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More Tweet lyrics and MP3 downloads. 3 Smoking Cigarettes Lyrics 4 Best Friend Lyrics 5 Always Will Lyrics 6 Boogie 2nite Lyrics.Even when it was played in a condescending ethnic-joke burlesque of who those people actually were — even when it was pretty aggressively racist — the notion remained: Different styles sprang from different people. You had your “Latin” numbers, your Hawaiian ones, your “Asian” songs — light ethnic pastiches laid out cheerily, like an international buffet that serves falafel one day and schnitzel the next, never too bothered about how accurate the recipes are.There was a simple notion behind all this stuff, and it was the belief that music, like food, came from someplace, and from some people. A nation that considered itself very space-age and worldly enjoyed quaint spins on sentimental Italian music (“That’s Amore” and its pizza pies) and Trinidadian calypso songs about hard, simple labor (“Day-O” and its bananas).Singer titles one “F.U.B.U.” — or, “for us, by us.” Are you part of her “us”? The house music in Kanye West’s “Fade”: Does it make you picture the black Chicagoans who helped invent it or the club-going Europeans who embraced it? How does it work when a queer woman matches the sexual braggadocio of male rappers, when L.G.B.T. The other is that they’re doing this because the musicians are, too.A Japanese-American musician writes a song called “Your Best American Girl.” An R.&B. One is that, unbidden and according to no plan, they find themselves continually reckoning with questions of identity. There may be times when this fact grates at us, when it feels as though there must be other dimensions of the world to attend to “surely,” you moan, “there are songs that speak to basic human emotions in ways that transcend the particulars of who we are!” But if you look through the essays in this magazine, you may notice two things. Watch a mere silhouette of a human being dancing to music, and you can immediately guess things about who they are and where they came from.In 2017, identity is the topic at the absolute center of our conversations about music. How else do you create a situation in which, after decades of hip-hop’s being the main engine of pop music, it can still be a little complicated when nonblack people rap? That vexed thing we call “identity” leans its considerable weight on all kinds of questions: which sounds comfort us or excite us where and how we listen to them how we move our bodies as they play. The rest of us do the same. Artists have to figure out whom they’re speaking to and where they’re speaking from. Maybe decades ago you could aim your songs at a mass market, but music does not really have one of those anymore. Not the fine details of genre and style — everyone, allegedly, listens to everything now — but the networks of identity that float within them. But it has become obligatory for white artists who do (and who win prizes for it) to pay a public contrition tax to their black peers, whether it’s Adele to Beyoncé or, three years earlier, Macklemore texting (then publicizing) an apology to Kendrick Lamar for having won (with Ryan Lewis) the Grammys in the rap category. She was living it.Black people have never been necessary to make black music. Adele didn’t have to acknowledge that history — of a white industry’s crowning preference for white artists. The moment was poignant because it was earnest: Adele stood just a few feet in front of the woman she called her “idol” and spoke of how “Lemonade” had empowered her and “my black friends.” This was the sort of candor you usually have to wait for Kanye West to deliver, only with none of West’s biliousness, recrimination and, however myopic, sense of history. “Send My Love (to Your New Lover),” the second track on “25,” makes you mad that we live in a world where what happens at the Grammys can’t not matter. But when it’s just me and Adele — very good Adele, catchy-as-hell Adele — the triggers lock. And isn’t whaling pop’s whole point?Yes, certain cultural institutions have a habit of setting traps that trigger trauma. Some of the hooks, though, could catch a whale. What is classic skype for macThe plink is married to a kick drum’s heartbeat. O.K., cool.” Then comes the rhythmic plink of a guitar Lindsey Buckingham might have picked. (Why doesn’t this woman make more fast songs?)It starts with her saying, “Just the guitar. I must have danced to this song 200 times, in blocks of repeats. Treat her better,” she sings, going up a note and adding an extra, addictive breath to “lover.”Is this a black song? It moves in dance-hall time. “Send my love to your new lover. By the prechorus, her voice is flanked by other Adeles swooping in, on multiple tracks, to dispel the dismay of having dated someone with cold feet and to wish the best for this person’s next girlfriend. This song makes me feel ridiculous for reacting to institutional biases that pressure us into calling Adele a trespasser. In other words, “Send My Love” sets out to catch a whale. I love this song because it makes me feel strong — as strong as singing “We gon’ slay” any time Beyoncé does. It’s in the pews, the rafters and the aisles. And the voice itself has what can be only called soul. The other is the High Holy Days prayer Hineni — literally, “Here I am” — a personal entreaty to God, the worshiper asking plaintively for mercy. One is the Kaddish, recited by mourners after the death of a loved one. Some of the words Cohen had given them to work with were familiar they were borrowed from two of Judaism’s holiest prayers. Leonard Cohen had written to ask if Gideon Zelermyer, the cantor of Congregation Shaar Hashomayim near Montreal — Cohen’s childhood synagogue — was interested in recording with him.Zelermyer was soon sitting inside the synagogue’s sanctuary with a few members of Shaar’s all-male choir, playing with different arrangements for “You Want It Darker,” the title track of Cohen’s 14th and final studio album.
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