![]() ![]() The city and the format that built hip-hop, all in one visual package. In the 1999 video for Lauryn Hill’s “Everything Is Everything”-the third and final single from an album that sold CDs by the truckload-director Sanji Senaka imagines New York City as a record on an island-sized turntable, its people and buildings rotating around the Empire State Building as a massive stylus scrapes across the streets. ![]() ![]() But in the real world, where the CD was king and MP3s were knocking at the throne-room door, any format with an RPM attached was strictly a specialty concern: DJs scratched them, collectors hunted for them, retro-minded hipsters hung them on their walls. It’s mesmerizing, and metaphorical, too: You can’t photograph sound in motion, but footage of a needle hitting the outer groove of a record will do just fine.Īt the turn of the 21st century, vinyl records were enough of a novelty that putting one onscreen still worked as a shorthand. Spinning vinyl looks great on camera: The concentric spirals, the way the light glints off the surface. ![]()
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