Brown. For a number of reasons. I’ll lay those reasons out here. Continue reading
Miley Cyrus’s new song: A Capitalist Manifesto
2 Nov.
Ever since Karl Marxxx released that little Communist Manifesto thing, capitalism has been searching for its answer. We’ve known that our cause was right and that our economic theory could totally beat Marxxx’s economic theory in a three out of five street brawl scenario; the proof is in this map of the world that does not feature the words “Soviet Union” anywhere on it.
But we have struggled to articulate capitalism’s overriding ideology, and thus have failed to make a compelling case to impoverished parts of the world where residents see the ascent of China and feel drawn toward Marxxxism.
Then, Miley happened. Miley Cyrus, arguably America’s foremost mind on inexplicably being rich, has released her first foray into dubstep, and it is a glorious defense of American capitalism. It is, in short, The Capitalist Manifesto.
Officially the song is named “Decisions,” in a reference to the decision that must be made about whether to make penis with Joseph Schumpeter or Joseph Stalin’s mustache. As we all know, this is an important decision that every first grader must make.
The manifesto is technically produced by Israeli musician/DJ/thing/dubstepper Borgore and features Miley on “vocals.” Israel pretty much almost borders Austria, making this a clear allusion to Austrian economist Friedrich Hayek, who is largely considered the abusive stepfather of capitalist.
Now, at this point, those of you who listened to song (I FIGURED OUT HOW TO EMBED, I’M A SAVANT) will probably have noticed that cake is a prominent player in the song. If you chose to abstain from watching – after all, not listening to Miley is what my Health teacher meant when he said “abstinence is the only way to avoid STD’s” – just know that the line “bitches love cake” is featured prominently in The Manifesto. Released just months after Rihanna first popularized cake in her song “Birthday Cake,” it is apparent to anyone listening that Miley simply stole Rihanna’s idea and started selling it. If that’s not capitalism at its heart, then I’m not a savant.
However, the most capitalist aspect of this song is in the lyrics themselves. And while the song has only like four lines (of coke?!?!), they say all that needs to be said to defend capitalism: “I want it all, so I get it all/ I wanna eat the whole cake/I’ m not sharing, I’m not sharing/ You should have to learned how to bake.” In just 29 glorious words, Miley lays out capitalism at its core.
In capitalist societies, if you want it all, you can just take it all so long as you were born to a father who got rich singing about a biologically impossible “achey-breaky” coronary disease. If anyone questions this, blame them for their troubles. Tell them they are acting like “victims” looking for a handout, and say that they should have learned how to bake. And, if anyone even THINKS of discussing redistribution, simply yell “I’M NOT SHARING” until they die and go away.
In short, Miley lays out in one chorus what Mitt Romney just spent a billion dollars tryna hide. She succinctly and eloquently explains how American capitalism can be summarized by one simple phrase: “Bitches love cake.”
Well played, Miley. Well played.
Album Review: Extreme Measures’ “Extremities”
6 SepFounded four years ago by Dan de la Torre, Extreme Measures follows in a long line of successful, talented, and unbelievably peppy a cappella groups here in Evanston ever since the Northwestern University School of Music dean Peter “That dude who won’t stop belting Journey covers in Burger King at 1 am each Saturday” Lutkin popularized a cappella in America with the founding of the A Cappella Choir in 1906. Extremities is the exquisitely angelic culmination of a year of recording by the group (with production by Ben Lieberman), and is the greatest thing that my ears have had the good fortune to hear since “Born to Run” on vinyl. Featuring covers of acclaimed artists like OneRepublic, Gavin DeGraw, Yellowcard, Christina Aguilera, and the Backstreet Boys, Extremities has the power to transport you to a wondrously magical time in your life — right around 6th grade — and keep you there until the album finally ends, an experience you won’t soon forget.
The enchantment starts right from the beginning.
There are certain moments that occur right at the opening of truly great music: the rimshot before Dylan launches into “Like a Rolling Stone;” the riff of “Smells Like Teen Spirit” that channeled every conceivable emotion of a generation; and that moment when the beat finally drops in Beethoven’s 5th Symphony all immediately come to mind. But the opening line of Extremities, a cover of Yellowcard’s “Breathing,” is so stunning that it immediately warrants consideration as one of the best album-openers of all time. In the first few bars, Extreme Measures already establish themselves as the most illustrious a cappella group in America since four insufferable pricks from Yale first donned tuxedos and formed the Whiffenpoofs — who incidentally only have the second-most obnoxious name among a cappella groups at Yale.
But what makes this album so bewitchingly radiant is the caliber of the rest of the tracks furnished by Extreme Measures. Stunning and sublime songs like “Brand New You,” “I Don’t Want to Be,” and “The Call” all exhibit more pop sensibilities than if Hall & Oates got together with Huey Lewis to cover Rihanna’s discography. Each of the ten songs are probably catchier than the hypothetical musical lovechild of Michael Jackson and Will Schuester, and any random song you select will display more technical virtuosity in a three-minute auditory frenzy of delightful harmonies and resplendent melodies than John Coltrane could ever hope to produce in an entire gig. The vocal percussion is ravishing, production on the album is supurb, and the vocals mesh in only the most tantalizingly mesmeric combinations that make your heart (and groin) go pitter-patter.
Clearly, upon my first listen of Extremities I experienced a slight tingle in a particular extremity of my own. But multiple listens of the album can prove invaluable, providing a deeper sense of the true meanings behind Extreme Measures chipper vocals. In “The Voice Within,” for instance, the line “dum dum dmmmmmmm da da” subtly hints at a hidden darkness lurking in the hearts of man, which we all feebly try to cover up by surrounding ourselves with material goods and unsubstantial romance, while in “Ignorance” the interplay between lyrics about how much Hayley Williams likes change and more incomprehensible lines like “sjaw dot du chaut jot sjaw dot du chaut jot” evoke the inner turmoil that can arise in your soul when former loved ones start treating you like a stranger.
When the album comes to a close with “Sound of Silence,” you will probably be left with only your thoughts about the astounding beauty you just experience and a pool of your own urine — an unfortunate side-effect of aural pleasure as powerful as that produced by Extremities. Luckily, this predicament can easily be cured by purchasing more copies of the album. Scientific studies have already determined that owning a copy of Extreme Measures’ Extremities will make you five times cooler, six times more intelligent, and last at least 12.78 minutes longer in bed.
OVERALL RATING: Drip drip drop there goes an eargasm
Extremities by Extreme Measures can be purchased from iTunes HERE.