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Rating: Shakira is something that should be studied not so much for her artistic and musical value (naturally beyond question in this context) but for her anthropological and sociological significance as a "massified niche phenomenon."
The brat started making records at the age of 14. Her first album, "Magia," from 1991, received weak approval from critics and audiences. It must have been truly horrible, but let's not dwell on that and leave these thoughts behind us. Her second masterpiece, "Peligro," fared even worse. A real gem for all the enthusiasts and schizoids who had already started collecting and adoring photos of little girls like relics, inspired by her first album. Years later, the singer would release two albums titled "Oral Fixation vol. 1" and "Oral Fixation vol. 2." "The name of both albums stems from a genuine obsession with the mouth by Shakira, who considers it, without descending into banal mischief, a 'channel of expression, vehicle of love, and sustenance.'" (source Wikipedia).
Naturally, it's exactly what we all thought. The channel of expression, vehicle of love, and sustenance being referred to is the fellatio, not the mouth, the entry orifice of the digestive tube. Nonetheless, Shakira surprises everyone and captures the attention of the mass audience with her famous "rubber butt." We all remember her shaking it among horses in the video of "Whenever, wherever," a song that annoyed us for two entire summers (and every now and then, someone still plays that crap). Many individuals began to look around perplexed and suspicious, asking themselves: - but... what is it... a genius?! - Those were times when more and more metallers began to develop a taste for grade Z horror.
Essentially, three factions had emerged. Those who, among the albums of Dimmu, Burzum, Borknagar, Hammerfall, etc., also had a burned CD of "Baby One More Time," and those who, instead, had Aguilera's. In these disasters, though slightly less frequently, the presence of the ever-present Robbie Williams, idol of the third faction, could also be admired with some alternation. Today, the issue is repeated with Isabel Mebarak "rubber butt" Ripoll, known as Shakira. And here I launch a challenge. Try to install a peer-to-peer program like DC++ and visit the most crucial metal-dedicated hubs; then search for your favorite band in the appropriate search engines, and instead of downloading the album, download the user's shared file list. You will be surprised by the number of "metallers" who keep at least one Shakira album amidst their folders. The phenomenon is so widespread that it has become a sort of phenomenon. Why is Shakira so prevalent among metallers? To this question, frankly, I do not dare to answer, but it takes on the features of what I initially defined in my discourse as a "massified niche phenomenon." The choice is yours, therefore. Whether it's an examination of conscience or pitchfork and torch.
And at this point, let's review the track. In 2006, it's the turn of "Hips Don't Lie," sung together with Wyclef Jean, a puppet without art or part, entirely created in the MTV Research Studios. Jean is nothing more than a kind of senseless rastoid cyborg activated with a kick in the butt. "Hips Don't Lie" is instead a piece composed of a single, hateful chorus that repeats infinitely. You will notice it immediately when it plays on TV (because it will, oh it will) because the tune chosen by the team of psychiatrists who arranged the album is absolutely disturbing and in the worst taste. The torture begins with a kind of fanfare of trumpets and carpets that introduces the singer to the center stage and prepares the audience for various butt shakes and some backs, after which the music starts right away, meaning it gets straight to the point and never moves away from that tune again. "Experimentation"? "Genius”? Will guilty metalhead colleagues say? I will say crap.
Crap with double meaning of verb and adjective.
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