TikTok user Rynnstar’s viral smash - it has no name, but we’ll call it “The Crime Rate Jingle” - started as a blithe-but-deadly riff another TikTok user identified only as EC rattled off on her porch one afternoon in response to manipulated “statistics” about crime rates in Black neighborhoods. It exists as a memory of what has been and what will be again - of silliness, of ecstasy, of oneness.
The lyrics are open to multiple interpretations - a metaphor of being caught in a storm, a possible nod to struggles with sobriety - but at the heart of the matter is survival. “Rain on Me” is successful because of its directness and its simplicity. “The Bigger Picture,” Lil BabyĪ show of solidarity and level prowess that demonstrates the life lesson we’re hoping a pandemic has served us: that we’re only going to get through this together. No longer do listeners need giant record companies to tell them what’s happening no longer do folks with something to say need those companies to help them say it.Īt a time when it feels like anything might happen, we should be on the lookout for major statements from anywhere. One upside of this fragmentation is that it’s created a window for viral hits from outside the pop machine - see the irrepressible “Lose Yo Job,” with vocals sourced from a Facebook video shot in a parking lot. (Also: that TikTok, where many a smash first catches on these days, is chewing through new songs with increasing speed.)
That’s another sign, along with our poll responses, that this fraught moment has splintered listeners’ desires. The exhibition will be held until October 29 and later showcased again at the KF Gallery in Seoul on November 21.In fact, as nine different chart-toppers emerged over the last three months - including “Rain on Me,” Lady Gaga and Ariana Grande’s club jam for an era with no clubs, and DaBaby and Roddy Ricch’s “ Rockstar,” with its references to abusive cops - the top of the Hot 100 has experienced more churn, according to Billboard, than at any point since 1990. The event will also feature the Salvages, who have designed outfits for K-pop artists such as BLACKPINK and G-Dragon, as well as Harry Halim, whose work was worn by 2NE1’s CL at 2022 We the Fest in Jakarta, Indonesia. Part 3, “Urbanite”, offers a glimpse into the dynamic lifestyles of cosmopolitan Singaporeans through practical and experimental streetwear. Part 2, “Innovation in Tradition”, features works by Studio HHFZ, which incorporates modern prints into Chinese qipao Putri Adif, who fuses batik and corsets from Malaysia and OliveAnkara, who explores sustainable fashion with the African wax print technique of ankara. Part 1, “Craftsmanship”, showcases exquisite tailoring and intricate details in elegant couture garments by Singaporean designers who have made a name for themselves on the global fashion stage, such as Andrew Gn, Ashley Isham and LAICHAN. The ACM is a national museum under the National Heritage Board (NHB) of Singapore that houses a variety of artifacts and decorative arts related to the historical exchange of cultures and civilizations between regions of Asia as well as with the world.
This exhibition, which continues to explore the question “What is fashion in Singapore?”, was planned as the third project in the ACM’s “#SGFASHIONNOW” exhibition series. Runway Singapore #SGFAHIONNOW, a collaborative exhibition by the KF ASEAN Culture House and the Asian Civilisations Museum (ACM) in Singapore, opened on August 10.
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