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Post by haysoos on Jul 29, 2020 16:41:16 GMT -5
At the risk of charges of necromancy, I had to share this cover version someone sent me:
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Deleted
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Post by Deleted on Aug 12, 2020 11:05:39 GMT -5
Is this thread still active
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Post by Prole Hole on Aug 12, 2020 11:13:15 GMT -5
Is this thread still active Regrettably.
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Post by Roy Batty's Pet Dove on Aug 20, 2020 16:43:53 GMT -5
Is this thread still active Regrettably. Prole, please tell us what your opinion of this "Africa" cover is?
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Post by Dr. Rumak on Apr 26, 2021 18:29:12 GMT -5
I wasn't expecting that this was going to be something I would feel the need to post on this thread, and then *BAM*, there we are.
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Post by Gamblin' Telly on Apr 27, 2021 6:55:04 GMT -5
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Crash Test Dumbass
AV Clubber
ffc what now
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Post by Crash Test Dumbass on Aug 3, 2021 8:34:15 GMT -5
I hear the drums echoing tonight But she hears only whispers of some quiet conversation She's coming in, 12:30 flight The moonlit wings reflect the stars that guide me towards salvation I stopped an old man along the way Hoping to find some old forgotten words or ancient melodies He turned to me as if to say "Who the fuck are you? You just accost me randomly -- at night, may I add -- in the streets of my town and expect me to impart some sort of magical wisdom shit upon you -- that you have the audacity to assume I even have -- because, hey, you're here and you want it? You can't even say 'please'? In English, let alone one of the five other languages I understand? I bet you don't even know what fucking country you're in now. Did you even know Africa has countries? Go to the fucking airport, find your lady friend, and get both of your asses back on the plane and fuck off back out of here with that colonizer-ass mentality, motherfucker. Don't make me call the cops on you."
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Post by Lurky McLurk on Sept 8, 2021 6:14:01 GMT -5
I wasn't expecting that this was going to be something I would feel the need to post on this thread, and then *BAM*, there we are. I wasn't expecting I'd ever need to post anything on this thread, least of all a TikTok video, and yet here we all are. www.tiktok.com/@mr.chicken.official/video/7002640534216903941?
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Rainbow Rosa
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not gay, just colorful
Posts: 3,604
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Post by Rainbow Rosa on Nov 11, 2021 17:34:19 GMT -5
Prole, does your hatred of "Africa" and by extension the whole Toto discography extend to the late Jeff Porcaro, who is genuinely a percussion master/genius? Can you really hold "Africa" against this chill dude who just wanted to play awesome shuffles and do coke? Can you??
Look at him, he's having the time of his life. Even on this shit-ass VHS you can see him beaming. He's so into it. You wouldn't POSSIBLY defame this man.
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monodrone
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Come To Brazil
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Post by monodrone on Nov 18, 2021 5:26:22 GMT -5
Prole, does your hatred of "Africa" and by extension the whole Toto discography extend to the late Jeff Porcaro, who is genuinely a percussion master/genius? Can you really hold "Africa" against this chill dude who just wanted to play awesome shuffles and do coke? Can you??
Look at him, he's having the time of his life. Even on this shit-ass VHS you can see him beaming. He's so into it. You wouldn't POSSIBLY defame this man.
A tremendous musician regrettably hamstrung by his appalling taste in music. He makes some good points about the virtues of the one handed 16th note and I'm going to work on that as I continue my long journey towards being a competent musician hamstrung by my appalling taste in music.
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Post by Prole Hole on Nov 23, 2021 11:27:31 GMT -5
The thread that never dies, never dies.
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Crash Test Dumbass
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ffc what now
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Post by Crash Test Dumbass on Nov 24, 2021 9:42:48 GMT -5
The thread that never dies, never dies. That is not dead which can eternal lie And with strange aeons even death may take some time to do the things we never had
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billy
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Post by billy on Nov 24, 2021 13:01:19 GMT -5
Hatesong: Toto - "Africa"
Fictional Interviewer: So why pick "Africa"? PH: Oh, because it's awful. Fictional Interviewer: Perhaps a little more specifically...? PH: Because it's really, really awful? Fictional Interviewer: *sighs* Because...? PH: Well, if music exists for something, for anything, it should I think be to provoke a reaction from the listener. Sometimes that reaction will be something as simple as wanting to get up and dance, sometimes it will be something of devastating emotional complexity, sometimes it will just make you smile. Whatever. The type of reaction music prompts isn't the issue, it's much more that it should just prompt something. Genre isn't important, style isn't important, reaction is. That is, to me, the essence of what music is for. "Africa", then, is pretty much the binary opposite of what music is, because it commits the single worst sin any piece of music can commit. It's boring. Really, brain-crushingly, time-stretchingly, pointlessly, achingly boring. Even just hearing those first three chords on that organ - an organ sound that even the staunchest and most joyless of Puritan ministers might suggest needs brightening up a little - is enough to induce torpor. Already my eyes are getting heavy just thinking about it. It's Just. So. Dull. If the music is so tedious as to actively remove the listener from wanting to hear it, what chance does it have to succeed as a piece, and what point is there to its existence? Fictional Interviewer: Isn't there an argument that in provoking boredom from you it's still producing a reaction? Boredom is a reaction too, even if it's not a positive one. PH: You could argue that, but only if you think that the song was setting out to intentionally generate that response in the first place, and it clearly isn't. Not that the reaction a song provokes needs to be the specific one the writer was going for, but there needs to be some kind of reaction, and for boredom to be that reaction it needs to be something you specifically aim for. There are examples of what you mean - Pet Shop Boys "Being Boring", for example, is basically a boring song about being boring, but it's able to square the circle by clearly setting out its stall in the first place. It's engaging with boredom as a concept then trying to analyse it from a lyrical perspective ("We were never being boring / we were never being bored") in addition to its ruminations on the devastation of the AIDS crisis. It's actually about something, there's a purpose to it, and a function. It's not their greatest work or anything, but it's a song with a specific conceit and it follows through on that. "Africa" does not have that - it's just utterly uninspiring. This article might be called "Hatesong" but in fact "Africa" is almost too dull to even garner much anger towards it. I can reel of a list of Phil Collins songs that I despise more than "Africa" but at least they're generating a response, albeit not the one Mr Collins is presumably going for. The reason for choosing "Africa" is not because it provokes an extreme of anger or hate, but because it really, genuinely represents the opposite of music for me. Fictional Interviewer: So what makes it quite such an act of tedium? PH: Well, the 80s production doesn't help, obviously. Everything is mixed horribly - it sounds like it was recorded inside a biscuit tin, shallow, cheap and tacky without that ever being the point of the song. That organ. Oh Rassilon, that organ. The NHS could save a fortune on anaesthetic by just playing that song to patients until they pass out (though the down side is they may never want wake up again). David Paich's vocals are either too quiet (the verses), too loud (the overly-effusive, self-important, fussy chorus), but never come close to being at the actual right volume, another symptom of poor production. The single version is about four and a half minutes long, which isn't excessive for a mid-80s single, but it feels like so much longer. Apparently there's a seven minute extended version of the track, which scarcely bears thinking about - it must feel like about a decade slips past listening to it, some kind of musical time-wormhole. And... Fictional Interviewer: Ok, yes, I think we've covered that bit. Other things that make is so bad? PH: Well to be honest, I've always thought it felt somewhat exploitative, and I'm old enough to remember it being released the first time round. Africa was a big subject in the 80s, and quite rightly so, but this song has nothing to say about Africa itself whatsoever, despite straining to do so. It references it. It uses imagery from the continent, though often in the most hilariously clumsy way possible: sample lyric, "As sure as Kilimanjaro rises like Olympus above the Serengeti / I seek to cure what's deep inside", which sounds less like someone trying to express the sheer depths of raw emotion and more like they have a tapeworm. But it's not meaningfully about Africa at all, it's just uses borrowed iconography to try and strain for meaning the lyric itself can't convey. The repetitious chorus, "I bless the rains down in Africa" just sounds patronising, and the more often it's repeated (which is a lot), the more patronising it seems, especially while being sung by the whitest of white sounding voices. Really, there are a lot of singles whose success in the 80s is inexplicable, but this was released in 1982, and became a hit in 1983 on both sides of the Atlantic (a number one hit in the U.S., no less) and still seems pretty difficult to explain. Fictional Interviewer: How do you account for that then? PH: How indeed? It's baffling. I mean, it's not like anyone looks at the 80s and thinks of them as a pinnacle of good taste - quite the reverse - and if you look at the UK charts for the week "Africa" peaked (it reached Number 3) there's a lot of fairly terrible music. The Number 1 slot is held by perennial 80's punchline Kajagoogoo with "Too Shy", and in the top twenty we also have such deathless works of art as Men At Work's "Down Under" and Bonnie Tyler's "Total Eclipse Of The Heart" (oh, and "Wham Rap" is in there too. When "Wham Rap" proves to be more political than a song called "Africa" you know you're doing something wrong). None of them are great songs, though Our Bonnie at least provides a camp classic for the ages. But there's some decent stuff in the mix too. The number two position is "Billie Jean". The number twenty position is the glorious "Sweet Dreams (Are Made Of This)". Fun Boy Three are at Number 11 and Madness are at Number 9! And wedged in there, like the boredom filling of a musical sandwich, is "Africa". Still, "Africa" is indescribably bland, and so is Kajagoogoo and, one amusing lyrical aside excepted, so are Men At Work, so maybe really boring stuff was in during 1983? In the U.S. "Africa" kept Men At Work off the Number 1 spot for the first week, then Men At Work took it, so it's not an unreasonable conclusion to reach. Fictional Interviewer: Are the charts any indication of anything though? PH: Well they're an indication of what sold. Clearly. Obviously there's no meaningful correlation between popularity and quality, otherwise we'd have to regard the Tellytubbies as one of the most significant recording artists of the 1990s simply off the back of them scoring a number one hit (though in honestly I'd rather listen to "Tellytubbies Say Eh-Oh" a hundred times than suffer through "Africa" again). But if they are of any use then it's probably more as an indicator of broads trends than of specifics, and what that list of singles above shows is that there's a clear dividing line between the types of singles which are successful in early 1983, with a fairly even split between what we would call "quality" artists (Eurythmics, Fun Boy Three, Madness, Michael Jackson) and the sort of vaguely-remembered-but-bland hits that prop up endless I-Love-The-80s-type TV nostalgia shows (Bonnie Tyler, Kajagoogoo, Men At Work and, yes, Toto). Obviously there was a market for whatever trend it is "Africa" represents. A boring, boring trend. I would like to think/hope this trend has passed. I most certainly hope so. Fictional Interviewer: Any final thoughts? PH: I have spent far too long thinking about this song. Without the benefit of wine, no less, something I am now going to correct.
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Post by Some Kind of Munster on Nov 26, 2021 14:38:14 GMT -5
Hatesong: Toto - "Africa"
Fictional Interviewer: So why pick "Africa"? PH: Oh, because it's awful. Fictional Interviewer: Perhaps a little more specifically...? PH: Because it's really, really awful? Fictional Interviewer: *sighs* Because...? PH: Well, if music exists for something, for anything, it should I think be to provoke a reaction from the listener. Sometimes that reaction will be something as simple as wanting to get up and dance, sometimes it will be something of devastating emotional complexity, sometimes it will just make you smile. Whatever. The type of reaction music prompts isn't the issue, it's much more that it should just prompt something. Genre isn't important, style isn't important, reaction is. That is, to me, the essence of what music is for. "Africa", then, is pretty much the binary opposite of what music is, because it commits the single worst sin any piece of music can commit. It's boring. Really, brain-crushingly, time-stretchingly, pointlessly, achingly boring. Even just hearing those first three chords on that organ - an organ sound that even the staunchest and most joyless of Puritan ministers might suggest needs brightening up a little - is enough to induce torpor. Already my eyes are getting heavy just thinking about it. It's Just. So. Dull. If the music is so tedious as to actively remove the listener from wanting to hear it, what chance does it have to succeed as a piece, and what point is there to its existence? Fictional Interviewer: Isn't there an argument that in provoking boredom from you it's still producing a reaction? Boredom is a reaction too, even if it's not a positive one. PH: You could argue that, but only if you think that the song was setting out to intentionally generate that response in the first place, and it clearly isn't. Not that the reaction a song provokes needs to be the specific one the writer was going for, but there needs to be some kind of reaction, and for boredom to be that reaction it needs to be something you specifically aim for. There are examples of what you mean - Pet Shop Boys "Being Boring", for example, is basically a boring song about being boring, but it's able to square the circle by clearly setting out its stall in the first place. It's engaging with boredom as a concept then trying to analyse it from a lyrical perspective ("We were never being boring / we were never being bored") in addition to its ruminations on the devastation of the AIDS crisis. It's actually about something, there's a purpose to it, and a function. It's not their greatest work or anything, but it's a song with a specific conceit and it follows through on that. "Africa" does not have that - it's just utterly uninspiring. This article might be called "Hatesong" but in fact "Africa" is almost too dull to even garner much anger towards it. I can reel of a list of Phil Collins songs that I despise more than "Africa" but at least they're generating a response, albeit not the one Mr Collins is presumably going for. The reason for choosing "Africa" is not because it provokes an extreme of anger or hate, but because it really, genuinely represents the opposite of music for me. Fictional Interviewer: So what makes it quite such an act of tedium? PH: Well, the 80s production doesn't help, obviously. Everything is mixed horribly - it sounds like it was recorded inside a biscuit tin, shallow, cheap and tacky without that ever being the point of the song. That organ. Oh Rassilon, that organ. The NHS could save a fortune on anaesthetic by just playing that song to patients until they pass out (though the down side is they may never want wake up again). David Paich's vocals are either too quiet (the verses), too loud (the overly-effusive, self-important, fussy chorus), but never come close to being at the actual right volume, another symptom of poor production. The single version is about four and a half minutes long, which isn't excessive for a mid-80s single, but it feels like so much longer. Apparently there's a seven minute extended version of the track, which scarcely bears thinking about - it must feel like about a decade slips past listening to it, some kind of musical time-wormhole. And... Fictional Interviewer: Ok, yes, I think we've covered that bit. Other things that make is so bad? PH: Well to be honest, I've always thought it felt somewhat exploitative, and I'm old enough to remember it being released the first time round. Africa was a big subject in the 80s, and quite rightly so, but this song has nothing to say about Africa itself whatsoever, despite straining to do so. It references it. It uses imagery from the continent, though often in the most hilariously clumsy way possible: sample lyric, "As sure as Kilimanjaro rises like Olympus above the Serengeti / I seek to cure what's deep inside", which sounds less like someone trying to express the sheer depths of raw emotion and more like they have a tapeworm. But it's not meaningfully about Africa at all, it's just uses borrowed iconography to try and strain for meaning the lyric itself can't convey. The repetitious chorus, "I bless the rains down in Africa" just sounds patronising, and the more often it's repeated (which is a lot), the more patronising it seems, especially while being sung by the whitest of white sounding voices. Really, there are a lot of singles whose success in the 80s is inexplicable, but this was released in 1982, and became a hit in 1983 on both sides of the Atlantic (a number one hit in the U.S., no less) and still seems pretty difficult to explain. Fictional Interviewer: How do you account for that then? PH: How indeed? It's baffling. I mean, it's not like anyone looks at the 80s and thinks of them as a pinnacle of good taste - quite the reverse - and if you look at the UK charts for the week "Africa" peaked (it reached Number 3) there's a lot of fairly terrible music. The Number 1 slot is held by perennial 80's punchline Kajagoogoo with "Too Shy", and in the top twenty we also have such deathless works of art as Men At Work's "Down Under" and Bonnie Tyler's "Total Eclipse Of The Heart" (oh, and "Wham Rap" is in there too. When "Wham Rap" proves to be more political than a song called "Africa" you know you're doing something wrong). None of them are great songs, though Our Bonnie at least provides a camp classic for the ages. But there's some decent stuff in the mix too. The number two position is "Billie Jean". The number twenty position is the glorious "Sweet Dreams (Are Made Of This)". Fun Boy Three are at Number 11 and Madness are at Number 9! And wedged in there, like the boredom filling of a musical sandwich, is "Africa". Still, "Africa" is indescribably bland, and so is Kajagoogoo and, one amusing lyrical aside excepted, so are Men At Work, so maybe really boring stuff was in during 1983? In the U.S. "Africa" kept Men At Work off the Number 1 spot for the first week, then Men At Work took it, so it's not an unreasonable conclusion to reach. Fictional Interviewer: Are the charts any indication of anything though? PH: Well they're an indication of what sold. Clearly. Obviously there's no meaningful correlation between popularity and quality, otherwise we'd have to regard the Tellytubbies as one of the most significant recording artists of the 1990s simply off the back of them scoring a number one hit (though in honestly I'd rather listen to "Tellytubbies Say Eh-Oh" a hundred times than suffer through "Africa" again). But if they are of any use then it's probably more as an indicator of broads trends than of specifics, and what that list of singles above shows is that there's a clear dividing line between the types of singles which are successful in early 1983, with a fairly even split between what we would call "quality" artists (Eurythmics, Fun Boy Three, Madness, Michael Jackson) and the sort of vaguely-remembered-but-bland hits that prop up endless I-Love-The-80s-type TV nostalgia shows (Bonnie Tyler, Kajagoogoo, Men At Work and, yes, Toto). Obviously there was a market for whatever trend it is "Africa" represents. A boring, boring trend. I would like to think/hope this trend has passed. I most certainly hope so. Fictional Interviewer: Any final thoughts? PH: I have spent far too long thinking about this song. Without the benefit of wine, no less, something I am now going to correct. Very good point, billy
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Post by Prole Hole on Nov 26, 2021 19:02:17 GMT -5
I just want you to know I hate you all.
That is all
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Post by Ben Grimm on Dec 6, 2021 14:09:30 GMT -5
I just want you to know I hate you all. That is all Not as much as we hate ourselves.
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Post by Prole Hole on Dec 6, 2021 16:07:29 GMT -5
I just want you to know I hate you all. That is all Not as much as we hate ourselves. That's something!
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Rainbow Rosa
TI Forumite
not gay, just colorful
Posts: 3,604
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Post by Rainbow Rosa on May 29, 2022 15:59:01 GMT -5
Prole, Prole, Prole! Guess what song began playing EXTREMELY LOUDLY over a speaker while I was in the middle of a conversation with my friends at a trendy restaurant yesterday?
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Post by Prole Hole on May 30, 2022 9:49:08 GMT -5
Prole, Prole, Prole! Guess what song began playing EXTREMELY LOUDLY over a speaker while I was in the middle of a conversation with my friends at a trendy restaurant yesterday? The Charleston?
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Rainbow Rosa
TI Forumite
not gay, just colorful
Posts: 3,604
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Post by Rainbow Rosa on May 30, 2022 11:19:52 GMT -5
Prole, Prole, Prole! Guess what song began playing EXTREMELY LOUDLY over a speaker while I was in the middle of a conversation with my friends at a trendy restaurant yesterday? The Charleston? No, silly, "Africa" by Toto!
I realized while having the song piped extremely loudly into my eardrums that the drum ""fill"" in that song is comically abortive and impossible to air-thump along with, which is another thing wrong with this song.
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Post by Prole Hole on May 30, 2022 11:21:19 GMT -5
No, silly, "Africa" by Toto!
I realized while having the song piped extremely loudly into my eardrums that the drum ""fill"" in that song is comically abortive and impossible to air-thump along with, which is another thing wrong with this song.
I shall add it to the list of egregious* problems with this song. * I used the word egregious - can I work at TOC now?
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Post by Dr. Rumak on Oct 30, 2022 7:35:00 GMT -5
40 years ago, for the week ending October 30, 1982, "Africa" by Toto entered the top 100 for the first time, at number 75. It was third highest debuting song that week, behind "Dirty Laundry" by Don Henley at 73 and "It's Raining Again" by Supertramp at 31. That week, Men at Work's "Who Can it Be Now?" reached number 1, replacing John Mellencamp's "Jack and Diane", which fell to number 2.
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Post by Roy Batty's Pet Dove on Oct 30, 2022 8:10:26 GMT -5
40 years ago, for the week ending October 30, 1982, "Africa" by Toto entered the top 100 for the first time, at number 75. It was third highest debuting song that week, behind "Dirty Laundry" by Don Henley at 73 and "It's Raining Again" by Supertramp at 31. That week, Men at Work's "Who Can it Be Now?" reached number 1, replacing John Mellencamp's "Jack and Diane", which fell to number 2. Please keep us and especially Prole Hole updated with a week-by-week account of this historic anniversary of “Africa’s” position on the charts, Dr.
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Post by Prole Hole on Oct 30, 2022 14:33:25 GMT -5
40 years ago, for the week ending October 30, 1982, "Africa" by Toto entered the top 100 for the first time, at number 75. It was third highest debuting song that week, behind "Dirty Laundry" by Don Henley at 73 and "It's Raining Again" by Supertramp at 31. That week, Men at Work's "Who Can it Be Now?" reached number 1, replacing John Mellencamp's "Jack and Diane", which fell to number 2. Please keep us and especially Prole Hole updated with a week-by-week account of this historic anniversary of “Africa’s” position on the charts, Dr. Please don't.
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Post by Roy Batty's Pet Dove on Oct 30, 2022 19:18:22 GMT -5
It has occurred to me that it's quite likely that Prole Hole 's negative reaction to this commemoration of the 40th anniversary of "Africa's" debut on the charts is in large part due to the fact that it constitutes an act of American cultural imperialism on the part of Dr. Rumak . He is only reporting the song's position on the US Billboard Hot 100 chart. Therefore, in addition to Rumak's updating us on the song's place on the Billboard Hot 100, I have taken it upon myself to keep us apprised on its corresponding position "across the pond", as it were, on the UK Singles Chart. For the week of 24 October, 1982 - 30 October, 1982, London-based pop act Culture Club's "Do You Really Want to Hurt Me" enjoyed its second week atop the Official UK Singles Chart, in its seventh week on the chart. It was the group's first number one single in the UK. This is ironic, given that "Do You Really Want to Hurt Me" is both the title of this chart-topping hit song, and, also, a question that I wouldn't be surprised to see Prole ask in response to the renewed activity on this thread. The UK Singles Chart only included the top 75 singles back in 1982, and would not expand to a Top 100 format until the following year, which was 1983. The song "Africa" by Toto was not yet on the UK Singles Chart during the week of 24-30 October, 1982.
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Post by Prole Hole on Oct 31, 2022 4:10:56 GMT -5
It has occurred to me that it's quite likely that Prole Hole 's negative reaction to this commemoration of the 40th anniversary of "Africa's" debut on the charts is in large part due to the fact that it constitutes an act of American cultural imperialism on the part of Dr. Rumak . He is only reporting the song's position on the US Billboard Hot 100 chart. Therefore, in addition to Rumak's updating us on the song's place on the Billboard Hot 100, I have taken it upon myself to keep us apprised on its corresponding position "across the pond", as it were, on the UK Singles Chart. For the week of 24 October, 1982 - 30 October, 1982, London-based pop act Culture Club's "Do You Really Want to Hurt Me" enjoyed its second week atop the Official UK Singles Chart, in its seventh week on the chart. It was the group's first number one single in the UK. This is ironic, given that "Do You Really Want to Hurt Me" is both the title of this chart-topping hit song, and, also, a question that I wouldn't be surprised to see Prole ask in response to the renewed activity on this thread. The UK Singles Chart only included the top 75 singles back in 1982, and would not expand to a Top 100 format until the following year, which was 1983. The song "Africa" by Toto was not yet on the UK Singles Chart during the week of 24-30 October, 1982. In fact, the reason I have a negative reaction is less to do with cultural imperialism and more do with with drawing yet more attention to this incredibly shit song. Full credit for "Do You Really Want To Hurt Me" though - I genuinely laughed out loud at that. Thank you, Rando!
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Post by Some Kind of Munster on Nov 3, 2022 9:57:26 GMT -5
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Post by pantsgoblin on Nov 3, 2022 10:17:50 GMT -5
I like that, in the comments, someone gives a shoutout to Low's version on the old A.V. Club Undercover series. That was always a favorite of mine as well.
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Post by Ben Grimm on Nov 3, 2022 12:33:59 GMT -5
Hatesong: Toto - "Africa"
It uses imagery from the continent, though often in the most hilariously clumsy way possible: sample lyric, "As sure as Kilimanjaro rises like Olympus above the Serengeti / I seek to cure what's deep inside", which sounds less like someone trying to express the sheer depths of raw emotion and more like they have a tapeworm. But it's not meaningfully about Africa at all, it's just uses borrowed iconography to try and strain for meaning the lyric itself can't convey. Also, Kilimanjaro is like twice as tall as Olympus. Someone here might have pointed that out already, but there's a limit to how much effort I'm willing to go to on this thread.
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Post by Prole Hole on Nov 3, 2022 13:27:56 GMT -5
Hatesong: Toto - "Africa"
It uses imagery from the continent, though often in the most hilariously clumsy way possible: sample lyric, "As sure as Kilimanjaro rises like Olympus above the Serengeti / I seek to cure what's deep inside", which sounds less like someone trying to express the sheer depths of raw emotion and more like they have a tapeworm. But it's not meaningfully about Africa at all, it's just uses borrowed iconography to try and strain for meaning the lyric itself can't convey. Also, Kilimanjaro is like twice as tall as Olympus. Someone here might have pointed that out already, but there's a limit to how much effort I'm willing to go to on this thread. The correct amount being "none". I mean, I know you guys only keep this thread going to torture me, but even so. S'ok to let it die.
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