![]() ![]() Static is a sophisticated and well-argued analysis that establishes a new context for understanding post-apartheid culture in South Africa. The book will appeal to scholars in media, sociology, anthropology, music, African and cultural studies as well as to anybody with an interest in music, media, identity politics and debates about change in post-apartheid South Africa. It cuts across academic disciplines, the creative arts and the media and poses two central questions: Is South Africa changing for the better, or are we static? Is there too much static for us to hear each other clearly? Static provides key insights into recent media phenomena, such as Die Antwoord the 2010 Soccer World Cup Bok van Blerk Tsotsi Kuli Roberts’ Sunday World column on ‘coloureds’ revisionist film Afrikaaps and the University of the Free State’s Reitz video scandal. "Static: Race and Representation in Post-apartheid Music, Media and Film critically examines music, cinema, social media and the politics of change after apartheid. Consequently, a cultural branding model is explored and by examining this cultural brand identity it becomes easier to understand and categorise the appeal the brand holds for global target audiences. ![]() These cultural signifiers are revealed to play only a small part in the development of Die Antwoord's brand identity, but the affective responses on cultural and emotional levels elicited by Die Antwoord through marketing themselves as such presents a unique selling proposition for the band that defies conventional branding approaches. This provides a valid contemporary definition of a term that historically arises from a place of cruel denigration of lower and working class South African whites. These themes are interrogated for their semiotic value and plotted graphically to determine their relevance in defining the brand identity Die Antwoord call 'zef'. Ninja still makes the muthafucker jump, Yolandi is still infatuatingly unusual and Konne is the glue that keeps you on the dancefloor.This paper examines a sample of three of rap/rave band Die Antwoord's music videos, critically analysing their content to identify repeated visual themes. It changes the eclectic nature of the original, but none of its cool. He lays this over the top of rhythmic tribal percussive beats and Yolandi’s main vocal hook to great success. We are looking at a couple of decent remixes to hit the cloud over the past week, firstly from Vegas based DJ Konne who has released a very club friendly banger that keeps a hold of the high charged rave synths that blanket the builds of the original. (help me.) Turn off the lights, put this bad boy on full screen HD and put the weed away for a few minutes, you won’t need it. This has to be my favourite video of the year so far and I can’t watch it enough, it haunts my dreams and is ruining my relationship. Watch the video for the fight of the century between Maynard James Keenan vs. I’ll be looking to hit this choon at the Karaoke clubs tonight! I’m not sure who this Antwoord character is, but if the energy created by wanting to kill him inspires this kind of madness, then I’m glad he pissed them off. Die Antwoord are the best thing to come out of SA since Charlize Theron. One of my favourite moments is listening the crowd’s nervous reaction when they performed this live on Letterman, theres just something to be said (although I don’t know what) about an oversized t-shirt, massively dialated pupils and missing teeth, Yo-Landi Vi$$er just pulls it off (although I’m glad she kept them on).Īs a New Zealander, not many things sound worse than a strong South African, but Ninja makes that shit sound cool, or maybe he didn’t, I was sold after seeing them smashing Dre Beatz headphones. Only two years later were they touring the world with their tech-electro infused hip hop, and this month releasing their third album Tension, where we find their viral hit that speaks volumes of the South African education system, I Fink U Freaky. Forming in 2008, they hit the ground running, and like a lot of good Africans, they were pretty bloody quick. Die Antwoord the white rave rappers from the Dark Continent have a unique style that is part Afrikaans, part English and a shit load of parts weird. ![]() Yesterday I wrote about the classic Freakyness of the Disco Era, today, we see how much has changed. ![]() Wednesday’s child had nightmares, forever. ![]()
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