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Curious about the fabulous HOMO hat Nicky Da B wore in our video for Go Loko? Here’s a little bit about the history/meaning.
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DOMO ARIGATO MOTHERFUCKERS I’M THE BEST, HO!
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The Internet thrives on really, really smart stuff, or really, really dumb stuff. The middle not so much.
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First person to successfully guess the total number of asses in “Go Loko” gets a prize from me. Reblog with your guess.
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Buzzfeed: This Music Video Takes Twerking To A Whole New Level
“This video invites you to drown in a sea of butts — male and female — while enjoying the balls-out vocal stylings of a rapper who, unlike Lady Gaga, isn’t going to “follow you until you love me,” but instead “until you fuck me.” This lyrical update to “Paparazzi” is reflective of Nicky Da B’s whole style in “Go Loko” — he’s elevating the idea of a dance party track to a fabulously extreme (and sexxxy) level.” (via Rusty Lazer)
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Uproxx: Nicky Da B's Video For 'Go Loko' (Directed By Clayton Cubitt)
“There are a number of reasons to post this new video for “Go Loko” from New Orleans bounce artist Nicky Da B — most recently seen around these parts collaborating with Diplo — but I think the number one reason is because it probably contains more ass per second than any music video in modern history.” [emphasis mine]
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GOOD LOKO MORNING
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YA WALK YA DOG HO? WALK YA DOG HO!
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Bounce hiphop is like Hardcore punk. It’s not meant to be “heard,” it’s meant to be FELT. In a sweaty crowd. Like a voodoo ritual.
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Here I am on set inventing the AssCam™ Suck that, Kubrick.
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I HEARD YOU THE BEST MA-MA BECAUSE YOU GOT THAT ILL NA-NA
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MOVE YA DERRIERE GIRL CAUSE YA DON’T CARE
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Click image for my new Music Video: Nicky Da B “Go Loko” (NSFW, Seizure Warning)
It’s with great pride that I debut “Go Loko,” the insanely fun new music video I directed for Nicky Da B. Prepare yourself for machine-gun New Orleans Bounce, twerking latex-clad bunnies, intergalactic booty constellations that would make Carl Sagan cry tears of joy, an asstronaut, a possibly demonic hairless cat, and perhaps my greatest invention yet: The Asscam™.
Turn your volume up and get down! If you love it, click over to the Vimeo page and drop something in the tip jar!
(Directed by: Clayton Cubitt / Edited by: Bob Weisz / Makeup and hair: Katie Wedlund / Wardrobe styling: James Rosenthal / Dancers: Ro and Quack / Contortionist: Amanda Whip / Metallic mesh masks and jewelry: Arielle de Pinto / Leg jewelry on contortionist: Lizz Jardim / Production assistance: Rusty Lazer, Yumna Al-Arashi, Julia Pogodina.
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Gentrification begins when you’re the squarest resident of your new neighborhood. It ends when you’re the weirdest.
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If you haven’t seen the stunning 2001 documentary “War Photographer” about prize-winning conflict photojournalist James Nachtwey, you really must. It’s a beautifully filmed, deeply contemplative study of what it means to be a photographer, and what it means to be a witness to conflict.
It also features an absolutely enthralling cinematic technique: a tiny camera mounted above Nachtwey’s own shutter button, so you can see the stream of time and context around each of his decisions to capture (or not capture.) You can see it in the trailer above, at the 1:17 mark.
And this brings me back to my recent essay, On the Constant Moment. If the Decisive Moment is Nachtwey’s shutter button there with the protestors on the West Bank in 2001, the Constant Moment is your ability to choose different moments from the video feed, from wherever you are, in 2013.
Freed from instant decision in the middle of chaos, able to pause and rewind, did you make different aesthetic choices about when to “shoot?” Would Nachtwey, if he could?
That’s the Constant Moment.
(Source: claytoncubitt)
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