Yung Lean - Miami Ultras

In the 21st century, postmodernism can be expressed with many types of media,
from traditional, conventional examples, to new-media and beyond. With the
evolution and departure of modernism, the phraseology of postmodernism can be
characterised by a satirical perception of traditional normalities, scepticism and
rising political alignments. Music videos are certainly not unaccustomed to this
phenomenon. However, with each genre of music, a different consensus of
postmodernism is ushered in by the artist and reflected visually and lyrically. A prime
example of postmodernism within popular music today is Swedish rapper; YungLean.
Rising to the hip hop scene in early 2013, the then 16-year old aspiring rapper from
Stockholm climbed to fame virally on YouTube and Soundcloud with his unique
blend of cloud rap. Yung Leans (born Jonatan Hastad) distinctive style takes a
colossal influence from pop phenomena and internet culture, encompassing styles
from genre vaporwave and aestheticism, which is best reflected in his first feature
album Lavender EP. In 2016, Hastad released his third feature-length album Warlord,
in convergence with contemporary clothing brand Sad Boys Entertainment .
In March 2016, uploaded on Yung Leans YouTube channel was the music video for
the thirteenth track on Warlord; Miami Ultras. With almost three million views, the
music video of Miami Ultras undisputedly beholds the conventions of postmodernism
due to the song and the video itself. The video begins with Yung Lean himself
dressed in a womans dress equipped with a shovel digging his own grave in what
looks to be a dismal and desolate woodland area, totally isolated from his
surroundings. The introduction of the song lyrically, features the repetition of the line
I dont want to change the world, putting forth the fact that Leans stability
mentally shows that he just doesnt care about anything anymore and that hes just
detached from reality.
The choice of clothing and mise en scene, is debatable, however it can be easily
put forth that the clothes of the artist and the scenery reflect the feelings and mental
state of the artist himself. Today, the subject of gender and identity politics creates
tumultuous controversies within society, with the sudden surge of political liberalism.
However, Leans choice to wear female attire is still quite strange and almost
narcissistic, given the sociological climate and thus qualifies as postmodern based
on its arbitrary and seemingly pointless characteristics. Throughout the video, Lean
continuously dons the dress with the white sneakers whilst carrying out random and
ill-suited tasks such as chopping wood for his whimsical shack of isolation, however
he interchanges his appearance with a white medical straight jacket in certain cuts.

This selection of wear takes reference again to Leans personal life. Throughout his
fame, Hastad has explicitly included the reference to drugs, alcohol, narcotics and
other forms of contraband in his music while it has been publicised that the artist
himself has struggled with the damaging effects of substance abuse on his mental
health. The straight jacket indicates his fractured sanity, all the while the seclusion of
the woodland area highlights his segregation from help.
The unsystematic order of shots creates a sequence of haphazard story-telling,
including the self-injection of a medical drip and brief segments of Lean rapping the
lyrics inside a gloomy room, further constituting a complexity of helplessness and
fear, all the while in credit to when he was almost fatally wounded in a car crash.
The seemingly erratic plot of the video emphasises the dominance of
postmodernism in popular music, especially rap with random elements including a
birdcage on a hay bale and shots of a dog running around a sodden forest. The
depressing theme of the narrative contextually fits with Hastads brand, revolving
around emotion and sadness, and again, his own life.
The resonance of the song is a valuable aspect in itself. The deliverance of the hook
is screamed, highlighting Hastads own frustration, anger and sadness during the
recording of the track whilst he was heavily addicted to Xanax, cocaine and leani.
The hook also includes the line; watchin Star Wars smokin pot, an obvious
reference to the goliath sci-fi franchise and to cannabis. Whilst references to drugs
are not entirely new to music, the reference to Star Wars and pop culture is relatively
rare outside of postmodernism. All this line seeks to do is express Leans pass times
whilst enforcing its postmodernity.
Lastly, the song title delves deep into Leans life too. Whilst touring in Miami, Hastad
became addicted to pills and other illegal substances which eventual created
frightening results such as insalubrious anger issues. Hastad was later checked into a
mental institute and rehabilitation in the same city. The inclusion of Ultra projects the
rate of Leans addiction. In this case; severely extreme.
In conclusion Yung Leans Miami Ultras is a prime example of postmodernism in
popular music and heavily indicates the rise of the subculture in society and fashion.
The music video is perhaps one of Leans most complex and striking visuals to date,
with heavy-hitting themes such as gender fluidity and identity politics, substance
abuse and weariness flowing throughout.

Lean; a highly addictive substance concocted of soda and codeine.