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Our mp3 downloader provides you the top trending video on the internet.Vaudeville acts, for instance, had tunes for just about every major immigrant group: the Italian number, the Yiddish number, the Irish one, the Chinese. + Spit Out the Bone Metallica Full TrackA strange thing you learn about American popular music, if you look back far enough, is that for a long time it didn’t much have “genres” — it had ethnicities. 24 Your Best American Girl Mitski Full Track 19 Trolley Song Cécile McLorin Salvant Full Track 17 Side to Side Ariana Grande Full Track 15 Copper Canteen James McMurtry Full TrackThen all of this changed, and we decided to start thinking of pop music not as a folk tradition but as an art we started to picture musicians as people who invented sounds and styles, making intellectual decisions about their work.But music is still, pretty obviously, tied to people. 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). This was how we reckoned with our melting pot: crudely, obliviously, maybe with a nice tune and a beat you could dance to.Sometime in the 1950s, the mainstream saw its last great gasp of this habit. And of course there were the minstrel shows, in which people with mocking, cork-painted faces sang what they pretended were the songs of Southern former slaves. Activists sing a country song for a restaurant chain that once fired gay employees, when Leonard Cohen revisits his childhood religious inheritance?This is what we talk about now, the music-makers and the music-listeners both. 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. 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. At the Grammys, “25” won album of the year, and a poignant portion of her acceptance speech was a tribute to Beyoncé, whose album “Lemonade” broke the cultural Richter scale — and didn’t win any of the big awards. Down here, on earth, where her third album, “25,” made Adele the top-selling artist of 20, she has that realness we say we value in the people we elevate to stardom last month, during the Grammys telecast, she cursed as she interrupted a laconic version of George Michael’s “Fastlove” in order to get the tempo right.But even Adele knows that loving Adele is complicated. Fax from mac for freeIt makes you mad that we put a political price tag on this kind of perfection. “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. That’s the future of music: recognizing, in the present, that you’re permanently indentured to the past.Setting aside its enormous sales, “25” is not the artistically catholic landmark that “Lemonade” is but an old-fashioned record, built around the bloom and flare of Adele’s singing. 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. Then comes The Voice, at a low smolder, the smoke still rising from a crater of disillusionment. The 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. 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 swelling repetitions are chillingly churchy. 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. 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. All I want to do when I hear it is call her Ishmael.♦Wesley Morris is a critic at large for The Times and a staff writer for the magazine.It wasn’t an email from God, but it was close.
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