- if this wasn't made for the Superbowl, i dunno what is...
- Of course, there is a subordinate/dominant relationship with the POC cheerleaders behind the white lady Quaterback
- Of course there is some white-centered melting-pot during the rap interlude with Nicki and MIA wearing Madonna's throwback Marylin Monroe steez
- This feels A LOT like some Blondie "Parallel Lines"
- The dichotomous Grrrl Power against all boys is jive played out
- Giving M.I.A the Dubstep track for about 8 seconds...
In another respect, M.I.A. carries her flaw of acting REAL privileged and REAL down in an inconsistent way. We have Nicki with her butt-implants and doll posturing -- lending itself to another version of the Beyonce, Rhianna, Christina cyborg thing. It all kinda works, but not convincing until we are given a more complex layout of innovative and provocative pop-art, around them, that isn't derived from the overrepresented spitfire, whore, slut, model. I'm still wrapping my head around the mechanization of female bodies and the tension/conflict of the transnational culture.
Then take a look at M.I.A. "Bad Girls," another attempt at flipping the script by taking U.S. subcultural components (Bling, Hyphy, Ghost Riding) and applying it to a middle-eastern landscape. Throwing in old and dirty high end cars from the 90s adds a flex of "we broke, but not that broke cause we can still cop the gringo cars." The carrying over of U.S. created subcultures to an international audience is nothing new, as this has been happening as early as the Jazz era. The flipping is becoming a bit repetitive with the "Born Free" video following the same script. A rather novel choice of cultural isms to bring together. But all together not that impressive. I'm not that surprised that its only static items; location and clothes, that signify an "other." The only action of "other" is someone riding a horse. I can imagine mainstream kids digging the novelty of the donuts and ghost riding.