And we have the post-Snowden, post-drone rap you were looking for. ![]() On Twitter, the artist herself suggested that the massive label sat on the video for days before releasing it.īut here it is. No wonder the video was controversial before it came out: M.I.A.’s record label, Universal Music Group, uploaded it on Monday, then pulled it, then uploaded it again as fans complained. “1984 Is Now,” says text near the video’s epileptic end “Yes We Scan” revolves around M.I.A.’s body in image-macro-font. Interscope Berlin Music Video Awards 2015 Official Selection. Meanwhile, half a world away, programmers order luxury food to be delivered to them on their phones. Maya Prettybird for Double Bubble Trouble by M.I.A. The future’s just the present plus more time, so the full range of human actions-horror and triumph, justice and injustice-will be possible there. But you can also get shot there, and you can shoot other people. You can program quadcopters and shoot video from them. You can get drunk in this half-broken, bricolage future you can dance in your apartment with friends. You can program drones and shoot video, or people, from them. In this half-broken, bricolage future, you can dance in your apartment with friends. It’s an extension of the present, really, and as such, it’s full of failed public housing, improvised weapons, and streets turned into canals. The future, instead, is compiled from parts of the present. If there’s a set of common assumptions beneath the diverse set of design references M.I.A.’s making in “Double Bubble Trouble,” it’s that the future won’t look like a city square of (mostly white) Americans hanging around shiny ziggurats while tapping on their glassy phones. ' 'This is like an undergraduate design fiction video.' - Justin Pickard May 19, 2014 Part of M.I.A.’s appeal, part of her artistic identity, has been pop for “the other,” pop that looks and sounds like the millions of people whom current geopolitics ignores or exploits-and pop that, crucially, can represent them. ![]() And a menagerie of global fauna, sometimes remixed to emit neon rainbows: elephants and jaguars and parrots and Boston terriers. And the choreographed quadcopter-style drones. And the cheap and programmable microprocessors called Arduinos. As do all sorts of design objects, like this drone-spotting guide by the artist and designer Ruben Pater. “This sounds like science fiction, but to some, it’s not so far-fetched.”ģD-printed guns-sometimes in bright, creamsicle colors-appear throughout the rest of the video. ![]() “What if you could make weapons like these-in your own home, using what’s called a three-dimensional printer?,” asks a male announcer-type. If you haven’t already, be sure to check out M.I.A.’s remix of Beyoncé’s “Flawless”, which she’s re-titled “Baddygirl 2”.The video opens as an infomercial for the 3D-printed gun. live on her upcoming summer tour, which features dates alongside Solange and ASAP Ferg and festival sets at Sasquatch!, Glastonbury, and Les Eurorockeenes. The video culminates with images of drones, cameras, and the phrase “1984 is now”, making for a potent call to action against the NSA and other forms of Big Brother surveillance. Watch it below.Ĭatch M.I.A. Today, she unveils the track’s accompanying music video, and it’s just as out there, albeit much more political. The self-directed clip depicts a gang of rebels armed with guns made using a 3D printer, as well as various scenes of protest, including a group of women wearing burkas illustrated with images of their faces. stopped by Late Night with Seth Meyers in support of Matangi, delivering a truly zany performance of “Double Bubble Trouble” that featured, among other things, crazy dancers and a mini UFO.
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