The Ying Yang Twins basically dedicated its entire twerk corpus, and most notably the classic "Whistle While You Twurk," to documenting the exchanges across patron and dancer experiences. "It must be the pussy cuz it ain't your face" from DJ Jimi's 1992 bounce hit "Where They At" is met with "It must be the money cuz it ain't your dick" on the aptly titled response song "B****** (Reply)." Twenty years later, Georgia producer Mike WiLL Made-It produces two similar tracks, one for Rihanna and the other for Juicy J, that became strip club anthems from the perspective of performers and patrons, with Rihanna embodying both: spender/spectator, earner/performer. Several songs within the twerk music tradition have attempted to capture these dynamics. This economic exchange overlays the everyday negotiations of gendered power in relationships. Dancers receive some portion of the profit their labor generates, which is to say they are exploited within a capitalist system that keeps clubs, radio stations, promoters, rappers, the music industry at large and men's egos afloat. In this context, twerking is a kind of cyclical exchange in which songs are created to facilitate dancers', which facilitates clients', often men's, pleasure, power and profit. Music Features The South Is Rap's Past, Present And Future
Everyone gets paid then, albeit unequally, in power, purse or pussy. In and out of the club, everyone wants to make the sound that makes the girls dance. Strip club music, which makes up most of the popular music landscape today - with its heavy bass, trap claps like ass claps and stable of Southern blues men emcees with just enough of a country accent to make "shake that ass, b****" sound just like "I respect you, I love you and I am proud of you and you only" - is one of the South's most widespread sonic exports. This process, in turn, shapes a wide swath of Southern hip-hop and an overwhelming majority of its dance music. Club dance floors clear rapidly if a beat is wrong likewise, dancers in the South's strip clubs determine which combinations of rhythm and words are the key to unlocking what they and/or their clients desire. The sound has to be right to communicate and document what is necessary: healing or rage, death or birth, and all things overlapping and in between. To move requires the privilege of ability and skill as well as the permission and encouragement of the community. (SOUNDBITE OF BRIAN ENO'S "AN ENDING (ASCENT)") Transcript provided by NPR, Copyright NPR."Twerking," the word DJ Jubilee offered for the ecstatic booty-bouncing, popping, gyrating and shaking movements on New Orleans dance floors, carries within it a recognition of and reverence for the rigorous labor involved in the process. The representative added he had no hope and wanted a better life. KELLY: A representative for the sports federation told The New York Times that Anwari felt his dreams would end with the arrival of the Taliban. The sports federation reported that Zaki Anwari died in a fall from the plane.ĬHANG: His coach cried as he told The Daily Beast that Anwari was a brilliant young player and a very good human. military plane desperate to get out of the country as the Taliban seized control of the capital.
KELLY: People clung to the outside of a U.S. And he was among the crowd that descended on the runway at the Kabul airport earlier this week.
He was a teenager and an up-and-coming soccer player on Afghanistan's national youth team. Yesterday, the country's sports federation announced on its official Facebook page that Zaki Anwari had died. Another story of what has been lost in Afghanistan this week.