The traditional dances of Kenya are some of the most diverse and popular in Africa. Taking stock of all these changes and paradoxes, we might be able to extrapolate a bit about what the future of K-pop looks like: even more diverse, with an ever-increasing number of independent artists shaking up the studio scene, even though most of them will still have to play within the system's rigid standards.
In that arena, few stars can vie with the recent popularity of Bad Bunny, aka Benito Antonio Martínez Ocasio, a 25-year-old Puerto Rican singer and rapper who surprise-released his second album YHLQMDLG (or Yo Hago Lo Que Me Da La Gana, translation from Spanish: I do what I want) last weekend, announcing the album was coming just days before on The Tonight Show With Jimmy Fallon.



He compares the festival's relative lack of anniversary attention to Farrah Fawcett dying the same day as Michael Jackson, but he and others International Pop who were there don't need a bunch of CDs, DVDs and articles to remind them of that weekend, because that weekend has never left them.

Both the Walker and Tate shows were strong on themes but, excepting their richly packed catalogues, light on elucidating how pop art travelled from country to country and developed stylistic correspondences, or, in some cases, developed its own methodologies in isolation.
The room reminded me of how pinched and ration-fed much British pop looked in comparison with its US counterparts: a dream of pop elsewhere, an elsewhere made of burgers, chrome, modern appliances and movie stars, not drab, bombed out cities, spam and BBC Radio's Third Programme.

What is striking about this genealogy of the present is that Alexander and Ryan keep a self-conscious distance, in their account of historical Pop art, from the term global—a word that also arguably describes one of the most profound changes of our time.” They make a subtle distinction between a previous model of the world and that of the present, claiming that the show is a project about internationalism that could only have been made in today's global era.” In other words, International Pop” was an account of the recent past in which individual national art histories (such as those of the United States, England, Brazil, Japan, Argentina, Hungary, and Italy) were set alongside transnational aesthetic or formal dynamics that indicated an emerging global style”: The mobility of pictures, for instance, was addressed in a section called The Image Travels,” while in Distribution & Domesticity” we saw artworks that confront the postwar explosion of commodities in everyday life.
Janis Joplin , Sam and Dave, Sly and the Family Stone, Santana, Canned Heat, the Grass Roots, B. B. King, Chicago Transit Authority, Tony Joe White, Spirit, Johnny Winter, Sweetwater, Ten Years After, Freddie King , and a virtually unknown British band, Led Zeppelin, all performed during the three-day festival.