The new art is a work of art, and it’s not only because it’s a piece of art.
It’s because it was a piece in a very specific time, in a specific place, in this specific moment in time.
And I think it’s one of the few examples of this kind of music that’s still alive.
One of the first things you do when you hear the sound of a song is to wonder what it is.
And that’s exactly what I did when I saw the video for “Tear Me Up.”
And I was like, “That’s the sound you’d get if you ripped out the tongue and just punched someone in the face,” or whatever it was.
And so I started looking at it in terms of the song’s structure and the way it’s laid out, the way that it’s arranged.
And then I was surprised to find that the song is a little bit like a painting, in that it doesn’t have a beginning and an end.
It has a beginning, a middle, and an ending.
The structure of the track is completely different from the structure of a pop song.
And in a sense, it’s more timeless.
But it’s also very modern.
And the way the song flows, the rhythm of the beat, and the lyrics–it’s like, it feels like something that has happened in the last couple of decades, not just in the ’60s, but in the past couple of years, and that was one of those things that struck me as really important to me.
And one of these things is that the structure in the song makes it feel very contemporary.
Because it feels very contemporary, and very like an homage to the times.
And you can see it in the way people are singing and dancing, and how they’re carrying their instruments and how their bodies move, and so on.
And it’s an homage.
It feels like a tribute to the people who came before us.
And even in the music that we’re hearing now, there’s something really different about it, that’s very new, and different from what’s coming out of the hip-hop scene in the mainstream.
Because the music in the early ’70, ’70-ish, ’90-ish was not very hip-hip.
And there was no sense of experimentation.
There was just a very linear approach.
And now, the hip hop scene is much more diverse, and they’re experimenting and creating and exploring.
But there’s this sense that there’s still a very much linear approach in hip-hopping, and hip-hops were always very, very much a linear genre.
And because there’s so much diversity in the genre now, it makes sense that the music is being heard in ways that feel very modern, like in the form of hip-Hop dance music.
And this was one example of that.
The first time I saw “Tears Me Up” was on the set of the show The X Factor.
And when I first heard the music, I was just like, wow.
That was a really cool thing to hear, to see how people are making music.
So it felt very much like this kind: You know, when you watch the music video for this song, it was very much about the music and the people.
It was a dance track, but it was also a music video.
And a dance video is a really beautiful way of putting the music on and the visuals on, but also the dance itself, the visuals that are happening in the background.
So I just thought that this is very, like, a perfect example of how this kind, very old-school dance music can be embraced by modern people.
And of course, it is a hip-hippy music video, but there’s also a lot of things that are very contemporary in this music, in terms the lyrics, in ways.
And if I could just pick one song from the ’80 to the ’90 period to put it in context, it would have to be “Paint You Up.”
It’s a song that’s really timeless, and you can hear it in a different way now than it was in the time of “Rip-Off,” “Tightrope,” and “The Last Time,” when people were talking about what was hip and what was not.
I would like to think that there are some people out there who are inspired by this music and are trying to do something similar, but I don’t know that it is really possible.
Because, in the end, what I like to do is go back and listen to the music as it was originally recorded.
I have no doubt that it was recorded very differently, and there are a lot more people out in the world today that are not listening to it in its original form, or who haven’t