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[jkspark-blog-deactivated2022112]

Biggie’s point is you can only rap about being “gansta” and coming from a tough community if you actually experienced it, and continue to emerge yourself in this type of lifestyle. If you live a life of wealth and disconnect yourself from the community you express yourself as, then your work will...

[neostarman]

(Note: This is a response to both parts, but I can only reblog one post at a time.)

Biggie's point is short, sweet, and to the... well, point. If an artist talks about a situation, it's much better if they've lived that situation and know exactly what it's like, not only in the past but also the present. Furthermore, I never thought about how this pertains to the East/West coast rivalry. I do have one question about "Picasso Baby": Besides the MOMA not being the type of setting in which Jay Z would usually perform, do you think his presence there said anything about his thoughts on performance art itself, or how society sees it?

[brianl743]

Compare these two covers from Vibe magazine. How does the cover on the left construct Tupac? What about Biggie in his cover? How do they differ? Provide details of mise en scene and framing to support your analysis.

Tupac’s magazine cover coveys him as pensive, sophisticated individual while...

[neostarman]

You make a good point with how Biggie's cover portrays him as a man with wealth and power, but little formality. A lack of formality goes well with his Brooklyn background, and especially with how he wanted his music to be true and didn't want to leave Brooklyn (as Coker said in his article). I also agree with what you said about Jay Z challenging the gap between rap and performance art. Even though they're not mutually exclusive, there's a general mindset that "generic rappers" simply can't be artists.

[penguinsflyin]

Compare these two covers from Vibe magazine. How does the cover on the left construct Tupac? What about Biggie in his cover? How do they differ? Provide details of mise en scene and framing to support your analysis.

With the glasses and cut-off shot of half of his face, Tupac appears very...

[neostarman]

(Note: This is a response to both parts, but I can only reblog one post at a time.)

I like the emphasis on mystery in Tupac's cover. Not only does it do justice to him and his story, but it also draws the reader in and lets them know the importance of the main article. As for your "Picasso Baby" analysis, I also like your emphasis on not only the lyrics, but also what takes place before the song, along with the division (later lack thereof) between performer and audience. It brings an entirely new connection between hip hop and performance art.

[phoenixera42-blog]

The two covers of the VIBE magazine reflect the musical and personal characteristics of Tupac and Biggie significantly through the use of different orientation of text and the cover pictures. The font display on both the covers is extremely distinctive. While’s Tupac’s cover is bold with his name...

[neostarman]

(Note: This is a response to both parts, but I can only reblog one post at a time.)

It's important to make note of the overlay of a cover - things that aren't a part of the actual image, like text color and font - and you did that well. In addition to the seriousness (or lack thereof) of Tupac's and Biggie's covers respectively, the text emphasizes whatever message is to be made in the article. I also like how you emphasize the importance of the message itself in art. After all, that was indeed the point Hobson was trying to make; even though art can be entertaining, the audience ignored the message that Jay Z was trying to convey with his performance.

[phourigan3]

When I first looked at the cover of Tupac on the left I was captured straight away by half of his face and the unusual glasses he was wearing. Only showing half of his face in the cover emphasizes his personality of being a guy who stayed at home and read books and also depicted his worth. Tupac...

[neostarman]

(Note: This is a response to both parts, but I can only reblog one post at a time.)

I think you made an interesting point with the contrast between East and West coast rappers. Biggie did a good job of looking flashy and using everything around him to make himself stand out, while Tupac's style was subtle and not as immediately noticeable, but arguably more classy. I also really like how you considered what performance art really is with your "Picasso Baby" analysis. While most other rappers use elaborate props and lights, Jay Z was in a plain white room with a short platform. The only part of his performance was his song. He used only the bare essentials, and that was what made his performance stand out.

[jschutz3]

The video for Smooth Criminal combines a bar setting, with standard gangster outfits, to create a cool, tough, and sexually charged video. The instant Michael Jackson walks into the bar, the silence takes over, and suddenly everyone directs their attention to the “King of Pop”. Michael is...

[neostarman]

I like your idea of how MJ's white attire not only contrasts with everything else, but also shows that he just might be (unofficially) in charge of this lawless community. He doesn't react to the criminals' glares, nor does he hesitate to do what he does best. He's important, he's holding the whole area in his hand, and he knows it.

[thrillersnight-deactivated20241]

[inzawetrust]

Beat It: Opening your Eye’s to the Opening Scene

  In Michael Jackson’s Beat it video, the open scene hooks your mind, grabs your attention and makes you want to watch the rest of it. The mood stays neutral, but with the thuggish costumes and demeanor of the first actors leaving the diner, you know trouble lies ahead. Then the frame switches to a dark alley way, and the cowboy shot shows a row of young adults coming to view on a parallel angle. As they snap and run off synchronized, the music begin to play, dogs begin to howl, and this set the mood of a bad atmosphere. As the scene changes to a man crawling out of a sewer, it  indirectly depicts “growing up in the Gutter”. Beat It’s tone start off intimidating. Its shows a city filled with thugs because of there costumes, and the facial expressions show anger, misery, and struggle. All the lights in most scenes are dark or dull to give off the night vibe. The camera angles are either long shot or medium close ups because most of the scenes involve more than one person. The camera angles are still and are far enough to get everyone in them and the background to show the location and surrounding. Most of the paces are medium but speed up because the people are running/walking off. The pace gives off a mysterious vibe and makes you question everything that is going on throught out the city. You begin to ask questions like: Where are they going? What about to happen? Beat It’s cinematography and mise en scene hooks you and captures your senses from the beginning scene and pushes you towards the rest of the video.

[neostarman]

You make a good point with the mood being neutral. Whereas Smooth Criminal and Bad have to do a lot to set the scene for their respective songs, Beat It is set up so that the viewer almost immediately understands the situation and is able to jump right into the song. The situation is simply "gangsters and thugs from all around town come together", and the audience can understand this while still being interested in what will happen when the two groups meet.

[wwatson9]

https://www.youtube.com/watch?v=sFvENQBc-F8

In the opening sequence of Michael Jackson’s “Smooth Criminal”, the blurred motion of Michael Jackson’s moves, shadowy lighting and gangster apparel create a spooky and underground atmosphere that sets up the message of this music video:...

[neostarman]

I like the idea that the outside environment and MJ are both supposed to give off an ominous and almost creepy vibe, but I'd also like to think that the door opening (and the resulting lighting, etc.) are supposed to represent a change in tone. In my opinion, it could mean that even though MJ is entering an illegal speakeasy, what's going to happen as a result of his presence is more than meets the eye.

[penguinsflyin]

Smooth Criminal

The opening sequence of Smooth Criminal combines minimal (dark) lighting and an obscure atmosphere that draw the viewer’s attention to an intriguing setting. Through the establishing shot, we can see that the empty streets are occupied with Michael Jackson alone. The dark...

[neostarman]

When I watched the video for Smooth Criminal yesterday, I thought it looked intriguing, but I didn't know what to say about it. You made a great point of the contrast between MJ's attire and the environment around him, along with the light/sound indicating his entry into a new environment. I also didn't consider how the kids' reactions are supposed to represent those of the audience.