How is Playboi Carti Face Paint? Let’s read this article to see what happens.
Playboi Carti face paint by wearing bright red lipstick and eye makeup
The 26-year-old “miss the rage” spitter can be seen wearing dark eye makeup and bright red lipstick in some photos he posts on Instagram.
Playboi Carti’s new appearance has wholly taken over the Internet. To the shock of his fans, the “Miss the Rage” rap artist recently shared photos on Instagram of himself wearing makeup.
Carti was seen wearing bright red lipstick and heavy dark eyeliner in the images posted on February 28. The 26-year-old chose a furry black jacket, baggy jeans, and combat boots for his costume.
Playboi Carti face paint in ‘Whole Lotta Red’
People largely disliked Playboi Carti’s Whole Lotta Red album as it was published on Christmas Day in 2020. We recall how frequently words like “whole lotta trash” appeared in comment threads on social networks. Anthony Fantano, a well-known critic and the “busiest music nerd on the internet,” gave the record a “decent to strength 5 [out of 10].”
As the year progressed, we sensed public opinion of Playboi Carti and his most recent work changing. We also observed a significant shift in public opinion when Rolling Stone named Whole Lotta Red the best and no. 1 rap album of 2021. Although Whole Lotta Red was officially launched at the end of 2020, Jeff Ihaza (Senior Editor at Rolling Stone), a member of the article’s authors, claimed that this didn’t matter due to the “seismic shift [that] the album represents.”
It’s possible that Ihaza’s assertions changed people’s perceptions of Whole Lotta Red from “mumble rap” as well as “trash” to “influential” & “bold.”
Furthermore, Playboi Carti stated that the “sound” of Whole Lotta Red would be “something that’s […] regular as well as relevant in the future” in Ihaza’s article & interview titled “The Punk Monk Teachings of Playboi Carti” from early 2021.
Whether hip-hop fans like it or not, Carti has dramatically impacted the genre. Traces of his distinctive, fast-paced, energetic punk rap can be heard leaking with almost every significant rap publication of 2021 and 2022.
Talking of “bleeding,” Whole Lotta Red’s vampiric aesthetic can’t be missed when taking a sip. Songs like “Vamp Anthem” as well as “King Vamp” are primarily odes to the Gothic, as well as the album’s visual and aural composition is, well, red. It also contains direct references to vampires. Bloody. Infectious. Vampiric.
You can listen to a few previews on the right if you do not have Spotify. When you do, you ought to be capable of listening to them in full if you do have Spotify.
Rap artists and fans may find Whole Lotta Red just as biting, audacious, and contagious as writers and readers have seen Stoker’s Dracula. One can hear Carti’s fangs piercing Yeat’s sonics with just an excellent read to any of his songs.
Let’s examine Whole Lotta Red’s use of such a vampire and its influence. I’m going to concentrate on the song “Vamp Anthem,” which has received over 130 million flows on Spotify since writing this and is the second-most famous track of the album. However, we’ll also discuss the album in its entirety. To analyze vampiric aesthetics, we divided musical knowledge into three categories: visual art, lyrics, sound, as well as atmosphere.
The Visual Art
The cover art for WLR shows a black and white photo of Carti wearing a cheerful side cross necklace with the word “Red” scrawled across the top. “The amazing world of red” is written along the upper right of the picture, and at the bottom, completely separate sections of “Volume One Number One,” “Mayday Issue 12/25,” as well as “Opium” can be seen. Jung Chung, a.k.a created it. “Art Dealer,” who appears to be emulating the iconic Slash punk music fashion magazines.
The cover of Whole Lotta Red seems to be a replica of the cover of the initial problem of Slash, which showed Dave Vanian of “The Damned” looking into the camera. They are identical in terms of posture, eyeshadow, and general lighting. They even include an equal number of blood splatters on the text.
The “unholiness” of punk as well as metal music was always evident; groups such as Black Sabbath were “Satanists” who “changed music.” Carti’s music and the Cross of Saint Peter, a positive side cross currently frequently associated with occult and Satanism, function as both audible and visual inversions of Christian heteronormative value systems. It’s especially odd that “New Tank,” addresses rumors about his sexuality as well as his “vampy” clothing style. It may symbolize the gayness that is constantly present in vampiric literary works.
The upside-down cross, bloodstained “Red,” and Vanian/Slash posturing create a graphic ode to vampiric-metal-punk-satanist-queer aesthetic appeal. Simply put, it is monstrous. Unsettlingly straightforward and undoubtedly an adaptation. Whether that’s Satan or Stoker, Carti draws from various sources, including the vampire’s past.
The stage layout should also be considered when analyzing Whole Lotta Red’s visuals. Consider the “Vamp Anthem” performance scheduled for October 19, 2021, just at James L. Knight Center in Miami:
The picture of the positive side cross quickly flashes in the background of the stage while red strobe lights and laser beams do the same. Carti melts into such a bleeding, writhing, jittery sensory experience with his listeners as he bounces on stage to his well-known vampire ode; he and his audience bleed back into time to visit the vampire.
An “energetic ode to the vampiric aesthetic showcased all through Whole Lotta Red,” according to Genius, is “Vamp Anthem.” We was curious about “Vamp Anthem” because “red” is frequently connected to food-related violence.
He’s probably referring to the Bloods (gang) once he says that his flag is red like such a cranberry, as well as he means to shoot a person in the head once he says, “We topped his melon.” Carti depicts the violent act of blowing off a man’s head in a manner reminiscent of the blood-red color of a blowing-up watermelon. As blood is to the vampire, berries, as well as melons, are succulent, juicy, sweet foods. He portrays gang warfare as an unquenchable thirst, wherein rival members are imprisoned by the system and continuously feed off one another.
In the opening of Dracula, Jonathan mentions eating “a chicken done up a few ways with red pepper, that was extremely good but thirsty,” illustrating the prevalence of “red” food in vampire literature (Stoker 31). Dracula, as well as “Vamp Anthem” put redness, blood, violence, as well as consumption front and center.
Such as cherries popping in a microwave, Carti’s lyrics are brief, sharp, and unmistakably repetitive. You can understand what we mean if you hear any of his songs.
This might seem ridiculous on paper. It depends on your musical preferences. It could even be not very kind. However, the repetition isn’t as absurd as some might think.
The Sound and Atmosphere
Whole Lotta Red has a complex, lively, as well as thoughtful sonic design. The “Vampire Anthem” beat is based on a reversed version of Bach’s “Toccata and Fugue in D Minor, BWV 565,” a piece of music that has come to be linked with the horror genre. A direct reference to Baroque music as well as the Gothic vampire, the set to open Bach’s “Toccata and Fuge” is also employed to empty “Vamp Anthem”.
This variant of Vamp Anthem was posted to YouTube by user “Kartier.” Hence, it overlays a scene from the initial vampire movie Nosferatu so over the original, having opened “Tocatta and Fuge” (1922).
Do we believe Playboi Carti would make Dylan feel embarrassed? Probably. However, that is not the issue. In the particular instance of Whole Lotta Red, Dylan’s argument is still valid: Carti’s influence comes more from how he says things than from what he says. The repeating of “vamp,” “stop breathing,” or “demon time” may appear lazy at first listen, and yet we challenge audiences to consider it further. The “Vampire Anthem” outro is punchy, bloody, as well as repetitive—just like a vampire’s need to keep feasting on its prey.
His fans have unmatched energy and appear to be practically possessed. The Playboi Carti concert is the perfect setting for moshpit jumping as well as letting your wildest energy out.
It almost seems like Carti, the self-described “King Vamp” has did turn his fans into infant vampires due to the infectious nature of his music among young people. It turns out that his followers are referred to as “vamps.”
The June 2019 cover story of Fader magazine featured Playboi Carti as well as mentioned his fascination with vampires. The article’s last line is particularly fascinating: “Carti loves vampire movies, particularly cult classics such as the Lost Boys as well as Interview with the Vampire,” the artist Iggy Azalea, who was his at the time, told Ben Dandridge-Lemco, the article writer. The protagonists in each of them serve as some of his most significant sources of fashion tips. After the interview, Carti yelled, “When you start writing that shit, tell ’em I’m a vampire.” Dandridge-Lemco had just left the room.
Carti discussed his attention in The Lost Boys in a previous interview with Complex. He said, “I hesitated the movie as well as played my music placed above a white top, and the result looked so crazy. Playboi Carti, a vampire riding a dirt bike, is who I am. Flying. Giggling and hitting. The grills, the fangs. Dreads and long hair are shit rock stars do.
A significant cultural shift resulted from Fader’s article: not only did it raise interest in Whole Lotta Red as well as its vampire-themed themes, but after Carti declared that he is “a vampire,” fans started calling themselves “vamps.” You can find a lot of references to “vamps” if you take a quick look around Playboi Carti’s online communities, such as r/playboicarti.
A new fictional and actual vampire has been created by Carti’s music: the “vamp.” It’s thrilling to consider the possible futures that the song has created for vampiric invention as well as the rap genre. Whole Lotta Red’s fangs have created vampires all over the world, also with Stoker-like impact.