Comments like this make me wish I could "downvote". What kind of unhappy troll can't have a good time at a wedding? I mean, seriously. Get out more, David, there's more to life than being snarky on the internets.
I get where you're coming from with the "it's sacrilege" but really, it's only sin, not sacrilege. But it's totally possible the director didn't realize this or didn't care.
I like this song a lot, and the video looks good, but I hate the glorification of gang culture in third world countries that it celebrates. ASAP went down the D.R. and played big bad gangster because he thought it was cool. Juxtaposing the fake gun toting (which I'm thinking was an act because how close ASAP actually was to it, but even if it was real, it still wasn't cool) with the very REAL slum life people live in down there rubbed me the completely the wrong way. Gang bangers are not fucking cool, especially when they run a slum.
As for Macklemore, I think, with the song "Thrift Shop" anyway, it is just a case of people taking something to seriously. I mean it's supposed to be a funny song, and people complain about class warfare? Similar to the bogus "Is the Harlem Shake racist?" backlash (which has since mostly gone away now that several videos featuring black persons have surfaced). Macklemore ain't Shakespeare reborn but I feel that's a clear case of haters gotta hate.
The thing that bothers me the most about Mumford is something about the songwriter struck me as disingenuous. I realize that this probably isn't fair, I don't know them personally. But it feels more calculated than sincere. I honestly thought I was "one of the few" with my early distaste for them, and I was surprised as anyone to see the backlash on this sight when Tom did the write up. But it has nothing to do with "cool" or "not cool" or "too cool" for me. It's about the music. Something about Mumford's music to me feels forced, I'm not begrudging anyone who likes it, but I'm not going to.
This is truly a masterpiece of journalism. They take a slightly bizarre endorsement of an obscure product by a semi-obscure artist - neither of which I care much about - and turn it into a scintillating, sordid, and fascinating piece that's a lot of fun. Bravo, Michael Nelson!
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