Hey, it’s been a while. Now that I have more time for my self than I ever could have asked for, I had no excuse not to start putting things up on this blog again. This week’s (or whatever length of time it ends up being) video is “It’s the End of the World as We Know It (And I Feel Fine)” by R.E.M. I thought it was an appropriate song for reasons that I’m sure we can all guess. The video itself is relatively simple, just a kid and his dog sorting through junk in a broken-down shed, and I feel like, yup, that’s pretty much how the end of the world as we know it looks like right now. People stuck inside, forced to look at their own odds and ends all day, perhaps even going through or rearranging said odds and ends now that they have literally nothing else to do with their time, except maybe watch music videos on a blog that nobody’s ever heard of. Anyway, enjoy.
Video of the Week: “It’s the End of the World as We Know It (And I Feel Fine)” by R.E.M. April 6, 2020
Video of the Relaunch: “Pumped Up Kicks” by Foster the People November 21, 2019
I’m back! Hi, Mom! It’s been over six years, but I’ve finally gotten around to posting again. I’ve chosen “Pumped Up Kicks” as the video to herald my return, as it is one of my favorite, possibly my very favorite, song of this decade which is fast coming to a close (and which I’ve been absent for most of (sorry). Fun fact: the first time I heard this song was on VH1 or Fuse, and the words “gun” and “bullet” had been bleeped out, so for about a month or so I thought they were saying “better run, better run, outrun my shit.” The song got much better in my opinion, albeit more disturbing, when I found out the bouncy little ditty was actually about a would-be school shooter (not unlike the equally inappropriately catchy “I Don’t Like Mondays” by the Boomtown Rats). So the more you know, I guess? Anyway, enjoy.
Video of the Week: “Video” by India.Arie March 9, 2013
This week’s music video is a feel-good number from way back in the year 2000. I remember VH1 used to play this video a lot back when I was in seventh grade (back when I was a VH1 junkie and the channel’s motto was still “Music First”), which was a very self-conscious time for me. I really don’t want to go into detail about how much I’d learned to hate myself at that time, but I will say this much: the great thing about this song is that it not only declares the singer’s own-self esteem, but it does so in a way that actively encourages self-esteem in others. Which is a really big deal, since it seems that most works of self-praise (especially those done for and/or about women) imply that one has to put others down before one can feel good about oneself. But self-esteem need not be a zero-sum game, as India.Arie so effortlessly demonstrates with “Video”. Enjoy.
Video of the Week: “Rock ‘N’ Roll” by The Runaways March 2, 2013
Today (or yesterday, depending on when this gets posted and what time zone we’re going by) starts Women’s History Month. So I’ve decided to celebrate with this video capturing a live performance by one of the most badass bands of all time, The Runaways. For some reason (probably that they were more or less seen as a gimmick or a novelty or whatever, which yeah, they were kind of marketed as), they were way more popular in Japan than in their native US (probably because being a gimmick/novelty does not hurt one’s street cred in Japan like it does in the states. It might even be actively encouraged, or so I’ve been led to believe). Which is a shame, because they really rocked hard-core. Their image and musical style was very glam (check out frontwoman Cherie Currie’s Ziggy Stardust swagger in this video), but as far as attitude and sticking it to the man, they were just as punk as, well, their punk contemporaries (yeah, deal with it, Sex Pistols). I mean, they were the biggest all-female rock band of their time, and just in case their name doesn’t ring a bell, surely you’ve at least heard of Joan Jett and possibly Lita Ford, both of whom got their start in The Runaways (Joan’s the one in the red jumpsuit, like I even need to point that out since her look still hasn’t changed much except for that brief period when she had the platinum blond buzzcut; Lita’s the one in the supershiny short-shorts). That’s right. Two guitar hero(in)es in the making here. And the thing I love about this song is, it’s like those myriad songs about how rock ‘n’ roll had a profound impact on an impressionable youth (think “Shooting Star” by…one of those Paul Rogers groups or something…you know the one, about Johnny and how old he was when he heard his first Beatles song. That one), but this one is about it affecting a young girl in that way, which is kind of unusual even today. Enjoy.
Oh, and one last thing: a few years ago, a biopic of The Runaways called (duh!) The Runaways was made. The feature-length debut of music video director Floria Sigismondi (she did that weird Christina Aguilera “Fighter” video. Also, she’s done at least one video for each of Jack White’s bands. Which makes her pretty awesome in my book), the flick is worth a watch, even if you’re a bit skeptical of Kristen Stewart’s acting skills (I was/still kind of am. But she was pretty good as Joan Jett in this movie, I thought) or wary of seeing Dakota Fanning in fancy lingerie (don’t ask. For what it’s worth, it’s an iconic outfit that Cherie Currie really did wear in real life when she was about the same age, and she was more or less marketed against her will as jailbait. Currie, I mean, not Fanning. Oh, and just be glad you’re not watching Hounddog. Yipes), or if you’re made uncomfortable by the occasional lesbian subtext (because Joan Jett actually is…I’m not entirely sure what, but she’s almost definitely not totally heterosexual, at the very least).
Video of the…er…Current Indeterminate Interval of Time: “I’m Shakin'” by Jack White February 21, 2013
If you’re a faithful follower of my blog (yeah, as if), you probably know that I love me some Jack White. And if you recall the last time I posted about Jack White, you’ll remember that this was my reaction to his then-pretty-new music video for “Freedom at 21”:
I’m not even going to trouble myself with explaining once again why I had such an averse reaction to the video. If you’re curious, you can read it all here (hint: sexism and cliches beget such ugly babies). Well, I want you all to know that even though I still consider the aforementioned video to be a pathetic disappointment, I’ve decided not to let that weigh too much on my opinion of Mr. White, because since then he’s done several things to remind me that he’s still absolutely wonderful. And one of those things was his next video, “I’m Shakin'”, which came out back in October or whenever. Yeah, I was going to write about it back then, but only a few days after I discovered the video, Sandy happened, and I was living in (okay, a really spoiled version of) the dark ages for several days. Thus, my plans for this blog post kind of fell by the wayside. The reason I’m writing about it now is because I’ve recently fallen even more head-over-heels back in love with Jack White since then, what with him performing on the Grammys a couple weeks ago, which actually gave me a reason to bother watching the Grammys, which I haven’t done since 2009 (back when Consolers of the Lonely was up for some awards but didn’t get anything, so I wasted a good two or three hours waiting to at least see the Raconteurs accept an award, but to no avail. That’s right; Jack White is pretty much my only reason to ever watch the Grammys). And well, that rekindled my love for the man all over again, to the point that I spent Valentine’s Day watching my DVDs of Under Blackpool Lights, It Might Get Loud, and Under Great White Northern Lights to celebrate my unabashed fangirl love for the man (I’m single and unemployed; what else am I supposed to do?).
Anyway, more about this video: it’s basically the most badass Doublemint gum commercial that never happened. There’s two Jack Whites in this video (because the only thing that could possibly be better than one Jack White is two Jack Whites), one fronting each of his two backing bands, the all-male Buzzards and the all-female Peacocks (which I think is a weird name for an all-female group, considering peacocks are, by definition, male peafowl. But peahens are neither as well-known, nor nearly as pretty as their male counterparts, so whatevs. I’d say birds are weird that way, but it’s actually humans who have all the weird ideas about gender presentation). Yay for pretty much equal representation of men and women! And yay for badass women rockers! Special mention also goes to Jack’s two female backup singers, who, along with Jack, get to perform with both groups, which means that the ones performing with the Buzzards get to wear some snazzy suits. Not stripperiffic versions of male uniforms, either; I mean suits that are maybe tailored a bit more to the female body, but otherwise just like the suits the dudes are wearing. They even got hats. Now the only thing that would make this even more perfect is if one of the Jacks was wearing a kilt (he’s been known to wear kilts on occasion, or at least back when he was in The White Stripes and The Raconteurs. He’s part-Scottish and everything, too), but hey, the photo-negative-y suits he wears are awesome enough (and for me, kinda reminiscent of “Daddy’s Song”). Plus, the two dancers who are in the video for no discernable reason beyond just being totally awesome (I’m especially impressed with the male dancer’s moves. Holy crap). And then there’s that little wiggle Jack does at about 1:50-1:53 which is the most adorable thing in the whole wide world. Well, that and the way Jack pronounces the word “nervous” in the song (I’d say it was in a “Joizee” accent, if it weren’t for the fact that I’m from New Jersey and know better. But I’ve been in love with that pronunciation of “nervous” ever since I heard Mae West say it in She Done Him Wrong). So anyway, enjoy.
In infinitely awesome news… August 9, 2012
(note for all you cynical types who think that just because a band got together in a way that was less than organic and at least partially for the purposes of “selling a product” other than music automatically negates any kind of musical talent or cultural merit: I fart in the general direction of your elitism. That means you too, Jann S. Wenner)
The (three remaining) Monkees have announced that they’re going back on tour! Yes, even Nesmith (who, contrary to popular belief, wasn’t so much opposed to joining previous Monkees reunions as he was insanely busy at that time being a multimedia renaissance man and coming up with the prototype for MTV)! Of course it won’t be quite the same without Davy Jones, but I’m sure their departed bandmate will be anything but forgotten on this tour. There ought to be many a moving tribute in his honor, I’d imagine (just so long as they don’t do one of those creepy duet-with-a-holographic-dead-guy numbers).
What is this Crap? August 8, 2012
Okay, so, like, a few weeks ago, Jack White, a man for whom I’ve made my appreciation quite clear on multiple occasions from nearly the beginning of this blog, came out with a new music video, for the song “Freedom at 21” from his solo album. Predictably, Rolling Stone magazine, a publication I have an ambivalent view towards but continue to subscribe to and still take some sort of masochistic joy in flipping through, has nothing but praise for the video in the “Playlist” section of its latest issue (August 16, 2012). Less predictably, the same video has utterly failed to impress me. Which means that Rolling Stone magazine would actually bend down further to kiss Jack White’s ass than I would. And it’s not just because I’m significantly shorter than the average adult journalist, either.
I’m not about to call “Judas!” or anything on Mr. White, but what the hell? Frankly I expected better from the guy who was allegedly unhappy with how the video for “I Just Don’t Know What to Do With Myself” turned out. I mean, what is this? Sexy lady writhing around on the hood of a car? Oh, like that’s never been done before (okay, full disclosure here: I actually really like the Rihanna and Whitesnake videos. And no, even I don’t have any explanation for the Whitesnake one. As for the QOTSA vid, it’s probably one of the most unique uses of this trope. That being said, it’s also one of the most mind-screwy, plus the animation style kinda creeps me out). Some kind of weird jailbird fantasy with sexy half-naked inmates? Maybe not quite as cliché, but Gaga did it better (not to mention tweaked the script by making out with a fully clothed, non-heterosexual-male-gaze-targeting butch babe. You know you’re pushing the audience’s suspension of disbelief when Lady Gaga’s videos start looking more true-to-life than your own. How did Jack end up in a women’s prison, anyway?). This isn’t even the first time Jack White’s busted outta the big house in a music video (see “Hands” by The Raconteurs. Which is, in my humble opinion, better than “Freedom at 21” in every conceivable way. Also, it’s an abundant source of warm fuzzies). And no, I’m not about to let you off easy just for putting a woman in a position of authority, as the police officer who chases Jack down, pulls him over, and informs him that he’s under arrest for (from what I can tell, anyway) being a very, very bad boy. And that’s fine (and not completely dissimilar to some Jack White-related fantasies I might have. Hey, I’m only human). But why is she wearing short-shorts when all the other (i.e. male) cops in the music video get to wear pants? I mean, it’s not really fair that the guys get to be cops while the woman’s job as a police officer is secondary to her function as eyecandy. And then you get to the jail scene and — oh, look who it is? Apparently Officer Halloween Sexcop is from a set of identical triplets, and the other two just happen to be Ms. Prisoner O’Love and Lady Hood Ornament. And they’re all allergic to pants! Seriously, though, I’d maybe be the slightest bit more okay with all this superfluous ladyflesh if only Jack got more naked in this video. And not just for my own perverted pleasure (although, well, I have needs too, y’know?), but because enough already with this double standard. I’m sick of these tired, boring-ass music videos where women’s bodies are constantly on display while the men get to wear clothes and have some semblance of a personality, and who might be sexy but that’s just incidental to who they are as a whole, while women have to be sexy before they can be interesting, even in cases where they are the artist who’s starring in the video. And sure, that may be enough to attract a certain demographic (i.e. horny entitlement-poisoned heterosexual male douchebags who can’t be bothered to think critically too much). But the rest of us (i.e. the majority, believe it or not, of the music-consuming public) are going to get real bored real soon if this is all the already dwindling music television industry has to offer us.
Yeah, I know, I went off on a huge feminist diatribe once again, but this crap really irks me as a fan of music who is also a feminist, and who doesn’t understand why most of the music-related media (i.e. music videos; Rolling Stone and its ilk) continue to cater to the dudebro culture instead of the general masses of music lovers, most of whom don’t fall into that category and don’t care if our music and music-related media comes with a shiny pair of tits or not. And while I’ll continue to love Jack White, I find his latest video to be a particular disappointment, because I expected much, much more from a man who has been in some of the most innovative videos of our time, has always been an extremely vocal supporter of women in the music industry, and was THE FIRST MAN TO GET HIS OWN COVER OF GODDAMN VenusZine, for fuck’s sake! So I find it kind of difficult to comprehend why such a man (a certain man, who for the poor you can b— damn it, why doesn’t anyone stop me?) would ever stoop to involve himself in a video chock full of meaningless T&A and other tired tropes and that’s custom-made for the lowest common denominator (i.e. unimaginative douchewanks). It just doesn’t make sense. I will say this much: I think the song rocks (I’ll let the iffy lyrics slide. This time); I love Jack’s Mickey Mouse gloves; and the chromatic idiosyncracies here are kind of interesting. It’s a shame they had to be wasted on such a dumbass video.
Video of the Week: “Daddy’s Song” by Davy Jones March 4, 2012
There’s actually two reasons why I chose this video for this week. The first is to honor the memory of Davy Jones, who passed away earlier this week. The second is that my dad’s birthday was also this week. Happy birthday, Dad. And rest in peace, Davy Jones.
This video is a scene from HEAD, The Monkees’ one and only feature film (and one of my favorite movies). The movie kickstarted my obsession with The Monkees which lasted almost the entirety of my freshman year of college. I’d always been a fan of their music, but HEAD introduced me to the prefab four as individual characters. What’s also awesome about this video is that it features cameos from Toni Basil (yes, that Toni Basil. Who apparently had a huge crush on Monkee Micky Dolenz, hence the title of her one and only hit) and Frank Zappa (and Frank Zappa’s talking cow). Oh, and just a warning, there are some parts of this video that feature rapid, flashing cuts between shots, and so might be problematic for those of you with photosensitive epilepsy or other such conditions. But otherwise, enjoy.
Of all the things to bash Gov. Christie about… February 20, 2012
…I don’t understand why it’s apparently such a scandal that he’s flying the flags at half staff for Whitney Houston. Wait, let me rephrase that: I do understand the concern that the half-staff tradition is technically supposed to be reserved for our servicemen and servicewomen who’ve given their lives for our state and/or country and/or freedom, and that flying the flag at half staff for a mere celebrity sort of trivializes that. That much I understand. What I don’t understand is, why wasn’t everyone all up in arms when Clarence Clemons’s passing was honored in the same manner? Apparently we as citizens of New Jersey are supposed to be absolutely appalled that our governor has chosen to respect the legacy of a — gasp! — drug addict. Won’t someone please, please think of the children?!
See, the thing is, we can’t be too sure that no one else for whom the
bell tolled flag was lowered has ever had a problem with drugs. If one of our late servicemen/women just happened to have struggled with an addiction at some point in their life before they died heroically, would we give a crap? Would we negate what good they’ve done for their country and their state just because they happened to have moments of weakness that proved them to be less than angelic? Hell no. And let’s just imagine for a second that Clarence Clemons, being the high-profile musician that he is, maybe had a brief period in his career during which he struggled with some addiction or other. Would we suddenly forget that he played a pivotal role in the E-Street Band if we ever discovered that he once had a serious drug problem? I don’t think so. So why do we care that Whitney Houston, another of New Jersey’s undisputed musical gifts to the world, had a long, meticulously documented struggle with drugs?
Oh, wait, the answer’s in the question. The difference between Whitney Houston and every other person who ever made a difference in New Jersey is that her weaknesses were publicized about as often as her strengths, and what’s more, they were held under a disproportionate amount of scrutiny. See, the tabloids just love it when talented, successful people — particularly beautiful, talented, successful women — are spotted acting like flawed human beings because it gives them license to twist and embellish the details for their own profit. Really, though, Whitney’s drug addiction is much less relevant to her career and her fame as the trash media wants us to believe. The only reason why we make a big deal about it is because it’s well known, and the only reason why it’s well known is because that’s what all the magazines have been screaming at us while we stand captive in the check-out line at the supermarket, and it’s what the TV’s been telling us while we sit in wait for the actual news, or whatever show’s on next. I’m not saying we shouldn’t care that Whitney had a serious drug problem, just as I don’t think we shouldn’t care if we know for a fact that someone is cutting themself or suffering from an eating disorder. What I am saying is that we shouldn’t act as though Whitney was a horrible person for doing something that — let’s face it — hurt her more than it hurt anyone else. And we certainly shouldn’t make the mistake as defining her as an addict rather than as the superstar she was. I recognize that not everyone is going to be a fan of Whitney Houston’s music, but we should all at least give her the respect of seeing her as an artist and a significant human being before we scrutinize how she may have chosen (or not chosen; felt as though she had to) to spend her personal life.
So in short, all I really have to say is this: LEAVE WHITNEY ALOOOOOOONE! Or, as a really smart guy in a book a whole bunch of people have read once said, whoever is without sin, etc., etc.