majestikc
"What I mean is that they are so radically different, people are bound to take notice - with regards to people wondering "How the blarrie hel these okes are even getting gigs, LOL". "
This for me is what they boil down to, it's so absurd and different and comical and over the top and cheesy that people check them out, a LOT, the same way you do a car wreck or rotten.com, but the novelty wears off rather quickly.
If you check out the top 10 "funny" videos on YouTube you'll notice they all have a few dozen million views or so.
Die Antwoord is just this other piece of fine south african art: = mixed with some cheesy dance-beetz
MIKA-the-better-one
here is the video teaser
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IceCreamMan
same release date as VH's latest ?
find the video a tad discomforting ..... it sort of has an effect on a person in one way or another ,,no neutrality about it...
ezietsman
IceCreamMan wrote:
find the video a tad discomforting ..... it sort of has an effect on a person in one way or another ,,no neutrality about it...
That is the entire point ?
[deleted]
They look like the "butcher boys"
http://www.artthrob.co.za/99july/images/alexander-butcherboys.jpg
I've always loved that sculpture, it's been a big influence on my own artistic direction. Jane Alexander rocks. I like them because, as bad ass as they look, they're just waiting for something to happen like everyone else.
singemonkey
MIKA the better one wrote:
here is the video teaser
Oh man. I really wanna see
that version of Avatar. It looks like it'd suck far less.
Bob-Dubery
majestikc wrote:
Die Antwoord is just this other piece of fine south african art: = mixed with some cheesy dance-beetz
Ummmm..... Corné and Twakkie were pretty sharp. Just because something's not highbrow doesn't mean that there's no craft or intelligence involved. The Simpsons is a good example.
vic
Stumbled upon this...."The Answer", a rap group from the Cape Flats. According to the info with this vid, it was shot in 2006, way before there was "Die Antwoord" :?
who cares...just interesting...note the "similarities" with "Die Antwoord" Zef side vid.... or is it visa versa ?? :-\
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And do you recognise this gentleman on Table mountain...much unlike the persona of Die Antwoord
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majestikc
The above is pretty interesting.
Anyway, I'd just like to publicly take back whatever I said about Die Antwoord, they're doing what they do and are some kind of success doing it, which is what we all strive towards, so "big up" to them, just because I don't appreciate it, well.......fuck myself :?
dee
Odds are it's a viral video, made to generate interest into Die Antwoord.
Hammeron
majestikc wrote:
The above is pretty interesting.
Anyway, I'd just like to publicly take back whatever I said about Die Antwoord, they're doing what they do and are some kind of success doing it, which is what we all strive towards, so "big up" to them, just because I don't appreciate it, well.......fuck myself :?
F#*k you too!.....just jokin' ?
singemonkey
Tamla, did you watch Vic's 2nd vid? It might give you an interesting new perspective on Die Antwoord.
majestikc
Tamla Kahn 'Hammeron' McMahon wrote:
majestikc wrote:
The above is pretty interesting.
Anyway, I'd just like to publicly take back whatever I said about Die Antwoord, they're doing what they do and are some kind of success doing it, which is what we all strive towards, so "big up" to them, just because I don't appreciate it, well.......fuck myself :?
F#*k you too!.....just jokin' ?
Potty Mouth
Jack-Flash-Jr
From the New York Times:
“We r taking 1 day / nite off 2 get really drunk wif some homies in a dodgy hood in Johannesburg called FIETAS on New Years Eve,” the e-mail read. “Dere are always fights in Fietas on New Years Eve which should be fun.” And so Ninja, the leader of the South African rap-rave crew Die Antwoord, invited me to ring in 2012 in the lair of zef, the scene the band brought to the world two years ago with a viral music video called “Zef Side.” Zef is the nasty, freaky, gleefully trashy underbelly of post-apartheid white South African culture. It is bling and bruises and weed-whacker mullets like the one sported by Yo-Landi Vi$$er, the tiny blonde who orbits Ninja like a foulmouthed muse.
On the appointed night, though, things almost got too zef for Die Antwoord. The photographer who was commissioned to shoot the band showed up to the party house with two boxes of white doves for Ninja and Yo-Landi to play with. A makeshift studio was assembled on the second floor. When I went to check out the shoot, the photographer gestured toward the room next door. “Look what happened to the birds,” he said.
Inside, a cat crouched next to a ripped-open box of doves, surrounded by feathers.
Yo-Landi once posed with a live rat between her breasts. But a dead dove? She winced. Ninja looked appalled. “I’m sorry,” he said, petting one of the remaining doves paternally.
The Die Antwoord formula isn’t complicated: obscene Afrikaans-laced raps paired with surreal imagery, like a music-video shot of Yo-Landi in a Pokémon costume exhaling butterflies. But the product is mysteriously transfixing. Days after “Zef Side” hit the Internet in February 2010, Die Antwoord’s Web site crashed under the pressure of millions of hits. Katy Perry gushed over the band; so did the Guggenheim. Interscope Records flew Ninja and Yo-Landi to Los Angeles to sign a million-dollar deal. “It’s like when someone famous works out their thing, like Michelangelo or Salvador Dalí,” Ninja told me, “and then everyone wants to be like them for centuries.”
The band’s new fans became obsessed with the question: Is it real? Word got out that Ninja’s real name is Watkin Tudor Jones and that he went to a tony Johannesburg boys’ school. South African critics were agitated that Die Antwoord appropriated the distinctive gangster style of the “coloreds,” South Africans of mixed racial origins. How dare a white band hit the jackpot by imitating a community whose own musicians were still largely stuck in apartheid-created slums? One pundit pronounced Die Antwoord “basically blackface.”
Wearing nothing but Playboy underpants, Ninja ran into the parking lot to hand out firecrackers. “Whooo!” he whooped, shooting a sparkler at Yo-Landi over the photographer’s car.
It was the closest thing to a fight I saw on New Year’s Eve. The tough-guy thing turned out to be something of a bluff. Ninja didn’t “get really drunk wif some homies,” because he doesn’t drink. Settling into a beanbag chair after the firecracker battle, he asked me gently whether driving through crime-ridden Johannesburg had been scary and offered me a cup of tea.
He was, however, unapologetic about the identity-bending aspect of Die Antwoord. The band’s new album, “Ten$ion,” was even more inspired by colored style, he said. “The gangster levels are much higher.”
That move reflects a broader change in white South African culture. It was the black majority that achieved political liberation in 1994. But whites experienced their own form of liberation. Their liberation was in the arts.
Under white rule, Afrikaans art was heavily sponsored by the government and presented a rigid image of Afrikaners as upstanding Christians — a natural ruling class. After apartheid fell, white artists were free to explore a wider range of personas. The comic artist Anton Kannemeyer depicted Afrikaners having nasty sex and mangling their Afrikaans. In “District 9,” the filmmaker Neill Blomkamp portrayed an Afrikaner transforming into something else completely — an alien — and emerging with improved moral character. “People react to ‘District 9’ and Die Antwoord on the same level,” Ninja suggested. They’re drawn to the burst of creative energy released by transformation.
“I feel sorry for people who need to ask us: Is it real?” Ninja told me. Changing identities is the point — the more total, the better.
Die Antwoord’s gangster levels didn’t fly at Interscope, however. The label balked at the nastier lyrics on “Ten$ion,” and Ninja, Yo-Landi and their producer, a beats master named DJ Hi-Tek, opted to distribute the album on their own. They figure their fans will find them anyway. Back at the party, somebody turned on the album’s first single. Ninja leapt out of the beanbag chair, stuck a cheese curl into one nostril and started strobing the living-room lights. Neighbors streamed in to dance: black children, colored teenagers, even a trio of elderly whites clutching glasses of wine.
The song, whose title is too dirty to publish, was getting everybody moving. In fact, the trio of old folks seemed to enjoy the track the most. They slapped one another’s bottoms and acted out the lyrics by pumping their middle fingers in the air. One woman caught my eye and shrugged. “I love this, and I’m nearly 60!” she shouted. “It brings everything alive.”
Bob-Dubery
Jack Flash Jr wrote:
It was the closest thing to a fight I saw on New Year’s Eve. The tough-guy thing turned out to be something of a bluff. Ninja didn’t “get really drunk wif some homies,” because he doesn’t drink. Settling into a beanbag chair after the firecracker battle, he asked me gently whether driving through crime-ridden Johannesburg had been scary and offered me a cup of tea.
Ah! That explains a few things.
Hammeron
singemonkey wrote:
Tamla, did you watch Vic's 2nd vid? It might give you an interesting new perspective on Die Antwoord.
Yip, it certainly seems that Watkin Tudor Jones in an interesting character.
vic
Do you think this guy can harm anyone ?
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In stark contrast to this character hey ?
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It's just an act....it's not a life-style
majestikc
I just found this and HAD to post it:
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AlanRatcliffe
?
Not Die Antwoord related, but clever and some relation to the last clip (I like how it takes almost three minutes before getting to the punchline):
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