Plan B - Ill Manors  * Warning - Strong Depictions of Violent Content*

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‘Ill Manors’ is a Hip Hop protest song by English singer and songwriter Plan B. The track was released in the United Kingdom on 25th March 2012 as the lead single from the Ill Manors soundtrack, a film that Plan B also directed. The song was written in reaction to the 2011 riots across England, and specifically Plan B’s perception of ‘society’s failure to nurture its disadvantaged youth.’

Plan B returns to the Hip-hop style of his debut album ‘Who Needs Actions When You Got Words’ with the release of ‘Ill Manors’, after his more soulful second album ‘The Defamation of Strickland Banks’. The lyrics mingle perceived causes of the riots such as the closing of community centres with threats and jokes. The aggressive baseline in the song is designed to mirror the turmoil and unrest felt by those involved in the riots, engaging a ‘visceral energy’ to raise awareness. It samples ‘Alles Neu’ by Peter Fox, which itself uses elements from the fourth movement of Dimitri Shostakovich’s Seventh Symphony.

The song, described by The Guardian’s Dorian Lynskey as ‘the first great mainstream protest song in years,’ was
written in response to the riots across England in August 2011. The song deals with both the causes and the consequences of the riots, concentrating on society’s attitude towards the disadvantaged youth population of the United Kingdom. Drawing upon Plan B’s own experiences of being expelled from school and attending a pupil referral unit, the song sarcastically attacks the media view of working class children: ‘Keep on believing what you read in the papers/Council estate kids-scum of the earth.’ The song, accompanied by a film of the same name are intended as the start of a project by Plan B to address what he perceives as a class divide. In an interview with MistaJam on BBC Radio 1 Extra, Plan B explained that the use of the word ‘chav’ was equivalently offensive to ‘Terms used to be derogatory towards race and sex.

The song was first played by Zane Lowe on BBC Radio 1 on the 27th February 2012, and immediately after was available for streaming online on You Tube and Soundcloud. The single was released as a digital download on the 25th March 2012. A remix of the single by Funtcase debuted on Fire radio on the 18th February 2012.

Jamie Reed, the Member of Parliament for Copeland compared the song to Marvin Gaye’s ‘What’s Going On’, and continued to describe it as ‘Excellent’. Writing in The Independent, Tim Walker called it ‘an all-time great protest song’, while David Smyth of the London Evening Standard praised Plan B’s decision ‘to say something so bold.’ Clash columnist Samuel Breen, also writing for The Independent, describes the song as ‘a cliché riddled attack on politics that feels calculated, impersonal, and disingenuous’. Breen also points out the apparently contrasting opinions made by Plan B, citing an editorial written by the rapper shortly after the riots in 2011, in which he castigated the rioters, claiming that they were damaging Britain with the actions taken by the rioters, something Plan B denies. In his interview with Radio 1Xtra, he clarified that he was ‘not trying to condone what happened during the riots.’

For the chart week ending April 7, 2012,’Ill Manors’ debuted at number six on the UK Singles Chart with first week sales of 37,455 copies. The track marks the musician’s third top 10 hit following ‘Stay Too Long’(2010) and ‘She Said’ (2010),which peaked at number nine and number three respectively. On the same charting week, ‘Ill Manors’ debuted at number three on the UK R&B Chart behind Chris Brown’s ‘Turn Up the Music’ and Nicki Minaj’s ‘Starships’, also debuting at number nine on the Scottish Singles Chart. On its second charting week, the track registered a seventeen-place drop, falling from six to number twenty-three; marking the week ending April 14, 2012’s biggest faller.

The music video for ‘Ill Manors’ was filmed on the 17th February 2012 and was directed by Yann Demange. The video expands upon the themes of the song, and uses footage from the 2011 riots in London. David Cameron and Nick Clegg, the Prime Minister and Deputy Prime Minister of the United Kingdom both feature in the video, despite not being mentioned in the lyrics. However, Cameron’s ‘Hug a Hoodie’ campaign is alluded to.

Ill Manors is also an upcoming album by Plan B due to be released as the soundtrack to his 2012 film of the same name. The film has been described as a ‘Hip-hop musical’ with all songs performed by Plan B. Speaking about the album, Plan B said,(and I quote) ‘You could call it bassline, soul, hip-hop. The album has the lyrical depth of my first record, but the musical composition is light years ahead, as it’s informed by everything I’ve learnt in the last five years- writing, producing and playing with a live band. I feel I’m better than I’ve ever been’.

On the 8th February 2012, it was announced the soundtrack for Ill Manors would be released on May 7th via Atlantic Records. Subsequently, Plan B has clarified that it is not simply a soundtrack album, but can be considered his third studio album. This album now has an official release date of the 18th June 2012.

It has been very difficult for myself to review Plan B’s song ‘Ill Manors’, in a way that I would usually review songs by artists. This song was born out of the very unfortunate circumstances of last year’s (2011) UK riots, which lasted for four days in August.

Unfortunately, I cannot give a ratings mark for the song, based upon these unfortunate realities in the song; that actually happened for real. The real realities of what happened to individuals in these riots, far out-weigh the realities of any artistic merits of this song.

I will say that next to The Sex Pistols ‘God Save The Queen’ (1977), The Specials ‘Ghost Town’ (1981), Elton John’s reworded ‘Candle in the Wind’ (Tribute to Diane, Princess of Wales/1997), Asian Dub Foundation’s ‘Real Great Britain’ (2000) and Lily Allen’s ‘The Fear’ (2008), Ill Manors is one of the Greatest examples of a Cultural and Political message in the Modern, British Pop Song. The song’s lyrical anger and frenetic jungle and grime drumbeats fully bring you in, as a listener to the realities of last year’s August Riots. The music video is even more a confirmation of this reality.

I was so worried about this music video being shown on musicvita, I had to ask for special permission for the video to be shown, from the editor of musicvita. For anyone who was very shocked by last year’s riots, this music video would not be very comfortable viewing in any shape, way or form. Plan B’s role as the artist, was about depicting the realities and the media’s perceptions of UK Youth.

At the height of the Riots, everyone in society was talking about the riots, and trying to find solutions for these very deep problems. It only took five or six months in which everyone, especially politicians, had forgotten about the realities of these riots.
Reminding the Public and Politicians about the realities of these riots, was the whole basis of this song from Plan B.

It is Plan B’s hopes that the depictions of the song’s very strong lyrics and imagery in the music video, that a debate about finding solutions to these very deep sociological problems in society, can be really tackled in a positive way.

This song also brings to the agenda, the role of the artist in writing a song like this, that are based on social political realities.

What is the Artist allowed to document and to not document in song lyrics?

How much reality is the artist allowed to document in visual music video?

Before you make up your own viewpoints of this song and music video, listen below to an interview Plan B gave to Radio 1 Extra, of his reasons for documenting this very unfortunate period in this country’s history.
Roger Howard.

Plan B Ill Manors Radio 1Extra Interview with MistaJam


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Michael Kiwanuka New Single I’ll Get Along

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I’ll Get Along is the 3rd single release taken from Michael Kiwanuka debut Album, Home Again. Paul Butler and Michael Kiwanuka wrote the song.

The song will be officially released in the UK on May 28th 2012, by digital download.

Adam Powell directed the Music Video.

You can read about Michael Kiwanuka’s Magnificent Debut Album from the review section on musicvita’s home page.

Roger Howard.


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Keane: Silenced by the Night UK Single release

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Silenced by the Night is the Official First UK release by English rock band Keane, from their Fourth Studio Album called Strangeland. The single was released worldwide (except the UK) on 13th March 2012. In the UK, the single was released on 15 April 2012 by Digital download. Tim-Rice Oxley, Tom Chaplin, Richard Hughes and Jesse Quinn wrote the song. Dan Grech-Marguerat produced the single.

Christopher Sims Directed the Music Video in Austin, Texas.

Keane has confirmed this New Studio Album Strangeland is back to the style of Keane’s first two Studio Albums, with great songs and great song writing.

Keane’s New Studio Album ‘Strangeland’ is available to buy now.

Roger Howard.


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2 Music Videos from Madonna’s MDNA Album

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Here we have Two Music Videos taken from Madonna’s New Studio Album, MDNA.

In March this year, I wrote a review of Madonna’s single ‘Give Me All Your Luvin’. What I would like to do here is add a continuation to that review, of why this music video is so special (at this moment) for Madonna’s music career.

The first thing you see with this music video is a Brown Brick Wall. Computer graphic words come up positioned on the centre of this wall. These are the words that come up: ‘Fans can make you famous, a contract can make you rich, the press can make you a superstar,  but only luv can make you a player’. So right from the get go, Madonna has grabbed our attention into her mindset. Here she is describing the juxtapositions and criteria’s that make a superstar (like herself), but she says to survive in the environments, only love is the most important for the survival of the artist. Fans, a contract and the press are components of the superstar, but love is universal to everybody in the world. Madonna the superstar could not have survived without the universal love she receives from fans around the world. This music video was a total representation of the forthcoming Superbowl XLVI event.

Léo Berne, Charles Brisgand, Raphaël Rodriguez and Clément Gallet (who call themselves Megaforce) did a most Incredible and Brilliant job of the Direction of this music video. It is because the song has the music genres of New Wave Pop, Bubblegum Pop and Disco that Madonna is able to inject some of her most memorable performances in this music video. The most memorable, she has had for quite some time. This is a very big music video production, and Megaforce Direct Incredible music video sequences, one after the other. Every performer in this music video is working in Pop music dynamics. The way Madonna strolls down the street like Betty Boop (cartoon character from the 1930’s) displays this very well. The Street in this music video is a hyper-world reality. You notice the faceless masks of the cheerleader girls in the street that represent this hyper-world reality. The images may be brilliant for music video, but Madonna here is playing with our own perceptions. Is what we see real or non-real. That is the real cleverness of this music video.

Being the Queen of Pop Music, Madonna is very familiar to the big music video production, but in recent years, a big music video production like this has been missing from her music videography productions. Really, for the first time in a Madonna music video, the whole design concept has been built around the world of Madonna. When we move into the club where Madonna morphs into Breathless Maloney, (from the film Dick Tracy/1990), look at the background walls with the mechanical football players. This whole video has been designed and captured like a film set. This music video brings to mind Michael Jackson’s music video for ‘Leave Me Alone’ (1989) but it works in a polar opposite way, because this video is about the adoration of Madonna; Leave Me Alone was about the media’s false perceptions of Michael Jackson.
When Madonna falls into the Football players, it is like a Busby Berkeley musical scene of the 1930’s. The same type-of sequence can be seen with the camera movement, at the beginning of Madonna’s music video for ‘Vogue’ (1990) with the movement of the feather fans.

In recent years, we have had other big music video productions from Madonna. Die Another Day (2002), Hollywood (2003), Hung Up (2005) Sorry (2006) and Jump (2006) are examples of these very big Madonna music video productions. Music videos like Hung Up and Sorry have a large array of Dancers in them, but the dancers are mainly dancing in their own groups, and not in a full unison dance with Madonna. In the Hung up music video, it is only towards the end (on the roller skates rink) is there any unison of dancing with Madonna, and this is with just with two skaters. Obviously, you can’t do much dancing on roller skates, but with the amount of dancers in this video, you would have expected more unison dancing with Madonna. In the Give Me all Your Luvin music video, you have dance sequences that match up to the very early music videos of Madonna, like Material Girl (1985), Express Yourself (1989) and Vogue (1990).

In the end, The Give Me all your Luvin music video truly works for Madonna, a production that truly works with Madonna’s greatest strengths as an artist. This is something as fans of her work, we can truly recognize.
You can tell why a music video production like this on Madonna’s part, is not done regularly. The cost of this music video is staggering. Madonna’s Give Me All Your Luvin cost (take a deep breath) One Million, Five Hundred Dollars to make. This makes the video, the third most expensive music video that Madonna has made in her music career. In Second place, you have the music videos for Express Yourself (1989) and Bedtime Story (1995) at Five Million Dollars each. Die Another Day (2002) at a cost of Six Million, One Thousand Dollars is in first place, as the most expensive Madonna music video.
Oh well then, let just all wait for another 8 years (or so) for a big production expensive music video from Madonna.

Madonna   Girl Gone Wild

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In my review recently of Madonna’s New Album MDNA, I said the track ‘Girl Gone Wild’ was a good european house dance track, but to the opening of a new Madonna Album, there seemed lazy lyric writing in the song. Madonna has come out with much stronger song releases in her past, than what is heard on this song.

The music video though, is where Madonna has had the last laugh.

The first thing you notice about the Girl Gone Wild music video is that it is filmed in Black and White. The first thing you see is Madonna confessing her sins, saying how she is a good girl really, but just cannot help being bad. The music video then moves into a dance feast for the eyes. I will not give too much away about the concept here, but will just say this is a kind of Madonna, we have not seen in over a decade in music video. There are incredible concepts in the filming technique of music video, which Madonna has not been able to capture for years in one of her videos.

The first references to the approach of this music video go back to Vogue (1990), Justify My Love (1990) and Erotica (1992) music videos. The imagery is very sexual, but Madonna teases us as viewers. She knows she is pushing the boundaries of acceptance of image. When the camera captures a real sexual scene, it drags away so that the image for us, does not linger too long. This is obviously Madonna keeping safe for the film censors.
The fact that this music video is a complete dance music video, make it very special in Madonna’s Videography. The last time we probably saw a complete dance music video from Madonna was for the single ‘Don’t tell Me’ from the Album ‘Music’ in 2000.

Magazine Fashion Photographers, Mert and Marcus Directed the Music Video for Girl Gone Wild. As Photographers, Mert and Marcus are strongly known for their portraits of sophisticated powerful women. So Madonna is the perfect client. The Photographs of Mert and Marcus grace the fashion magazines of Vogue USA, Vogue Italia, Pop Magazine, Numero and Arena Homme Plus. They always as photographers, capture the sensual and provocative image. The Photographers previously worked with Madonna for the American Magazine ‘Interviewed’. They have also done the Photography for the MDNA album.

The Ukrainian Dance Group ‘Kazaky’ appears with Madonna in this music video. Fashion models Brad Alphonso, Jon Kortajarena, Rob Evans, Sean O’Pry and Simon Nessmun also appear in this video.
Mert and Marcus are also known for working with art effects in digital video. You can very well see these effects in this music video.

Towards the end of this music video, notice the mascara running down Madonna’s face. This is very much a reference to the Stigmata effect of the Like a Prayer video of 1989.

These Two Madonna Music Videos are a representation of a popular music icon, looking into her past in music video. This is something we have not seen from Madonna in a very long time. It is amazing that an Artist like Madonna has such an interest in Dance Music, but does not make Dance (with a group of dancers) her main visual form of expression in music video.

These two music videos alone, remind us all that Madonna is not just about the music, but also about the visual image. The visual medium of music video is where she is in her natural limelight, at her very best.

Roger Howard.


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Usher: Single and New Studio Album Details

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Usher - Climax

The Lead single off Usher’s Upcoming Seventh Studio Album is titled ‘Climax’. It impacted urban radio on February 21, 2012 and was made available for purchase as a digital download on February 22nd, 2012.

It impacted US mainstream radio on March 13th, 2012. Ariel Rechtshaid, Redd Stylez and Diplo produced the track. During an interview with urban radio station V-103, Usher stressed that ‘Climax’ is not about sex but instead about the complications of relationships, he explains ‘it’s not even about sex, it’s really about the ultimate experience or lack thereof. Or the finale of an experience of love and life.

When you’re in a relationship and it has kinda reached the climax of where it can go, you gotta let it go if you are not going to commit. Though he admits there are sexual connotations in the song, they were intentionally put in. He states ‘Of course there is sex in ‘Climax’, but it is not just about sex. The sexy tone and the falsetto will make you think that. That’s the double entendre of how music works. It’s not about sex; it’s about the out of control experience when a person reached the peak of that experience’. Nuff Said.

Sam Pilling Directed the music video for ‘Climax’ in Atlanta.

Usher’s Seventh Studio Album is called ‘Looking for Myself’. It is due for release on June 12th, 2012. He is again teaming up with long-time collaborator Rico Love.

During an interview, Usher explained that he is working on a new genre of music depicted as ‘Revolutionary Pop’, to which several different genres are combined to create a new sound.

In the US now, there is huge excitement about Usher’s new album. There’s an expectation in the air, that this new forth-coming album, will be a huge cultural shift in the R+B landscape. The expectation is that Usher will make a big impact change to R+B, as Kanye West has with Hip-Hop.

So you can all mark June 12th, 2012 in your diaries, as the official date release of Usher’s New Studio Album.

Roger Howard.


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