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It is not an easy listen. There's no good time for a harsh G-funk synth whine, but that's sort of the point. Music doesn't have to be pleasurable, and Staples knows that. Is he going to be the leader of a new movement in rap? Who knows. It's possible, but it's not guaranteed. Whatever does end up happening, "Blue Suede" is a line in the sand.

Either you're with him, or you're part of a hostile America. Maybe that's a bit extreme, but maybe that's the point we're at—especially when everything else feels like a dead end.

To share a song with Young Thug and not be made invisible requires charisma and stamina, but most of all, a huge amount of not-just-for-show confidence. I went from rags to riches to a feature with T-I-Phe says before name checking the King of the South two more times. Tip plays conductor, exclaiming Turn it! Springing to life with the combined energy of Thug, T.

Don't worry whether or not you're able to sing along perfectly with every syllable. Drinking non-stop for two days? All good! Wearing pasties or glitter in lieu of clothing? No problem! Wanna wiggle your butt in front of an wheeler? The more cheeks, the merrier! If you look closely enough, for a split second, you'll find me yes, me doing all of the above. I can testify to you first hand that the soca star's truck did indeed have the wickedest vibes and baddest sound system on the road.

It was sheer fate, and drunkenly stumbling across an open field, that landed me at the foot of Bunji's truck, jamming to his massive hit long after all the other trucks had cut off their sound and dimmed the lights.

And bless the island of Trinidad for not giving a fuck about late-night noise ordinances. Read an interview with Bunji Garlin. If reminded us of anything, it's that racism and patriarchy are everywhere, and no more visible than in our streets. How you carry yourself and—terrifyingly—whether you will survive them hinges to an alarming degree on your race and gender. In her flat, accented tone, Copeland addresses the titular young girls, telling them that they should sneak out at night, meet up with their friends, and take the streets like they own them: Together you're strong.

You walk the streets, face the city, face the night. The city is yours. It feels radical—it's not easy to imagine being a young female with such a healthy degree of entitlement—and it feels alive. It's also a jam, with Actress' stark, cyclical beat providing the perfect framework for Copeland's call to arms.

The grinding, metallic sounds recall the giant machines of the industrial era, an eerie echo of a time that gave birth to the social norms that continue to constrain us today. The song is a sparse, humming, acoustic pop ode to never losing faith, but it also comes across as a tongue-in-cheek response to anyone who's misunderstood Cothran's songwriting as little more than a soundtrack for wallowing.

He writes sad songs, yes—and in some ways this is another one—but there's a bleak kind of comedy to Cothran's art, and as the strung-out optimism of "No More Sad Songs" demonstrates beautifully, there's also a lot of hope.

Inpop music turned to moms. Pharrell, riding the wave of 's "Blurred Lines" and "Get Lucky," somehow wrote a song even bigger and more mom-friendly than either. John Legend, as mom-approved as Jif, scored the first number one pop hit of his career. Meaghan Trainor shot from obscurity to stardom by turning rap into a sock hop. Taylor Swift revealed a new look with her most momspirational single ever, which nicked the backing vocals of oldies records.

Nick Minaj had the most raunchy pop hit of the year, but even that leaned heavily on a song that any Bar Mitzvah DJ knows will draw moms to the dance floor every time. And Sam Smith might have triggered more mom texts than any of them.

But my favorite song for moms of was "Am I Wrong," which has hung around the top of Billboard's Adult Contemporary chart for half the year. The song has clear roots in Africa's pop-driven Afrobeats movement, but with the tempo slowed down and acoustic guitar plucks pushed forward, it gave me instant nostalgia hits of riding in my mom's car as a kid and hearing Babyface and Eric Clapton's "Change the World" hundreds of times.

Unlike some of its aforementioned contemporaries, "Am I Wrong" is not mommified as a marketing tactic. Instead it has an organic momness: wispy guitars, hand drums, and some sweetly sung, passionate vocals. Moms, as they forever will, deserved it. Adam Bainbridge's second album as Kindness is titled, and concerned with, Otherness. Robyn's made a career out of drawing outside the lines—refusing to be defined by culturally acceptable ideas of womanhood on "Who's That Girl?

Bainbridge's scratchy, patchy funk and ribcage-opening organ tones give Robyn the freedom to place her feet to a different beat, and we get to see another side of her in the process—she is calm, patient, wise. In return, Robyn's easy pop intelligence is the glue that brings the song to life: her vocal licks hug the intentionally raw corners of the song, like she loves it inside out.

It makes me think about all the people who help me listen and grow, and that's a pretty great thing for a song to do. When I saw Shy Glizzy listed as one of the few features on Lil Boosie's October Life After Deathrow mixtape, it was a small but reassuring moment, like, "Oh, right, rap is doing just fine": a legend who knows precisely how to use his weird voice is recognizing a younger, fairly obscure guy who wields his own weird voice as a similar weapon.

That an introspective DC sing-rapper got played on national radio a lot in with his confidence-booster "Awwsome" is encouraging on its own. Glizzy has proved himself, over the past couple years, the most promising of DC's new generation of street rappers who talk trap shit over beats that could probably be pegged as "cloud rap," if that term wasn't kind of embarrassing at this point. He's still a moody guy, though, and sometimes his most self-congratulatory lines feel like they're compensating for deeper anxieties.

That's part of why "Awwsome" is so captivating: for a song about how great he is, Glizzy sounds weirdly bummed out.

But those are the times you need to tell yourself how fucking awesome you are most of all, and Glizzy gets that. No disrespect to Kendrick Lamar, but in a perfect world, this would've been the uncontested choice for the NBA season theme song. A few years back, after the acclaimed studio guitarist and criminally slept-on solo artist Blake Mills started playing this song live, someone said it "might be the best goddamn country song I've ever heard.

It captures a feeling and sound that spans generations, committing to record all the subtlety of Mills' instrumentation—no one makes the guitar seem so much like it has a soul as him—and his equally unsubtle plea, repeated a gut-wrenching 16 times: I know I fucked up, I know I fucked up, I know I fucked up… —Duncan Cooper.

Through the distorted, genre-subverting laptop music he releases as Ricky Eat AcidSam Ray latches onto things we'll inevitably recognize and things we probably won't.

It's not even totally a health thing … you just have to live with so much urgency," Ray told FADER in an interview this year, and "In My Dreams We're Almost Touching" reflects that jittery existential urgency, through Album) repetition of that familiar sample and through all the emotions it drudges up.

Two of the major narratives in pop music this year are hilariously correlated, though it's a chicken-and-egg question as to which came first. First, women dominated 's pop charts: for the first time in the history of the Hotsolo female artists filled the top 5 positions for six weeks straight.

It's worth noting that the vast majority of these women were white. Meanwhile, the overarching theme in male pop and often, life in general seemed to be blatant pettiness. And if was the year of the petty dude, Chris Brown and Big Sean were its poster-boys. I'm not sure who Big Sean thinks he is kidding when he assures his ex that he's got a million trillion things I'd rather fucking do —that's right, happily married Naya Rivera, a million trillion!

And while it's tempting to try to unpack why Breezy would feel okay whining that these hoes ain't loyalit's best to just let Keyshia Cole, Mila J, Da Brat, K. Michelle, and Lil Mo speak in his place.

If was the year women thrived and men sulked, at least the latter gave us some bangers to soundtrack our shit-talking sessions. In an interview with The FADER at the beginning of this year, London-based artist Benjy Keating, aka Palmistryelaborated on what he meant by his frequent use of the word "emotional," and it was a lot less emotional than you might expect.

He got it from a group of Chilean MCs he'd been collaborating with, he explained, who use the word casually as an intensifier: "They say it in a jokey way. You could have a hole in your trousers and they'd be like, 'That's an emotional hole. He repeats various configurations of you give me that something ; it's hardly an original sentiment but never more charged than in Palmistry's hands.

Read an interview with Palmistry. All twinkle, swagger, and slap, Snootie Wild's "Made Me" veered just enough from the DJ Mustard template to stand out on the radio this summer. The Ugandan singer Eddy Kenzo has gone viral on the English-speaking internet twice, without much support from local or international music press.

First with 's "Sitya Loss," which was shared by Diddy then syndicated on Vevo, and then again in June with a one-shot video for "Jambole. In East Africa, Kenzo's success has been met with some criticism—he's an abomination for speaking English poorly, middle-class critics said. After his mother died when he was 5, Kenzo grew up a street kid, out of school and selling soda at soccer matches. Maybe try a jumping split? Meridian Dan is a boxer, and you can hear it in his music.

His enunciations are like gnarly uppercuts, his flow moving swiftly from verse to verse with a practiced nimbleness that probably works wonders in the ring. The huge success of "German Whip" marked his transition into full-time MC, and rightly so: it's a real monster of a tune, bringing grime's incredulous and oppositional tone to a heavy, seriously contagious trap beat, courtesy of The Heavytrackerz.

The track's two guest MCs find totally different ways of approaching the beat, and both their verses kill it: the way JME says not in Berlin ; the rhythmic cadence of Big H's assertions. Like the best anthems, "German Whip" captivates in a way that's sort of beyond language; it's just a pure psychological hook—a gift that keeps on giving, even 50 listens later.

At its cold, brassy heart, Son Lux's minimalist single "Easy" was all about power—specifically, about finding power in the places and moments you might least expect it to exist. It depicts a hardened person, someone trying to assert with bravado that their loneliness is an active choice, even as their sadness stings through the core image: pull out your heart to make the being alone easy.

It seems like a mature choice, then, for an year-old pop star to lend her vocals for its re-incarnation this year, but the words "mature" and " Lorde " are so connected that one practically AutoCompletes the other.

This year, as she explained to FADER, Lorde embarked on one of the most ambitious projects available to a musician—let alone to one not yet out of her teens—in curating the soundtrack for the latest installment of the Hunger Games franchise.

The names on her call sheet? Kanye West, Diplo, and Ariana Grande. If you want to talk about power, let's talk about Lorde. On the reworked "Easy Switch Screens ," her distinctive voice—which, even more than usual, bleeds out of its edges like a watercolor painting—rises above Son Lux's newly insistent beat, and a frantic middle eight gives rise to a demonic, distorted guitar solo.

It all amounts to something more knotted than the original, and yet Lorde's stony-faced presence is a blade cutting through. In her willingness to mould herself to new and surprising challenges, this year Lorde proved that "teenage female vocalist" can be one of the most influential positions to hold in the world. Charisma, I've often thought, has everything to do with contradictions. A person who is prickly on the outside but at the same time unusually generous tends to stand out more than folks of the "what you see is what you get" variety.

You just can't wrap your mind around them. Philly rock band Nothing edged into my awareness sometime in the second half of last year, preceded by the disconcerting biographical detail that frontman Dominick "Nicky" Palermo had stabbed a guy once, then started the band after he got out of jail. When I heard this song for the first time—despite that bone-chilling backstory, or maybe because of it—I couldn't get over how sweet it sounded, with that nursery-rhyme-simple melody, and those guitar lines so overloaded with reverb and distortion that listening to them feels kind of like sinking into a cloud.

It's deeper than scary and deeper than sweet. The least edifying, least dignified of Toni Braxton's wishes isn't the hyper-specific hope that her ex's new woman cheats on him with a year-old; nor placing the curse of a male child on her, Maleficent-style; nor even the double-take gross-out imagery of I hope she gives you a diseasea line that Braxton had to fight her scandalized collaborator Babyface to keep on the song.

The most uncomfortable moment is when she admits at the song's close that all of this is in service of winning the bastard back.

She's been bottled up with these thoughts for a long time; releasing them has enabled her to rediscover her old voice. In our eternally love-obsessed, Bridezilla -watching culture, finding new ways to talk about romantic commitment and the archaic institution of marriage can be a tough task, so Toronto's Alvvays deserve to be commended for making a song about getting hitched sound sweetly romantic without dipping into treacly, sentimental territory. Over three glorious minutes, vocalist Molly Rankin makes a jangly, fuzzed-out pitch to the songs titular Archie on why the two should Forget the invitations, floral arrangements, and bread makers and just run away to sign some marriage papers.

It's hard to tell if this bit of effervescent guitar pop is about cutting out all the bullshit and building a life with someone or simply a charmingly desperate plea for commitment, but it doesn't matter—the song is super sweet with just the right amount of sour.

Cole Rachel. Two years on from her breakthrough album, Visionswhich plowed a line between pop fantasy and industrial reality with a charmingly scrappy sense of poise, Grimes released a song that anyone paying attention should have seen coming.

She'd long talked about wanting to produce bangers, but that didn't stop the emoji gasps. Of course there were going to be haters. First in line was Rihanna, who Grimes said turned down the songwhich Grimes and her producer pal Blood Diamonds had originally written for her. But RiRi's loss is Grimes' gain: "Go" wobbles with a fantastically infectious confidence.

The melodramatic piano, the silky calls into the void, the tough-as-nails stabs—it has "epic" stitched into every note. Whether the song is an indication of a new direction or just a perfect detour, I for one Invisible - Taylor Swift - Taylor Swift: The Spark That Lit The Flame (CD be requesting it at every Christmas party ad infinitum. Willow Smith has not yet made her best song. To be honest, her cover of King Krule's "Easy, Easy" might be the crown jewel of her output, a great song in it's own right that gained new depth from her coy, inquisitive tone.

She swims through buoyant production with a baby-faced falsetto and talks herself through the big ideas swirling in her head: our consciousness is all there is, she declares, or maybe discovers. I'm excited to watch her grow. Here are some things that make your eyes red: smoking weed, lack of sleep, and crying at the state of the world we live in, which is something I imagine a lot of people want to do these days.

It's hard to pretend that everything isn't rapidly sliding into some kind of hatred-filled pit of selfish decisions. We can ask a lot of questions of the people in charge, of ourselves, of those childhood idols that live long enough to turn out bad—but we probably won't get many answers, because they don't exist.

We do have War on Drugs though, who made an album of hazy anthems with this year's Lost in the Dream that long for a simpler world while admitting it doesn't actually exist anymore. None of those songs do it better than "Red Eyes," which is the soundtrack to the road trip you'll never take, to the romantic moment that might not ever happen when you realize you love all America has to offer. Am I being cynical?

Am I as stressed about it as I sound? Not really—a song like "Red Eyes" does wonders for restorative optimism. Read an interview with War on Drugs. Eventually, Bueno recorded it with the Cuban reggaeton duo Album) De Zona and made a video in Havana that found an audience online. So Iglesias reconsidered and recorded his own interpretation, which hit Latin radio in Miami in February.

Big Shazam and iTunes numbers followed, signaling that the song, which is in Spanish, could be a global pop hit before it ever reached Top 40 stations. Now there are five versions of the song: Bueno's first version, Iglesias' Spanish take, a Spanglish rendition featuring Sean Paul, and two more versions in Portuguese—one's for Brazil, the other for Portugal.

As detailed in a recent Atlantic storywhile labels once ordained then mercilessly pushed hits to listeners, now data from places like Shazam drives the pop market, predicting smashes and shaping radio playlists.

Since people like what they already know, the Hot 's songs now sound more alike than ever and stay in heavy rotation for longer. So the monstrous success of "Bailando"— million YouTube views across versions, at the beginning of December—makes clear what American record executives should already know: in a country where a quarter of young people are Latino, a song in Spanish can be as comfort food as Taylor Swift.

The Atlantic article calls out hip-hop and country as genres that, once proven especially popular with Shazamers, were more heavily incorporated into pop. It didn't mentioned Latin music, and if we're paying attention to what "Bailando" signals, that's an oversight.

I'm not really a film buff, but if Kevin Gates ' life is like a movie, it'd be The Notebook —which is also his favorite book, according to "Arms of a Stranger. It was beautiful. But the the intimate, mundane details in its narrative are what make it great. Gates is sharing stuff you'd usually only tell someone you really trust, like how your son is about to be born but also you haven't really been sleeping and answering your phone just feels like a lot.

At the end of "Movie," it's revealed that the song was intended for an incarcerated friend, to let him know what's been going on. Getting to listen to that conversation? Better than watching a biopic, any day. The thing about a chandelier is it's not exactly built to hold the weight of a human.

This delicate intersection between strength and fragility is where Sia finds her magic time and time again. It's "Chandelier," however, that's Sia's most perfect expression of the surge of manic force that is needed to overcome crippling anxieties and addictions. It says, "Hold on, I can't do this—oh God, I'm doing this! Read an essay about Sia's powerful vanishing act.

InFuture dropped his second album, already a veteran. He'd already spent the last five years recasting Atlanta rap in his image, so it makes sense that, in a year dominated by the trap culture he lived firsthand, he flipped the script.

On "Move That Dope," he paid homage to the '80s dope boy sound of his direct lineage. Of course Push went crazy on a track this coke-dusted, but it was Pharrell sneaking in a Clones-level verse amidst his happiest 12 months yet that really had us flipping: how is The old Skateboard P that's your favorite, me and 20 girls doing yoga naked not Bar of the Year?

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The Odd Future Tape Vol. Odd Future [30]. Esperanza Spalding [63]. Tanlines [64]. The All-American Rejects [65]. In one circle there are some dancers going clockwise while another ring of the circle is going counterclockwise. This is counterproductive and is always used for negativity. Then finally I believe they form a labyrinth since on the right side there is a small opening or entrance just like you see in mazes or labyrinths.

Plus underneath their feet is a six mile underground labyrinth. Labyrinths are symbols which can symbolize one's spiritual path in life and are mazes that have been used to entrap and also even for sacrifice.

This energy is directed at you, the listener, because Katy is singing the song in second person commanding you to ignite, using the power of suggestion. In fact she sings the words "you" or "you're" about 35 times You just gotta ignite the light Many people will sing along to the song and internalize the subconscious message.

Countless others who watch the video will remember the images of the people igniting perhaps with a positive association reinforcing it, but it is being bound with the symbolism of the sun imagery. She sings another verse and then repeats the chorus, but this time she sings you gotta ignite like a lightning bolt and ignite the "lie" she nevers annunciates the 't' in "light". Other souls take note and follow suit. The lion has always been a symbol of the sun in heraldry because the mane looks like the sun's rays.

They all form a circle which looks exactly like the buddhist reincarnation symbol of the wheel of rebirth or the wiccan Wheel of the Year which breaks the circle up into the eight wiccan holidays. This circle with eight spokes is also called the sunwheel. Katy is spinning counterclockwise. The dancers rotate counterclockwise which is called Widdershins and is used for negative spell casting.

Once again the dancers dance counterclockwise in the form of a left facing sun swastika with its arm tips bent to the left -- once again a negative use. Finally they create what looks like a labyrinth with an opening at one end. They jump as their sparks ignite perhaps reenacting the ancient celtic practice of jumping over the fire.

They all burst into flames and give a fireworks display over the golden dome of Buda Castle. This video is nothing but a magical spell of witchcraft using the wiccan Wheel of Year with several symbols using the counterclockwise movement which is called widdershans. The second time she sings "moon, moon, moon" they show a close-up of the dome which is now in golden light because the sun is brighter than the moon.

If you look at the google satellite map image of the top of the tower on the building where Katy stands at the beginning of the video ready to jump, you will see that it is a sun wheel. A couple of the spokes have been moved, but you can see there are 8 spokes and they are all intact during the shooting of the video.

As she looks over the balcony, the building across the street has a white star all the way to the left side and there is a gold rising sun in one of the door entrances on the right hand side. The macabre images in this video when the hearts burst or ignite are very similar to when the souls were taken up and renewed in the fiery ritual of Carousel in the sci-fi movie Logan's Run.

The participants of the ritual in the movie would all chant 'renew, 'renew' as the ascending spirits would ignite into flames. Katy advises you to ignite your inner spark, go boom boom boom, and become a firework that shoots across the sky.

The first subject in the video is a chubby girl who Invisible - Taylor Swift - Taylor Swift: The Spark That Lit The Flame (CD too self-conscious of her body to jump into a swimming pool in her bikini. The next person shown is a sick or dying cancer patient in a hospital. As she walks down the hallway along the right wall there is a jester crescent moon with balls hanging down just like in the hats that jesters wear and there may be a skull above it. There is no other decoration in the hall, just the moon jester.

The last person is a magician who is being harassed by thugs, but uses his magic to survive. The t-shirt of the middle hoodlum harassing one of the heroes of the video reads "nion". In Celtic astrology which wiccans and druids hold in high esteem, Nion was a mermaid or siren, of the god Gwydion, a lunar deity, symbolized by the ash tree whose symbol was the trident or sea-horse or mermaid.

Gwydion delights in trickery and was the orginator of April Fool's Day and was a powerful sorceror magician, hero and trickster of Welsh mythology. One of two types of Celtic astrology is based on a lunar calendar and is called the Beth-Luis-Nion calendar which begins on the Winter Solstice. Nion is the ash month from February 18th to March 17th. Nion is also probably where we get the word 'union'. In fact a band named The Union has an album and song called Siren's Song.

If you pause the video at just the right time you will see that the middle thug has vampire fangs. Also the hoodlum to his right in the hood looks like the evil looking jedi warrior, Nion, in the Star Wars movie series. Why did the director choose a magician who practices magic for a character? Notice the mentioning of the moon as the heart or soul goes boom and then showing a golden dome like the sun. Labyrinths are a symbol of the spiritual journey or path one takes in life or the afterlife.

They also symbolize a maze or entrapment and one famous one in Greek mythology was used to imprison a minotaur. People were even sacrificed at a labyrinth in Knossos. In the video they all run to the courtyard at Buda Castle which is signifying running to the labyrinth beneath their feet. The song even refers to being underground in the first verse. I think the video and song show that at death our souls are ripped apart R.

We are then renewed on earth which is a matrix, maze or prison. She has a tattoo which can't be read, but says "go with the flow". Witches believe in directing and allowing the summoned energy in a ceremony to flow inside of them and through them during a ritual. Note in the google satellite map image the bank tower uses a sun wheel with a couple of spokes removed perhaps Yule and Imbolc and placed in a triangle and it also uses a crossed axes logo which is a symbol of fascism. A double-headed axe is called a labrys and is associated with labyrinths.

The girl who is self-conscious about her body has a huge solar globe at her table and the fraternity party she is at bears the greek letters gamma gamma gamma -- Gamma ray bursts are produced by the sun during solar flares. The sick bald child is in Szent Margit Rendelointezet Hospital. Szent Margit is St. There is even a Mary Magdalene temple on the site. There are the independent symbols of the jester moon and the mermaid Nion from Celtic astrology whose god is Gwydion -- a trickster moon god who was a master magician and created April Fool's Day.

Also the video begins with the sound of a siren. And if that's not enough to convince you, the balcony Katy stands on according to Google satellite maps is Hell Energy, a company that produces Hell Energy drink and the Reiffesen bank which is to her left at the corner of the building uses as its corporate logo a labrys doubled-headed axe or crossed axes that are a symbol of fascism, not to mention the sun swastika and the counterclockise circles.

The video was released on Thursday, October 28th, for the Halloween weekend which is the Gaelic harvest festival, the biggest holiday for witches. The witches' Triangle of Manifestation which is the symbol Jay-Z, Rihanna and all the rappers give needs two points space and time in order to manifest sohe video may use Hell Energy and a labyrinth for the space and Halloween a. All Souls Day for the time. So the video depicts what happens to souls who go to the light.

The energy is stored there and then most likely during a solar eclipse sent to the sun to be ignited as solar flares directed back to earth. Baby, you're a firework Come on, let your colours burst Make 'em go "Oh, oh, oh" You're gonna leave 'em all in "awe, awe, awe". Boom, boom, boom Even brighter than the moon, moon, moon Boom, boom, boom Even brighter than the moon, moon, moon".

In case, you think the labyrinth symbolism in the above review is a stretch, consider the fact that she uses another labyrinth in the video "Wide Awake". She is trapped in a dark underground labyrinth or maze. She is finding her way through it by use of an illuminated torch which is symbolic of the light of Lucifer or the torch of Prometheus.

She finds an exit down at the end of a hallway. She sings over and over in the song how she's wide awake, or illuminated. You're still asleep apparently, but she's wide awake. She emerges from the black and white deary underground labyrinth into a world of color, another dimension.

At the end of the video there is a golden doorway through which she will presumably enter and hopes you do, too, as this is programming to exit from the labyrinth or trap she is in. In a live performance she sang the song dressed what can only be described as a spirit with a long tailed white dress as she swung next to a moon.

In the song Hot 'N Cold, Katy apparently is angry at an ex-boyfriend who is wishy-washy, but the problem is she sings the song in the second person which means we get to hear her sing it to us as if she is mad at us.

She sings the word "you" or "you're" over 80 times!!! And starting at around into the video she angrily points at the viewer about 20 times as if she is using her index finger as a magic wand to cast all her negative energy onto us. We've all been told it's not polite to point. If someone went around pointing at people like this in real life it would cause fights, but for some reason they get a pass because they are rock stars and hey, it's only a video, right?

The rock band Rush in their song "Presto" sing, " I'm not one to go pointing my finger If I could wave my magic wand when I radiate more heat than light".

The background singers sing "if I could wave my magic wand" while this is sang. In the video Katy yells in his face, gives him the evil eye, points at him, crosses her fingers, waves her hands at him as if hexing him with a spell, slits her throat with her hand a few times. The viewer is also assaulted. She points at us about 20 times once with her thumb and index finger shaped like a gunflicks her hands at us, and at one point a background dancer swings a baseball bat at us and points it directly at the camera.

At one point in the video Katy and her angry friends carry this guy off as if to perform a ritual, surround him in a circle with baseball bats and then start walking around him in a counterclockwise motion. This is what witches do when they want to cast a negative spell. He is finally knocked to the ground. Notice the square of red neon lights behind her are actually a top-down view of a pyramid missing its capstone. As you can see in another photo she is wearing a pair of earrings which are a pyramid topped by an orb either the sun or moon presumably.

It's not bad enough that her songs are permeated with images of promiscuous sex often homosexual in naturedrinking, irresponsibility and rebellion. In her song "Ur So Gay" she sings "you" or "you're" over 60 times and she makes dolls that resemble her and her object of hatred to reenact the scenes in her life -- almost like voodoo dolls without the pins! The video "Part of Me" is almost a commercial for the marines.

In it the viewer is assaulted in a number of ways. We are punched throughout and kicked with the bottom of a heavy jackboot. Also from another song of hers: "I can feel this light that's inside of me growing fast into a bolt of lightning I know one spark will shock the world so I pray for a favor like Esther I need your strength to handle the pressure I know there will be sacrificebut that's the price". She began the performance encased by a crystal ball or a domed globe. All around her were ominous Satanic looking horned beings.

The globe or dome lifted and she began to sing. She sang from a mound of rocks and was lifted downward and layed back as if to be sacrificed. She did a pole dance around one of three wiccan brooms. On her front was a red cross which cetainly alluded to the cutting open of a chest and the splaying of a heart.

A dark horse with glowing red eyes bowed at her feet. Two darkly clad figures held up a jar of some kind of powder and then sprinkled it in a circle all around her and the altar. A ritual fire was lit and she was burned at the stake in a mock sacrifice.

At the end of the song Juicy J held up his arms in a Baphomet like pose, with his arms extended upward like horns. This video was produced by Stargate on May 2,the day after Beltane. On the surface this seems like a sweet love duet with beautiful scenery, but the video and song are all about lust and seduction and use themes of the siren and sacrifice. The video is filmed in the abandoned ruins of Chichen Itza, Mexico. Scenes vary back and forth between Jennifer relaxing on the beach at night under the stars, prancing around in the sun, and cavorting around in, on and around a Mayan pyramid.

She writhes around in a snakeskin outfit on the steps of El Castillo, the Mayan step-pyramid temple of Kukulkan, a serpent deity. Is this where the Ku Klux Klan got their name? This pyramid was used mainly for human sacrifice and ritual to appease the serpent deity with blood. The video begins with Jennifer relaxing on the beach holding a Koma Unwind anti-energy drink.

A very attractive shirtless man comes running toward her from out of the sea. In mythology Aphrodite came out the foam of the sea. Aphrodite is also known as the goddess Venus who is also known as Lucifer. They supposedly got the Brad Pitt of Mexico to do this role. Beauty was not a problem. It then cuts to a mayan pyramid with dark ominous clouds behind it and then Jennifer doing a snake like dance with her arms outstretched in a silver sequined reflective dress with golden light as a backdrop.

She is chanting "na na nanna nanna na na" Lil Wayne, sings, "Hi, I'm Tunethe man on the moon " and then sings about a "Rest room" and "young money".

Jennifer then sings how she can't defend herself. I tried but I had to surrender. Your star got me under the spell I'm trippin' and I can not get over, I feel lucky like a four leaf clover Then she sings the hook of the chorus repeatedly: "I'm into you, na na nanna nanna na".

She's into the moon man. She runs to the pyramid and does many seductive poses on and inside of it. In one pose she is on her back and clearly has snakeskin clothing wrapped all over her. She continues singing the next verse, "I'm strong, I bring the fire on Sharp shooter, you can call me the Zion I'm fallin' for you, I need a parachute Clouds are shown rushing by overhead.

Next the song goes into a primitive tribal sounding instrumental break and Jennifer and each of her dancers form the shape of a heart with their hands. At least four times throughout the song she does a ripping out motion from her chest in a blood eagle pose and then she locks arms with her dancers and pulls them down with their backs arched toward the altar. Now the scene is of Jennifer in the foamy sea and she forms a 'V' shape with her fingers pointed toward her throat to perhaps symbolize Venus who came out of the foam of the sea or something worse.

She goes back to singing the catchy hookline, "I'm into you. Then she goes back to singing "nanna". At one point she covers her right eye only with her forearm. Throughout the video she undulates in very seductive poses. She repeats the words "I'm into you" several times at the end. The last frame is her in her moon man's arms with a background of light behind them. So many elements of the theory of this website are present.

A being or Tune on the Moon seductively lures Jennifer with a spell like a siren with his star. She loses control and is into him The moon. She sings "na, na, nanna, Nanna was the sumerian moon god. She then is on a pyramid built for sacrifices to a serpent god. She brings the fire on because she is strong pure and would make the perfect sacrifice. In the video as a whole there are well over a dozen shots with the golden sunlight as a backdrop and probably a half dozen with the sun almost blinding in intensity.

She makes a heart shape and several times rips her arms back away from her chest in a quick motion and also clenches her hand in a tight fist as if signifying squeezing the blood out the heart as a mayan priest would do. She lies on her back on a stone slab as if to be a sacrificial victim. Also the pyramid was designed so that a serpent of light would be seen crawling down the pyramid when the sun was overhead.

Chichen Itza lies between two wells one which was considered sacred and the other profane. A white road leads from the sacrificial pyramid past what is called the Temple of Venus to one of the large sinkholes called El Cenote Sagrado which means the Sacred Well.

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