bring your love, baby, i can bring my shame bring the drugs, baby, i can bring my pain the weeknd, particularly, some of these songs are about brief bursts of feeling. do you love me, yeah? .that are propelled by excess in some form. and i mma keep on smoking til i can t hit another note [chris] what s interesting about darker acts like the weeknd in the first half of the 10s, it s almost as if they are foreshadowing the second half the 10s, um, before that sound is taken over. lana del rey is another good example. swingin in the backyard, pull up in your fast car whistlin my name lana del rey was this leonard cohen meets marilyn monroe, tragic, beautiful, ethereal figure. i say, you re the bestest lean in for a big kiss put his favorite perfume on go play your video game
parodying not only the music itself but kind of the culture, the deejay, and the state of pure adrenaline that concertgoers would encounter when they reach this moment of the drop. it s so incredibly high octane. turn it up when skrillex won three grammys, it was a moment you felt edm had arrived. and the grammy goes to sonny moore. the grammy goes to skrillex. skrillex. but for every development in popular music, there s a reaction. when came out, the weeknd was an artist dabbling in the darker pop, and the counter question and answer was, isn t there more than one way to feel
good. bring your love, baby i can bring my shame bring my i can bring my pain the weeknd, so many songs are about brief bursts of feeling. tell me you love me that are propelled in excel in some form. and i m gone keep on smoking it s almost as if they were foreshadowing the second half of the tens before that sound is taken over. lana del rey is another example. swinging in the backyard pull up in your fast car snes wrist lg my name lana del rey was this tragic, beautiful, ethereal figure. waiting for a big kiss go play your video game
the dj and the state of pure adrenaline that concertgoers would encounter when they reached this moment of, of the drop, it s so incredibly high octane. when skrillex won three grammys in 2012, it was a moment when you really felt like edm had arrived. and the grammy goes to. uh, sunny moore for cinema (skrillex remix). grammy goes to. skrillex. skrillex! [cheers and applause] but for every development in popular music, there s a reaction. [music] [hanif] when house of balloons came out, the weeknd was an artist who was dabbling in darker, more downbeat pop as a counter-reaction to. the feel-good pop of the era. and the counter question and answer was, isn t there more than one way to feel good?
i m hearing about a nightmare. [finneas] if there s any reason why it got dark, it was like, you know, turn on any screen. it was like the cultural awareness of everything s not going great. i only call you when it s half past five the only time that i ll be by your side [jayson] by 2016, with a song like the hills, the weeknd is a huge pop star, and he hasn t changed anything. we ve just caught up to his despairing vision of. i mean, essentially all of life. mask on, ye, [bleep] it mask off (mask) big foreigns [jayson] and then you got artists like future who embody the idea of anhedonic pleasure-seeking. you try to have fun, but nothing feels good. that becomes a really default pose, um, in pop. who put this shit together? i m the glue (someone said) shorty facetimed me out the blue [jayson] and then there s travis scott with sicko mode.