Obtusity

Masculinity and The Hopeless Romantic

2011-01-31T01:25:00.028Z

"I feel like men are more romantic than women. When we get married we marry, like, one girl, 'cause we're resistant the whole way until we meet one girl and we think I'd be an idiot if I didn't marry this girl she's so great. But it seems like girls get to a place where they just kinda pick the best option... 'Oh he's got a good job.' I mean they spend their whole life looking for Prince Charming and then they marry the guy who's got a good job and is gonna stick around."
Dean, Blue Valentine

In the chaotic final scenes of Blue Valentine, our male hero Dean (Ryan Gosling) wears a worn t-shirt with a large print of a bald eagle. He himself is worn-out, a pudgy disintegrating version of the spry young man who once fell head-over-heels for Cindy (Michelle Williams), the seeming epitome of the girl-next-door. In that eagle t-shirt Dean finally comes to terms with the dissolution of his marriage and the despair into which he has led himself. Dean leaves behind the only happiness he has ever known, and walks off into fireworks and American flags.

Derek Cianfrance's film is visually and conceptually complex in a way you don't really expect romance films to be. But therein lies the rub: Blue Valentine, in case the trailer didn't clue you in, is not a romance. It is a film about the very idea of “romance,” the idealization of marriage, and how these things influence interactions between men and women. It is particularly interesting in its dissection of masculinity in relation to widely held ideals of love. Dean says in the beginning of the movie, “men are more romantic than women,” and the rest of the picture will attempt to both prove him right, and then uncover the true meaning of that statement.

One such scene, which occurs just as Dean is about to meet Cindy for the first time, involves him helping an elderly man move into his new room at a nursing home. It, whether intentionally or not, references Gosling's role in the sap-tastic The Notebook, which only serves to deepen its commentary. We watch Dean as he delicately recreates the glories of this man's life, displaying his items in his new room to reflect only the very best of his past. His military uniform, a picture of his wife and nick-knacks from his worldly travels. It is the picture of the wife which seems to especially affect Dean. In this one brilliantly staged scene Cianfrance establishes his character as one that, almost stubbornly, finds romance in the everyday.

Yet as we traverse back and forth between the beginning and end of Dean and Cindy's relationship, the fuzzy texture of the transitions into the past give them an other-worldly feel – as if they are bonafide dreams, rather than memories. Thus the romance is immediately called into question, immediately challenged to prove itself. And over the course of the film it will repeatedly succeed and fail to make itself real.

Dean is not exactly living the life when he happens upon Cindy in that nursing home. He works for a moving company and is lonely in a big city. He is looking for someone, or something, to rescue him from the boredom and seeming inevitability of his life. He finds everything he wants in Cindy and does not hesitate. It's as if now he can forget about having to contribute to society in any other way, as he will later so passionately defend, because he is on the road to being a loving husband and father. An all-American man. What more is there?

This is perhaps the film's most biting observation: the allure of American male heroism is rooted in self-consciousness, a hint of laziness and an overwhelming need for power to justify living in fear. Virginia Woolf once more eloquently observed:

“Without self-confidence we are as babes in the cradle. And how can we generate this imponderable quality, which is yet so invaluable, most quickly? By thinking that other people are inferior to oneself. "

In one of Blue Valentine's climactic scenes, which takes place at a surreal sort of love shack, Cindy attempts to push Dean to pursue something new in his life – to try and be something more. She not only encourages him but genuinely seems to believe that he has real talent and possibilities. But this support in the eyes of the perpetually insecure man feels like an affront to his masculinity and his ability to control, which is so central to his persona. Thus the immediate reaction is defensiveness, and then later, sexual aggression.

Dean is not an abusive person – at least not yet. He, on the contrary, takes some pride in the way he treats his wife. When she seems ambivalent to his sexual advances he shouts “do you want me to rape you? Do you want me to hit you?” in order to make a comparison between that extreme and the extent of his love for Cindy. He would never hurt her, because he is the American gentleman. Of course the film contrasts that idea with the actuality of the images – drunk, decayed Dean towering over his wife laid out limply on the floor of this shady motel room. We are terrified that he just might do something. The truth is, Dean has been taking advantage of his wife for a long time now, and for Cindy, giving up her body at this moment is preferable to having to spend another minute pretending to love.

Dean justifies his lack of ambition through the idealization of the “sacrifice” he made years before. He stuck with the girl, raised the kid and got married. He was told this would equate not only happiness, but acceptance from the outside world. He now has neither and, instead, anger has seeped into his life. This pent up frustration begins to manifest itself more and more often. He reverts to the most basic response to the seeming attacks on his masculinity. Indeed, near the very end of the film, as he physically lashes out at his wife's co-worker, he says “be a man,” as if pleading with his own heart.

This scene is especially powerful as it takes place between Dean and a doctor at Cindy's workplace (she is an aspiring nurse there) who has just recently revealed that his adulation for her work is based on sexual desire and not actual regard for ability. There are no positive male figures in this film – no one who seems to really look at Cindy and see her as a complete person. It paints a sad portrait of our society: the frustrated woman surrounded by males unsuccessfully, and at times violently, trying to be “men.”

Cindy has been duped, tricked into this life. How was she to resist prince charming in her hour of peril? She is such a young person when she becomes pregnant and subsequently decides to keep her child. And in such an agonizingly vulnerable moment, Dean is the one who holds her and makes her feel strong. He, in comparison to her horrible jock boyfriend and raging father, is nearly perfect. Even sexually, Dean wants to please her while her ex was only concerned with himself. It's a no-brainer. Thus she jumps into what we are taught to believe, especially women, is the ultimate happiness: love, marriage and parenting.

Yet there were signs, even then. In the face of love, we often overlook certain things. It is the brilliance of the feeling really, that it can allow us to look past fear. There is Dean punching a wall, then threatening suicide in order to manipulate her, but it is not enough to dissuade her. After all, picture-perfect scenes like the one outside the abortion clinic, where Dean commits himself to Cindy, don't just happen everyday. We are told, these are special moments in our life, worth more than all the rest.

Throughout the film Cindy stands, sits and lays lifeless as Dean attempts to hug or caress her into caring for him, but there are two amazing scenes in which Cindy shows us just how horribly things have turned out. Once, as they are driving to the motel, Cindy stops the car and runs into the forest. She tells Dean she has to pee, but in reality she just hides behind a tree. She is struggling to breathe – Dean suffocates her. And then once they are at the motel, after she has locked him in the hallway, screaming for her to let him in, Cindy leans against the other side of the door and franticly looks around the inside of her motel room. As if looking for an escape route.

The commitment – the marriage – is what traps her. Beyond that, everything that the marriage represents. The institution that it is. The force that it is. Do we dare disturb the universe? To walk away from this relationship is to walk away from supposed perfection. This was everything that they wanted, wasn't it?

Of course, Cindy is not powerless, and in the end, she will remember her own agency and escape. Despite none of the men in her life taking her seriously, Cindy is still able to see her own value. This is a testament to her will power, and her care for her daughter (who floats in and out of the story), but it's devastating that it takes her so long to get to that point.

Dean asks his buddies if they believe in “love at first sight.” One says that he does not, but Dean – big surprise – does. He is reflecting on his first meeting with Cindy and he claims “I know her. I know I don't, but it felt like I did.” He isn't convincing, and again I want to say that it is a stubbornness that existed from the very beginning, not romanticism, that led him down this path. It is so much easier to believe that love is easy like that - destined - than to actually work at it over the course of a lifetime (Grizzly Bear provide the soundtrack and poignantly their heartbreaking tune "Easier" is used to reinforce this point). Dean is intentionally opting out of his life at that moment.

The final scene then, in this context, is especially harrowing. Dean walking away into the flags of July 4th, his daughter running after him – still worshipping him. Is this America? The cycle of hopelessness. Romantic hopelessness. Who or what will save us? In our laziness we answer: Only love. Never ourselves. Never each other. Only love.

The end credits appear over a series of images of Dean and Cindy at the beginning of their romance, decorated with fireworks. It's a challenge to the viewer. Of course the idea of it all, falling so desperately in love in the American heartland, is still appealing. We can't deny it. These end images are pretty, they make our hearts leap and in some other movie, they make us cry tears of joy. But here, can we still glorify this stuff when we know it can lead to all the trauma we just witnessed on screen? Can we continue to avoid living our lives, pretending that this is all we want? How do we reconcile it all?

Blue Valentine is a remarkable film that asks tough questions, and it's a film we'll still be talking about years from now.

The Social Network's Stance on Women

2011-01-09T21:05:00.015Z

In response to claims of sexism in his script for The Social Network, screenwriter Aaron Sorkin had this to say in a blog comment,

“It's not hard to understand how bright women could be appalled by what they saw in the movie but you have to understand that that was the very specific world I was writing about."

What is the specific world, the real social network, Sorkin sought to depict? Is it computer geeks? Harvard men? Something more?

At the start of the David Fincher directed film, which has become the consensus “film of the year," is a scene in which protagonist Mark Zuckerberg, future founder of the world's most popular social network, creates "Facemash" a tool to rate the attractiveness of women at Harvard. He does this immediately after a debate over the importance of exclusive all-male “final clubs” at his school ends with him insulting and subsequently being dumped by then girlfriend Erica Albright. Zuckerberg returns to his dorm and drunkenly (and vengefully) creates the website that will soon crash the servers of the most prestigious university in America. First he finds time to call Ms. Albright a “bitch” and make comments about her bra size on his public blog.

He ultimately arrives at the idea of ranking the looks of girls after rejecting an initial idea of comparing women to farm animals. The shots of Zuckerberg writing lines of code for Facemash, which introduce us to the seemingly uncontrollable nature of his genius, are intercut with a college party where women are bused in (like farm animals) on something called a “F*ck Truck” (1) to compete for the attention of men via the removal of their clothing. The sequence, shot with the same visual panache that made Fincher's man-tastic Fight Club a hit, begins with a Roots Manuva song titled "Man Fi Cool."

No one is mistaking this film for The Hours. It's as testosterone driven as the aforementioned Fight Club, and is consistently filled with the kind of imagery we've come to associate with American films about heterosexual men, college and their entrepreneurial spirit. Based on the book The Accidental Billionaires by Ben Mezrich, the film utilizes familiar tropes of Hollywood cinema to tell its tale of ambition and greed. Yet the filmmakers, more so than Mezrich's awkwardly-written novel, make a statement on this specific masculine world, and the role of women in it, that is more obscure, and, by all accounts, more interesting than what we are used to.

Zuckerberg doesn't create Facemash to demean women - no, his misogyny is much more deeply ingrained. The website is a means to an end, the women who are being compared are simply functions - literally lines of code - which serve his purpose of garnering the respect and attention of "important" men. Similarly, the beautiful women who are invited to that party at the Phoenix club are simply proof to the men there that they are indeed in an exclusive and significant place. Men who aren't important enough to be invited to these parties, are now huddled over their computers rating those same women on Zuckerberg's website. They exercise power over women to gain the respect of men, meanwhile at the party girls make out with each other surrounded by hootin' and hollerin' club members reveling in this confirmation of their manhood. Throughout the film men are in competition with one another for recognition from other men, and the women are objects which get them noticed.

Exhibit A: When Zuckerberg and his best friend Eduardo Saverin hook-up with two beautiful classmates in the bathroom of a restaurant after being outed as the founders of Facebook, their proudest moment doesn't come upon completing the act in the stall, but later, when another man totally random, but someone who looks like he could row crew gives them affirmation at the door with a simple “cool.” As in, it's really cool that you two just had sex in the bathroom with groupies. You are now accepted by people like me.

Exhibit B: When Sean Parker first enters the restaurant where he will meet Zuckerberg, Severin and Christine (one of the two groupies from the bathroom), he flirts with a series of anonymous attractive women. Then he flirts with the waitress and Christine. Zuckerberg is mesmerized by the “Sean-a-thon” as Severin puts it, but especially the sexual prowess that Parker displays.

In that opening debate with Erica, Zuckerberg laments how difficult it is to stand out in a place where everyone has perfect SAT scores. The Winklevoss twins, Tyler and Cameron, complain of the time commitment needed to maintain a 3.9 GPA, row Olympic-caliber crew and still invent something on the magnitude of Harvard Connection. In the cutthroat world of college, the men are all attempting to differentiate themselves, and for many, the idea of an elite club with limited membership promises the kind of social relevance they so desperately seek. For others, like the Winklevi (as Mark refers to them) who already belong to the club, it is through further affirming the desirability of heterosexual Harvard men on an internet site which will further cement their status. Zuckerberg pinpoints the brilliance of their Harvard Connect idea to one word: "exclusivity" (you can't help but hear echoes of Fight Club here), and he understands that this comes from both access to the clubs and to the women. Both are key interrelated ingredients in proving oneself, as a man, in the social world of Harvard.

As portrayed in this film, “the entire social experience of college,” as Zuckerberg calls it, is a sexist, hyper-competitive and largely unfair place. He creates Facebook as a way in - to the girls, and then to acceptance - for the people who aren't attractive enough to just be in already, or rich enough, smart enough, or "anything" enough. He doesn't make the world a horrible place, he just exposes the structure that already exists and replicates it online. Only this time more people can gain access (namely, himself). Though, since Zuckerberg's genius is the result of a desire to be a part of rather than reject a society that apparently holds him back, his new company still looks very caucasian, well-to-do, and most notably, male.

In fact, the more success he has with Facebook, the more his life begins to resemble that initial final club party. Women move further and further to the periphery, playing games in the background or making dramatic gestures just to be noticed. Parker, the founder of Napster who Zuckerberg idolizes as the epitome of rebellious youth, is in fact just another righteous status-seeking womanizer using everyone around him to augment his own sense of manhood. He is Zuckerberg's inner Tyler Durden. He ends up falling for Sean's spell, and his life becomes "the social experience of college" he once spoke so dreamily of. Except, somehow, he still doesn't feel welcome. He is literally sitting in the office, at the end of the film, while others, Sean included, have their own final club party.

The other character noticeably not at that party is Eduardo Saverin. The co-founder of Facebook has been cut out of the company, and following a dramatic exit, we are inclined to sympathize with him. Yet in many ways Saverin is just as ruthless and weak as Zuckerberg. It's not just that he time and time again gives in to Zuckerberg's increasingly troublesome requests, but he is equally dismissive of the women around him. His girlfriend Christine, who beyond the initial tryst near a toilet, is never shown any kind of compassion, is a trophy to show off and occasionally a tool to gain access to important meetings. She is easy enough for him to get rid of when she, predictably, has a jealous freak out. What's easy to lose in this scene though, amidst the hyperbole and somewhat manipulative comedy, is the parallel between Christine's actions and Saverin's. He just pulled all his money out of Facebook because his best friend has decided that Sean Parker is cooler than he is. Both he and Christine are desperate for the attention of a self-involved man, and neither have enough respect for themselves to realize they don't need it.

Same goes for the Winklevoss twins and their partner Divya Narunda quibbling over their rights to money, but more importantly, prestige and recognition. All these men stuck in a courtroom suing each other for denting their manhood. You almost feel proud of Zuckerberg when he goes on a tirade against them, espousing his own brilliance and the actual work he and his colleagues are doing at Facebook.

Why doesn't success make Zuckerberg happy though? Is it because he loses Saverin? Maybe. But the final scene finds him sitting in a boardroom, making a pass at a lawyer who pities him, and then obsessively seeking re-connection with the girl he used to date. He isn't refreshing Saverin's Facebook page there. Zuckerberg is incapable at this point of connecting with anyone, but especially with women. This is because he has, for the majority of his adult life, completely ignored them.

Earlier in the film Parker tells Zuckerberg a parable about the founder of Victoria's Secret, Ron Raymond. He wanted to buy lingerie for his wife discreetly, and so Raymond created a high-end brand where he and millions of others could do just that. He sells it for a fortune, but for far less than it will eventually be worth, and when he finds this out, Raymond commits suicide. What isn't mentioned in Parker's story, is how any of this made Raymond's wife feel. Or that she eventually left the guy after his second business failed. To Parker, any information about the wife is irrelevant.

So when he describes the suicide as "all for a pair of thigh-highs" he's actually being facetious, truth is, the founder of Victoria's Secret killing himself, according to Parker, had nothing to do with the woman for whom it was started, but everything to do with being robbed of status, "manhood," and cash. Meanwhile he is sitting there with a Victoria's Secret model who is as equally irrelevant to him; none of the girls in his past matter either, only success and not being someone who misses out on the next big thing. That ultra-competitive spirit, born in the environment of college (which Facebook is now replicating everywhere), is blinding these men to the original motivations for what they do. It wasn't just sex, but a need for connection and love. Perhaps Zuckerberg realizes this in the end, but when he asks Sean if he ever thinks about the girl who he once built Napster to woo, Sean bluntly replies, “of course not.”

It's easy to despise the privileged men of Harvard who openly dehumanize and degrade women at secret parties. It's even easier to spite the Sean Parkers of the world who are unabashedly misogynistic and profoundly self-centered. We are used to demonizing these kinds of characters in film (even while we idolize them). But we are not typically asked to look at a character like Mark Zuckerberg with the same lens. He is, after all, a man of ambition and genius. Like John Nash in A Beautiful Mind asking a girl if she wants “intercourse” minutes into their first date, it's supposed to be cute when he fails with women. Zuckerberg shows bits of compassion and hints of humanism (Trent Reznor's magnificent score, with the reoccurring piano melody in the middle of chaos, never lets us forget this). He ignored the sexism, casually participated in it, but he didn't cause it, and it was in the pursuit of a greatness which he has, for all intents and purposes, achieved.

Yet in the context of this film, and what is finally its most powerful point, the ends do not justify the means. The character of Zuckerberg and the type of man he represents, warrant closer scrutiny and greater criticism than they are typically given. Since The Social Network pounds us over the head with the idea that this is a male world, how sad is it that in creating his new version of the world online, Zuckerberg does nothing to change the inequities of the real one? Or more importantly, that he doesn't want to. His brand of rebellious youth is rooted in presumptuous entitlement. The social system that exists promises ambitious white men success: he is owed that and could care less that others are from birth more hopelessly excluded. This is what potentially makes him, contrary to the last line in the movie, an actual asshole.

The films critique isn't specific to modern young men though. As Sean Parker puts it (while preparing to do a line of coke) “we lived on farms, then we lived in cities, and now we're going to live on the Internet.” At each stage in the development of human society, genius, up-start, privileged, revolutionary young men just like Mark Zuckerberg and his friends at Harvard made a series of conscious decisions to replicate the systems that already existed, rather than push for something better and more inclusive. Ultimately the film is attacking this specific competitive and blind American maleness which seems to continue to control the general direction of our society.

Does this mean women are helpless in this specific world? Not exactly. Sorkin, in the same blog comment, writes,

"I invented two characters--one was Rashida Jones's "Marylin", the youngest lawyer on the team and a far cry from the other women we see in the movie. She's plainly serious, competent and, when asked, has no problem speaking the truth as she sees it to Mark. The other was Gretchen, Eduardo's lawyer (in reality there was a large team of litigators who all took turns deposing witnesses but I wanted us to become familiar with just one person--a woman, who, again, is nobody's trophy.)”

This explanation isn't completely satisfactory. And there is definitely another story lurking behind the one portrayed in The Social Network, that of the women who, despite the limiting environment of this male world, managed to succeed at Harvard, do their own great things and even contribute to the innovations that actually made Facebook the most popular social network around.

Yet one has to acknowledge that Sorkin and Fincher have, in what is already a widely seen film, released an all-too-rare critique of American male elitism and misogyny. And for that, they deserve at least a "like," but an Oscar or two as well.

1. The Accidental Billionaires, p. 72, by Ben Mezrich, Anchor Books (2009)

Voltage Spikes: Radiohead "House of Cards"

2008-07-15T05:55:00.011Z

An elegiac and important vision of human struggle...
[Best New Videos]

Radiohead "House of Cards"
dir. by James Frost
There is an inherent fragility in "House of Cards" - a simplicity which hints at deeper tones of beauty. A gorgeous, soothing ballad made up of humble parts, yet filled with apprehensive ideas. It is precisely this combination of romance and anxiety that director James Frost captures in his revolutionary new video for Radiohead's tune. It's a vision of humanity disintegrating into bits of digital information - albeit with grace and beauty.

Thom Yorke and company have continually been ahead of the industry curve when it comes to new technology, whether singing about it (OK Computer), embodying it in sound (Kid A) or utilizing it in new ways to market (In Rainbows). Thematically they've tackled the unnerving and exciting collision between our creativity in industry and classical human self-expression. And with the video for "House of Cards" they (and Frost) present human feeling existing within the futuristic walls of our computers, yet existing on the very edges of extinction.

There is a story of lust, love and emotional detachment told through the 3D graphics on screen. It begins with the distorted image of the singer, as if emerging through television static, struggling to break free from the banality of his current state. In the lyrics of the song he asks for a lover, not a friend - inviting a girl at a suburban soirée to "throw your keys in the bowl" and swing over to his side. They are both tied to other people, but Yorke proposes flinging caution to the wind and diving into lust despite knowing that it will almost certainly end in disaster.

This is where the video soars. The images of not only the collapsing lovers, but of the falling world around them, invites the viewer to make larger connections between the small story in this apartment and the broader implications of the pictures. The singer wants us to forget the debility of life and emotion, but the fractured scenes make this impossible. What does it mean to be in "denial," as Yorke croons in the chorus? Are we kidding ourselves to believe true romance is possible; is trying to escape from the futility of loveless nights in itself futile?

Furthermore, there is the suggestion that as we progress into and become one with our technological creations, we are losing something invaluable. The telephone lines which fade into darkness could mean that the things we invent to further enhance meaning, will actually give us nothing; disconnecting us from each other and leaving the world black, void of color. Perhaps, even in making this video, we risk losing part of the artistic hand in film making.

Yet, like the music, the despair is accompanied by serene hope. After all, Yorke's romantic suggestion, despite going against the better judgment of the lovers, is an avenue for escape from the sameness of that party - a momentary surge of energy. Maybe in denial, in letting our house crumble, we actually defeat inevitability. In a way Frost illuminates the world through his graphics, like an infrared lens finding the rainbows hidden in society. Even though we are bombarded with static fuzz, faces push through and make themselves visible - like Yorke's surprising, transcendent vocal melody rising above the repeating tune - we see the unrelenting spirit of human expression. Unclear, uncertain, but alive.

Keep Watchin': Nas "Sly Fox"

2008-07-10T21:48:00.003Z

A blogger-friendly rap video...

Nas "Sly Fox"
dir. by Rik Cordero
This video fits well with Shad's "Brother (Watching)," which we posted earlier today. It continues the theme of corrupt media and poisoned messages reaching our youth, but Nas aims directly and specifically at Fox News - the poster child for modern news spinning. Clearly Fox aren't the only ones playing that game, but they are a worthy target for Nas and director Cordero to attack.

That being said, the video was clearly rushed together, and perhaps intentionally so. The poor sequencing and hokey breakdown (with the Office Space-like smashing scene) embody typical YouTube aesthetics, and are in stark contrast to Nas's more widely released video for lead-single "Hero," but also correspond with rapper's call for citizen journalists to overtake mass media's stranglehold on the "truth." Though it lacks the artistic merit of Shad's video, the message is perhaps more forcefully put forth here: "watch what you watching," or our kids are the ones who will suffer.

Hand-Me-Down: Death Cab for Cutie "Cath"

2008-07-10T18:28:00.008Z

Speak now, or...

[Best New Videos]

Death Cab for Cutie "Cath"
dir. by Autumn De Wilde
"...it seems you live in someone else's dream..."

That's the line lead singer Ben Gibbard sings half-way through "Cath," just as director Autumn De Wilde superimposes an image of the protagonist bride over the faces of the band members. In truth, she is exactly that; a dream, a figment of their imagination, a story carved out by Gibbard, envisioned by De Wilde and given further depth by the music of the band. And as the last lines of the song imply, this story is less about a woman turning her back on the possibilities of her own life, and more about the "safe" decisions we all make, everyday.

Yet Cath exists in a different sort of dream as well, beyond that of the artist's who created her. Dressed in purity, in a beautiful church (De Wilde emphasizes the cross a number of times) and with a picture-perfect white American crowd (and fiance), she is fulfilling the ideal which has been handed down through generations of women. She looks forward to a cookie-cut life, a flowery backyard and a "well-intentioned" man, and she walks away from the scruffy-haired potential of the world beyond that picket fence.

She decides, just as millions of people do each day, to take the beaten path - the sure thing. And who can blame her? As Gibbard says, "I'd have done the same as you." Yet the look in her eyes, the crooked smile she holds, defies the beauty and happiness this moment is supposed to elicit, and we know she is looking in that rear view mirror, towards the church door that is just closing. The realism of the video, matched with the tone of the song, is what makes it such a devastating scene.

But there is also the young man in the room, the one with just enough unkemptness to be likable, who doesn't run up to the altar and kiss the bride - as she so romantically envisions. Even if she has decided to reject that moment in her head, the most frustrating fact is that he doesn't even try. He is left outside, on the grass, with the rest of us who've ever let a moment like that pass us by.

Into the Light: Shad "Brother (Watching)"

2008-07-10T17:42:00.004Z

Look outside, it's a beautiful new day...

Shad "Brother (Watching)"
dir. by Ed Gass-Donnelly
Shad is surrounded by black. He is speaking of black people, and thus he is appropriately framed by the color around him. But he is also inundated with images of black people which are confining, limiting and defeated. Images which are emitted by the TV screens everywhere, by the media which continues to pigeon-hole him and his people, and which are consumed by impressionable youth.

The Canadian rapper wants to open doors, but rather than consciously breaking the few molds society creates for minorities, he asks his audience to simply be themselves. By ignoring the stereotypes, and simply pursuing your own dreams, he suggests you will be going against expectations. It's a message which is underlined by the images of people struggling to emerge; particularly the piano player who begins inside the TV but ends up outside, on his own, free.

Thus Shad continues to "watch," not only to see how the television misrepresents black people, but to also observe how the next generation of black youth grow up - to see where they take us next. The director and Shad are also asking the viewer to look at something other than the TV (which is symbolically burnt), movies and even YouTube - he wants us to see beyond the screen; to seek out the truth about ourselves, and each other. The video ends with the rapper walking out on the darkness, and into the real light of day.

The Life-Throb of Ages: Garry Schyman "Praan"

2008-07-08T17:13:00.010Z

The way a music video can remind you of your own humanity, your own beauty...

"Praan" by Garry Schyman (vocals by Palbasha Siddique)
dir. by Matt Harding and Melissa Nixon

"Matt, thanks for the hope you're giving! The world is not as bad as it seems so often. "
- Comment from YouTube user

Though it has oft been trumpeted as a revolutionary tool for social change and universal connection, YouTube and the Social Networking phenomenon have seldom been used to produce the kind of colossal sea change or global moment of synergy many had dreamed of at its birth. The vast majority of YouTube's all-time "Most Viewed Videos" are pop music videos from Rihanna (which, if you know anything about this site, aren't all void of content), or goofy clips like "Charlie the Unicorn" - almost all of which are primarily American-made, featuring American people and American locales. Yet an article in today's New York Times suggests that despite the multitude of junk we post on the Internet daily, Social Networking really has provided us with a platform for global change. We just don't always know what to do with it. Most of the time it takes an artist - yes, YouTubers can be artists - to show us the possibilities of creation.

Matt Harding's "Where The Hell is Matt Harding?" (2008) (or more appropriately, "Dancing") is an example, more so than the stateside "Free Hugs" phenomenon, of how one person, with one camera, and one idea can simultaneously - and positively - affect millions of people around the world. To be more exact, it's really a stunning exhibit of what a music video can do in modern times.

It's an important distinction to make, that this is indeed a "music" video. Like everything else we review at Obtusity, it's a series of images accompanying and working with a musical track. Yet unlike most music videos we see, it was conceived as an idea independent of the music originally (a far more modest idea, at that). But in Harding's third incarnation of his literal globetrotting, he has really grasped the emotional and engaging element that music can provide. "Praan" was composed by Gary Schyman specifically for this video, and the singer - Palbasha Siddique - was recruited from YouTube to sing these specific lyrics. She croons in Bengali, and it emphasizes the worldly view at the heart of the video.

There is also a degree of intentionality in the editing and sequencing which underscores the artistic hand at work. The way Tel Aviv is placed by East Jerusalem, or a scene in New York mirrors the next one in Tokyo, is indicative of the broader ideas behind this particular YouTube video. Yet the specific countries visited are less important than the fact that Harding is going to many different places, all around the world, and unifying them with the oldest of human languages - that of free movement.

The lyrics, which are adapted from a Rabindranath Tagore poem, are also very significant in understanding the full scope of Harding's vision. The poet describes an epiphany in which he sees all of existence, from the natural world around him to the entire history of humanity, dancing with the same blood - the same stream of life. Thus in Harding's video we are all tied by this unseen energy, personified in dance, and illuminated by the joy that surrounds us as we watch. In many ways Facebook, YouTube and the rest of the Internet have improved our access to the stream, but it is up to us to follow Harding and continue to make art that ties humanity together.

Stream of Life
by Rabindranath Tagore

The same stream of life that runs through my veins night and day
runs through the world and dances in rhythmic measures.

It is the same life that shoots in joy through the dust of the earth
in numberless blades of grass
and breaks into tumultuous waves of leaves and flowers.

It is the same life that is rocked in the ocean-cradle of birth
and of death, in ebb and in flow.

I feel my limbs are made glorious by the touch of this world of life.
And my pride is from the life-throb of ages dancing in my blood this moment.

Step Back: The Year in Review

2008-01-01T04:00:00.000Z

Though Obtusity hasn't been updated in awhile, we never stopped watching music videos. How could we? There were many, many videos to watch this year - more than perhaps any year prior. Yet despite the hundreds of promos we came across each month, the overall quality of the industry was not diluted. Instead this year brought us many of the more creative and ambitious projects in recent memory, from R. Kelly's massive hip-hopera to Justice's ubiquitous D.A.N.C.E. phenomenon.

So we return with a year-end compilation of our favorite releases of the past 12 months. It was no easy task whittling our list to a mere 25 (our staff started with a ranking of 100), but in the end we leaned towards those videos which made a significant artistic statement that went beyond pretty aesthetics. These are the works of art that stayed with us - those we imagine will continue to delight for years to come.

Fergie "Clumsy"
dir. by Marc Webb & Rich Lee
Fergie stumbles into a brilliant concept from Webb & Lee and manages to give a fairly decent, grounded performance (despite the obviousness of her product placement). Yet if the visuals didn't match the tone of the song and its lyrics so well, the entire video would have fell flat. In many ways the self-proclaimed "Dutchess" has a very childish view of love - in the breakdown she talks of constantly needing a boyfriend - and that mirrors the pop-up book concept around her. At the same time the nervousness she displays is a universal symptom of desire, suggesting that even as we grow older, love can make us awkwardly young again.

Liars "Plaster Casts of Everything"
dir. by Patrick Daughters
The first, but not nearly the last appearance of Daughters on our list:

"Escaping from prison into a dark and dreary night, adrift in the desert, this troubled soul is fleeing more than a state institution. He wants to "run away" from the guilt, confusion and fear of whatever it is he's done - or is at least accused of doing. But he doesn't need to look in the rear view mirror to know that these regrets will not be leaving anytime soon."
read the full review

Justice "D.A.N.C.E"
dir. by Jonas&François, design by So Me
The year in music videos will likely be remembered as the year of "D.A.N.C.E." And as Kanye West can attest, So Me's design has been and will be hugely influential in the years to come. As a celebration of hipster fashion, colorful graphic design and skinny indie boys, it's endlessly consumable.

Yet in other ways it's strangely pointless. The video's anti-conformist imagery - from loaded guns to overt sexuality - works primarily because it looks so typically "indie." Is the circular and repetitive journey then a comment on the futility of hipsterdom, or is "D.A.N.C.E" actually the ultimate example of the increasingly empty image-based bandwagonism of this culture? Regardless, the fact that people clamored to own every t-shirt on display here is both ironic and proof of the video's infectious quality.

The Shins "Phantom Limb"
dir. by Patrick Daughters
Though originally released in late 2006, this whimsically complex Daughters-directed clip warrants a closer look, and high praise.

Here's what we said back in January:
"...[Daughters] takes the cutesy undertones of Saturday morning serials and after-school specials and turns The Shins' "Phantom Limb" into a full-fledged morality play for adults. While we can still smile at the adorable performances of the players, there are a series of haunting images which negate any attempt at portraying this as simply a kid's music video."
read the full review

Stephanie Dosen "This Joy"
dir. by Dan Sully
The first minute is astonishing in its build-up, never failing to give us chills.

"Director Dan Sully uses deep close-ups, understated colors and slow motion to really let the beauty of the words fully bloom. The animated wallpaper is also a nice touch, and when it switches from a cage above Dosen's head to a print of leafy vines, it directly connects the singer to the birds who wish for freedom. Yet it's only a momentary experience; a step through doors into the light of an adjacent room."
read the full review

Fionn Regan "Be Good or Be Gone"
dir. by Si & Ad
A song is a living, breathing thing. And just like the artist who writes it, it has a history - a constantly evolving story. It exists in every space it has ever been played, and carries with it the memories of how it was played that day, how it sounded in that space and who was there to hear it.

As Fionn Regan tells us his story of loss, the images present something else - perhaps even hope. It reminds us that a good song, like a strong memory, is never as simple as one idea or feeling. It's a myriad of emotions all beautifully rushed together in melody.

RJD2 "Work It Out"
dir. by Joey Garfield
"...in a single continuous take, Bill Shannon (born with a hip condition that requires crutches) expresses uninhibited individuality and freedom - rejecting any notion that he is incapable of beautiful movement. He hops, skates and glides through the crowded city, garnering looks of astonishment wherever he goes. After all that he climbs right back up those stairs - past the stranger who once doubted his ability."
read the full review

M.I.A. "Boyz"
dir. by M.I.A./Jay Will
"Though it's hard to believe, M.I.A. has taken the visual themes of 2005's Arular (seen everywhere from the cover art to the video for "Galang") and created something even more gloriously epilepsy-inducing for sophomore LP Kala. The vibrant collage of neon colors and cheap special effects found in the promo for new single "Boyz" (as well as her fantastic website) is a homage to everything from 80's video games to the advertising and film culture of Nigeria, Southeast Asia and Jamaica. But it's also a completely singular vision, and one that is impossible to pin to any particular movement or region of the world."
read the full review

Emily Haines "Our Hell"
dir. by Jaron Albertin
Albertin uses heatvision to expose the burning underbelly of conformity - the hell that is created by groupthink. Shots of sunbathers and frat boys intersect with portraits of wolves and clowns, with the final image of surrender being the most chilling. Everything from blood to tears is dulled into two sad tones of emotion, all passion and desire drained from the world.

Feist "1234"
dir. by Patrick Daughters
This is the type of video that requires no elaborate description or interpretation. Its brilliance speaks for itself. From the perfectly flawed choreography to the energy of Feist's performance - all shot without a single cut - Patrick Daughters deftly captures the simple bittersweet beauty of the song.

The Bees "Listening Man"
dir. by Dominic Leung
The tone of the video is quite light-hearted, but when the quiet scruffy-haired man who dreams of tennis glory takes his talkative girlfriend in his arms and kisses her with all his might, it's as dramatic and powerful a moment as we saw all year.

Lisa Lindley-Jones "Step Back"
dir. by W.I.Z.
"As Lisa Lindley-Jones stands somberly in a nearby alley, holding a bright flare and only partially obscured by shadow, her police officer pursuer walks by without even a glance in her direction. The two are so close at this moment that it seems nearly impossible that he wouldn't notice her, but it appears to be the case nevertheless. Yet perhaps he doesn't really want to catch her. And even if much of the video implies that she may actually want to be caught, here she makes no move to alert him of her presence either. Is she saddened by his lack of perception? Or is the thought of capture suddenly unpleasant and scary?"
read the full review

Ludacris "Slap"
dir. by Philip Andelman
"It isn't nearly as complex or gripping a portrait as Scorsese's magnum opus, but in its own way it relays the troubles of modern society while mirroring the themes of isolation and paranoia. It's also a monumental video for hip-hop right now. Bill O'Reilly once used this exact song as the basis of a seething critique of the Grammys and Ludacris (who won for Rap Album of the Year), repeatedly referencing the "slapping" as proof of the rapper's promotion of violence. It was clear then and it's clear now that O'Reilly never listened to this track or gave the artist a chance. I'm certain, considering Ludacris's history with O'Reilly, that those words where in the back of his head during the shoot. For this reason alone the video must be counted as an unqualified success; a dramatic affront to anyone who fails to see the potential of hip-hop expression."
read the full review

Kanye West (feat. Zach Galifianakis & Will Oldham) "Can't Tell Me Nothing"
dir. by Michael Blieden
It's a joke, but as director Blieden writes on his website, they "took the song very seriously." Galifianakis is phenomenal, his performance providing a seering critique of the hyper-masculine bravado Kanye and others champion so often. The entire video is a send-up of your typical macho rap video - from the dancing girls to the souped-up tractor - while at the same time a comment on the mass consumtion of hip-hop (particularly Kanye West) by numerous disparate groups in America. There's also a slight jab at the abberant or random appearance of overt religion in his music. Yet Mr. West has always been self-aware to a fault, and the irony of his own work doesn't escape him (as his brief apperance suggests). In many ways Blieden's masterpiece is the perfect anecdote to Hype Williams overwrought epic commisioned for the same song - bringing Kanye, his mega-stardom and the hypocrisy of misogyny in hip-hop back to reality.

Jarvis Cocker "Don't Let Him Waste Your Time"
dir. by Dougal Wilson
"The quality of Wilson's vision is rooted in his ability to capture the appeal of Cocker's songwriting while maintaining his own fresh perspective. From the subtle humorous touch to the extravagant disco finale, Wilson creates a fun ride that matches the song in wit and replay value."
Interview with Dougal Wilson

Bat for Lashes "What's A Girl to Do?"
dir. by Dougal Wilson
"Rolling down the street in the dark of night is akin to playing catch with butcher knives - someone is bound to get hurt. Yet Natasha Khan (a.k.a. Bat for Lashes) can't seem to stop playing Russian roulette with her heart"
read the full review

Coparck "A Good Year for the Robots"
dir. by COMRAD
"In the process of becoming "more human" in the video, Alex the robot is exposed to a series of horrific images of chaos and violence, as well as heartwarming footage of lovers and babies. He emerges energized and full of feeling; skipping along the roads he once mechanically trudged. But the majority of his co-workers are less than thrilled by Alex's transformation. They generally preferred the stoic and efficient version that one co-worker called "a retard" prior to the operation. In many ways they liked him as an unfeeling and focused employee because that is precisely what they are."
read the full review

Interview with COMRAD

Lyapis Trubetskoy "Capital"
dir. by Alexey Terekhov
"The video seems to suggest an aversion towards globalism with its crazy 7-headed conglomerate shilling horrible products and ideas from every corner of the earth. But the real problem is any one person, or group of people, attempting to force a single ideology on the billions of unique humans that live on this planet. In the finale the piggy bank-heart is destroyed and put back in the hands of the television viewer - the consumer. Having individual choice and spending money is OK - as long as we make educated decisions."
read the full review

The Strokes "You Only Live Once"
dir. by Warren Fu
"If machines were to find our relics in the distant future, would they have a positive first impression? What if they found only your artifacts, your time capsule? These are the important questions that linger after watching Warren Fu's beautifully realized music video - you only live once."
read the full review

Cornelius "Like a Rolling Stone"
dir. by Koichiro Tsujikawa
"...sometime after the halfway point, Tsujikawa zooms in on a Venus de Milo-type women spinning inside one of the many portal-like doorways. Not only does she seem a unique figure in this redundant universe, but there is something unexpected about her beauty. Now as the director pulls out to show us this world once more, it suddenly has symmetry and grace where it once seemed pointless and stagnant."
read the full review

Cat Power "Where Is My Love?"
dir. by Josh & Xander
In one fleeting moment we see it all, from joy to sorrow, love to loneliness. "Where is My Love?" is a devastatingly beautiful video, shot with wonderous warmth and detail. We watch as a women's uproarious laughter - happiness personified - turns slowly into a pathetic and desperate crash to the floor. Each character is so unique and seperate in the bar, yet like in a classic Altman picture, the characters are tied each to each simply via their humanity - their struggle to connect, to live.

Beirut "Elephant Gun"
dir. by Alma Har'el
"There is beauty in this strangely erotic room, and no doubt most of its residents are enjoying themselves. There is something sublime in "letting the seasons begin" and completely embracing the energy of the moment - the lust, the drinks and the music. But the look on Condon's face is the clue to everything he hides inside - the bored desperation of his dreams comes pouring out the weary notes of his trumpet. He can live in distraction or follow the postcards on the wall, but either way a life of escapism will leave one unfulfilled - dragging empty cans along the beach."
read the full review

Petrol "Cera"
dir. by Postodellefragole
"This may very well be a lonely man watching his love fall apart at the hands of his own indecision and hysteria, but it's precisely the mystery of the narrative which keeps "Cera" such a compelling treat. There is a shot of the women running across darkness as if upon water, subtle effects distort the visuals on close-ups and throughout cuts are hidden in the same black where secrets are kept. The directors create a mood that is as disquieting as it is hypnotically beautiful. An enigma that wants no solution - only to evoke and entice feeling."
read the full review

Aereogramme "Conscious Life"
dir. by Tobias Feltus
"Tobias Feltus's "Conscious Life" is a near-perfect example of the symbiosis between picture and sound...They called The Jazz Singer a "talkie" in 1927 because human speech, or a lack thereof, was the real defining quality of the silent films that preceded it. Aereogramme's music contains words, but they aren't directly spoken by any of the characters in "Conscious Life." Rather they serve as our guide through the psychology and context behind the happenings on screen."
read the full review

Dizzee Rascal "Sirens"
dir. by W.I.Z.
From the moment we saw it, we knew this one was special.

"W.I.Z.'s music video for Dizzee Rascal's "Sirens" is loaded with vibrant imagery, but one of its most quietly potent ideas centers around Dizzee's choice of attire. The hooded jacket he wears (and is forced to remove) is about more than a conflict between young and old, it's the fear of the unknown itself. It's about those in power being afraid of "difference," of what they don't understand and can't see. And it's about exploiting those in a weaker position without concern for the long-term effects it has on society at-large."
read the full review

Mirrors On the Wall: R. Kelly "Trapped in the Closet: Chapters 13-22"

2007-08-16T07:30:00.000Z

R. Kelly "Trapped in the Closet: Chapters 13-22"
dir. by R. Kelly and Jim Swaffield
There's a point in Chapter 8 of R. Kelly's magnum opus, as James the police officer is on the verge of discovering Bridgette's bizarre secrets, where the room darkens and bars of light are thrown across the nervous wife's face. In that moment you begin to understand perhaps the meaning behind all these illicit affairs and love triangles. Whether you're a gay priest, a stripping midget, or even a multi-platinum world famous R&B superstar (who just so happens to be amidst a rather aberrant real-life court case himself), we've all got our own skeletons tucked away somewhere.

As we watch with rapt enthusiasm as Kelly unveils the latest installments of his hip hopera (daily on IFC.com), we'll save the rest of our comments 'til the complete tale is spun. Check back next week for a full run through.

Pretty Girls Make Graves: Candie Payne "One More Chance"

2007-08-09T07:34:00.000Z

Obtusity is in the process of moving, and consequently the blog will be on hiatus for a week or so. But as we pack up and head out west, we leave you with this delightful new video from Candie Payne.

Candie Payne "One More Chance"
dir. by Indica
The English singer-songwriter and her director Indica play against the expectations set-up by the sweet music and the even sweeter appearance of our heroine. As a parade of men are distracted by her long silky legs and batting lashes, the not-so-innocent beauty is masterminding a plan to escape scot-free. Meanwhile a crew of stereotypical "criminal" types walk around in the background, subtly challenging the viewer's own perceptions of what "bad" people look like.

Saturday Night Fever: M.I.A. "Jimmy"

2007-08-07T11:00:00.000Z

One of the best songs of the year gets a far-out video makeover...

M.I.A. "Jimmy" [Hi-Res]
dir. by Nezar Khamal
Disco Dancer, which provides the inspiration for "Jimmy," is one of the great soundtracks of the 80’s, and the Indian musical is exactly the sort of gaudy mess that fits perfectly with M.I.A.’s aesthetic of celebrating the forgotten and marginalized art of the third-world. While the song channels the extravagant emotions of unrequited Bollywood love through dreamy guitars, gorgeous epic strings and her most impassioned vocal performance yet, the video amplifies the effect by riffing on space travel, Buddhism and the "disco" theme.*

The final shot is of M.I.A. tearfully calling out to her lover Jimmy, and it initially seems at odds with the buoyant energy of the previous 3 minutes. It's a bit tongue-in-cheek, but it's also a telling moment of sincerity. The artist is, after all, working within a specific style which calls for dramatic gestures and visuals which convey the grandness of human feeling. In the 1983 movie the song "Jimmy Jimmy" is sung by the female protagonist during a dance competition, meant to entice her suddenly hesitant partner to come join her on stage. He never does gather the courage, and she finishes the performance alone. M.I.A. extracts the metaphor from the scene, using it as a mirror for her own struggles with love - dancing and singing in hopes of capturing the wavering heart of her own Jimmy. In many ways her spin on Disco Dancer (which to be honest, is remembered more for its music than its feeble plot) is more romantic and more animated than the original scene - she makes it brilliantly more Bollywood.

*Parts of this paragraph are quoted from my own review of the track at Stylus

The Riot is Yet to Come: Kaiser Chiefs "Angry Mob"

2007-08-07T07:52:00.000Z

Kaiser Chiefs "Angry Mob"
dir. by W.I.Z.
[via antville]
The name of the restaurant - Noblesse - is engraved in the window that separates the outcast women from the diners who excised them. The French word means what it looks like, but is perhaps more widely know as in the phrase "Noblesse oblige" - a concept which implies that those with wealth or prestige have a heightened social accountability. Or to quote Spiderman, "with great power comes great responsibility."

Director W.I.Z. has previously tackled issues of class and discrimination, but here his commentary is laced with a hint of modern political allegory. The privileged patrons of the glossy establishment observe the members of the bachelorette-party with condescending smirks and glances. Eventually they set the two groups of rowdy drunk women against each other, observing the ensuing brawl with glee - simultaneously sharing knowing looks (as if to say "I told you they were uncivilized") while quietly relishing in the spectacle of the physical altercation. The lower "class" fights amongst itself while the upper, protected by the institutions of society, stands back and watches with a sense of moral superiority - a pattern which could apply to a certain war in the Middle East, or recent riots on the streets of Paris.

Yet it's the restaurant itself which got half these ladies drunk in the first place. And while they may pretend to be above the crowd, the seated folks have the same human desires and emotions as the skirt-lifting women they shun. While one group expresses their sexuality with blow-up sex toys and racy lingerie, the other resorts to secretive touching under the table. The wine-n-dine crew resent the scantily-clad and loud women across the restaurant precisely because they expose the suppressiveness of their own stuffy mentality. They stand in the window and relish the altercation out there because it releases all the emotion they hold back in the name of everything that is "proper."

It's only a matter of time before the mob realize they are being used. And when that happens they will do as they've been trained to do: express their anger through base violence. Sadly only in these moments when the fear comes home do the wealthy and powerful truly understand their social obligations - and hopefully the ersatz nature of "nobility."

Still Not Tired of Hypocrisy: 50 Cent feat. Justin Timberlake "Ayo Technology"

2007-08-03T07:49:00.000Z

Classy male cinematic masturbation...

50 Cent feat. Justin Timberlake and Timbaland "Ayo Technology"
dir. by Joseph Kahn
Before we get into the obvious criticisms of extreme female objectification, it should be said: this is an exceedingly attractive modern hip hop video. Director Joseph Kahn manages to find novel and visually exciting ways of playing with the cliches of the genre - namely girls, cars and inordinate displays of wealth. As my friend Jason observed upon his initial viewing, it's like the Minority Report of 50 Cent sex-themed videos (which constitutes nearly all of his videos).

But now that we've got that out of the way: are there any men in mainstream hip hop who have any sort of regard for females as human beings at all? We've addressed this topic numerous times before, but from 50 literally aiming a sniper rifle at a lingerie model to JT spying on girls with binoculars - this is just kind of ridiculous. What's silliest about this scenario is that the song itself is literally about pornography - and men masturbating to said pornography. Thus it's the epitome of male sexist fantasy to depict what is normally a lonely and self-pleasurable act as an avenue of expressing sexual power over real women.

That being said, the video would be somewhat justifiable if we were shown the other side as well. Objectification isn't a terrible thing per se - both men and women enjoy being in control and being controlled at different times - but it's the lopsided nature of power in our society which makes it such a harmful activity. Try imagining the opposite of this video, with popular female artists simulating sexual activities on powerless scantily-clad men...and now try imagining that video ever being made.

In mainstream media male pleasure has never been considered "sexy," but it's sad that there are seemingly no directors in the music video community (or Hollywood for that matter) who have the guts to show it - even when the song is actually precisely about 50 Cent getting off far too often to porn. In reality he and Justin are the ones being controlled by women (or at least pictures and videos of women on the Internet), but in the end even the source of this "technology" is shown to be a man playing with his computer in his bedroom.

Some Ugly As Well: The Good, The Bad and the Queen "The Good, The Bad and the Queen"

2007-08-02T08:09:00.000Z

The Good, The Bad and the Queen "The Good, The Bad and the Queen"
dir. by Stephen Pook
The rising pulse of the music works wonderfully with the brilliantly edited film - splitting apart and turning psychedelic at just the right moment - but it's the content of the images which poses a problem in interpreting this video. On the one hand it seems the director intends to capture the mysterious and mesmerizing spirit of this Sufi religious gathering, using the spiritual experiences of these men to attribute some transcendent power to the music, and subsequently the video itself. Yet as one astute YouTube member so eloquently described it, it also comes off as "Hindu hippies rockin round the Beep man!!!"

The director needn't be concerned with correctly representing each person's religious affiliations (it is actually possible that these men are indeed Hindu, as some Hindus practice or incorporate Sufi traditions), but there does seem to be some problematic objectification of the "other" underlining the final product. Would this video work if the men weren't specifically pot-smoking brown-skinned people? The psychedlia of the finale seems to reference the surge in interest during the hippie movement of the 60's in Indian culture and religion. Yet it's a vague and superficial sort of interest - only by keeping the culture at a mysterious ("spiritual") distance can we sit back and enjoy observing these people as symbols or caricatures of the unknown.

Don't Try This At Home: Dude 'N Nem "Watch My Feet"

2007-08-01T22:23:00.000Z

Dude 'N Nem "Watch My Feet"
dir. by ?
We've already analyzed the decent Down South "Cupid Shuffle" and the more impressive "5000" from New York, but the freshest dance craze of the moment comes straight out the dear old Midwest. This modern version of the "Juke" is on full display in Chicago natives Dude 'N Nem's latest video, a journey across the Windy City showcasing kids and grown-ups alike practicing some very fancy footwork. Yet for all the thrilling and captivating dance moves, the most exciting fact here is the emergence of another quality Chi-town underground duo to add to a burgeoning scene spearheaded by the flyer than fly Cool Kids.

Tell Me I'm Right, Tell Me I'm Wrong: The White Stripes "You Don't Know What Love Is"

2007-07-31T09:20:00.000Z

The White Stripes "You Don't Know What Love Is"
dir. by The Malloy Brothers
Loyalty is not necessarily love. Jack White describes the frustrations of being with, or wanting to be with, someone who blindly and silently sticks in a relationship. It isn't that the other doesn't say "i love you," it's that she rarely says anything else. The lack of criticism or anger comes off as a lack of interest or passion.

In the video the Malloys show the couple walking on the beach, but though they begin holding hands they end up separately framed. Jack makes his way over to her side of the duplex, but she remains coy and blank. Yet Meg's reasons for staying away are likely more complicated than he understands, and in one scene she clearly points at him while the chorus of the song plays - implying that perhaps neither of them really know what love is.

Dirt Don't Hurt: Bonnie Prince Billy "The Seedling"

2007-07-30T05:14:00.000Z

Click below the trailer to watch full-length video...

Bonnie Prince Billy "The Seedling" [Full Video]
dir. by Aran Reo Mann
The trailer for Bonnie Prince Billy's latest video is rated "R" for "coarse language and sexual situations." This could very well be a perfunctory detail meant to identify the clip as a preview, or perhaps placed against the red background it foreshadows the horror filminess of the piece. Yet the choice of words, specifically "sexual situations," is hard to ignore when the first verse of a song about making seedlings grow ends with "My full-sized child is fully unclothed."

The other, more limpidly vital detail of the trailer is the phrase uttered anonymously by a satirically creepy voice, "god made dirt, and dirt don't hurt." It's a phrase you've probably heard before, the type of thing your grandparents might say, and is generally interpreted as a sort of positive axiom. (It's also often translated on schoolyards as the "five-second rule.") Yet here it sounds reticently sinister, as if the unseen narrator is mocking that second half of the rhyme: "dirt don't hurt." Or it could just be silliness.

The actual video is even darker than the trailer promises. After some beautifully scenic and aquatic imagery - which immediately brings to mind life cycles, i.e. "the miracle of birth" - we are shown an ominously empty rocking chair. The exact origins of the rocking chair are up for debate, but it has often been viewed as a symbol of parenting - perhaps a result of its association with the old nursery rhyme "Rock-a-bye Baby" (which itself is rather unsettling, "down will come baby, cradle and all"). Thus this vacancy implies bad, non-existent or perhaps "ghostly" child-rearing.

Buy the album
When the seat is finally filled, it adds no measure of comfort. A faceless man sits in almost complete darkness, singing his song with his deathly bright lips. Blue lips would normally suggest a voice from beyond the grave, but the fluorescent sea of life in the opening challenges this assumption. There is also something sensually abashing about putting such emphasis on the lips - conjuring images of unfulfilled desire.

In a parallel narrative a mysterious character takes his lantern into the forest to steal a bit of nature's beauty for himself (he chooses mushrooms, which can be both nutritious and poisonous). He hordes these living things in his bedroom, and uses them to create his own world. Whether Bonnie Prince Billy is singing of actual "illegitimate" children conceived in secret or making an analogy to songwriting, there is something about this creative process that keeps the artist up at night. The little girls who awake in his test-tubes almost all look to him for guidance, but the final shot of the video features one such exiguous creature stare directly towards the camera - as if cognizant of her confinement and now ready to be released.

Director Aran Reo Mann, who may or may not be related to Michael Mann (probably is), worked with the famous director on art direction in his films Collateral and Miami Vice. The gorgeous use of color and shadow here is perhaps the biggest link to those movies, yet whereas blue tends to represent either isolation or safety in Michael's films (including Miami Vice), it is used more ambiguously in "The Seedling." There are effulgent jellyfish in that pretty ocean, but it's a beauty that will sting you upon embrace.

Detour: Liars "Plastic Casts of Everything"

2007-07-27T08:54:00.000Z

Liars "Plaster Casts of Everything"
dir. by Patrick Daughters
Escaping from prison into a dark and dreary night, adrift in the desert, this troubled soul is fleeing more than a state institution. He wants to "run away" from the guilt, confusion and fear of whatever it is he's done - or is at least accused of doing. But he doesn't need to look in the rear view mirror to know that these regrets will not be leaving anytime soon.

In David Lynch's Lost Highway (an obvious influence here) Fred Madison suffers from a psychological "fugue state." This means that Fred creates in his mind a fresh identity (full of new people, places and memories) and proceeds to forget his true self. Yet like the crazed driver in this Daughters' video, Fred can't really erase his memories and begins to subconsciously repeat or relive his mistakes. In fact the protagonist of "Plaster Casts of Everything," who imagines a strange woman in his passenger seat, may very well be haunted by the same guilty demons as Fred - that of his wife's murder.

A fugue also happens to be a style of musical composition, one which features multiple parts that come together in a sort of circular form (returning to the opening key). The Liars' excellent single doesn't necessarily follow that style, but there is a connection between the repetition of the pulsating music and the building tension on screen. The final coda implies that rather than an endless cycle of shadows and desert, things may actually get worse for this guy. He's caught in his own nightmarish spiral of horror and self-hatred - and there's no going back.

Parallel Lines: Slim Thug vs. NYOIL

2007-07-26T07:01:00.000Z

Ridin' dirty and pretty...

Slim Thug "Wood Grain Wheel"
dir. by ?

NYOIL "Unreal"
dir. by E-Hab

The first is a visually stunning mainstream hip-hop video, while the latter is a cheap - slightly corny - indie production. Slim Thug looks cool coasting in his shiny new car with his "wood grain wheel," accompanied by stylish cinematography and a fantastic brooding beat. NYOIL looks awkward in his wife beater, and the silliness of his introduction is distracting and unnecessary. Yet in many ways director E-Hab's low frills and poorly executed video for "Unreal" is an excellent commentary on Slim Thug's more accessible work. Together they provide fresh perspectives on tired subjects and common iconography.

Both videos are very much about staying true to yourself and the places you come from. As Slim Thug rides through his hometown of Houston, the pictures are often faded or intentionally worn - implying the laidback rapper hasn't forgotten his roots. In many ways he represents himself as a hero out of the past, like a character in Grindhouse, or an extension of the classic cars he drives.

The video works because it tells a story while creating a compelling and beautiful world around it. The tale is very familiar - my neighborhood is rough, baby mama drama and "hey, I'm rich!" - but it's told with such flare and fits so well with the music that it clearly distinguishes itself from the pack. Slim Thug's city, as seen through the reflections of shimmering car doors and rear view mirrors, becomes a surreal vision of typical hip-hop culture.

Yet essentially it's built around the biggest cliche of the genre: the ride. Not only is Slim in his vehicle most of the time, but there are countless shots of tricked-out Cadillacs swerving in parking lots in the background. NYOIL's nostalgic look at coming up in the rap game is also conceived entirely around the rapper's mode of transportation, but it serves a very different purpose. It begins rather predictably: the rapper in his leather-seated car, cell phone rings, and an agent calling. Yet the minute we realize NYOIL's car isn't a super expensive indestructible dream car - but rather one that breaks down just like normal people's - we know this is going to be a unique hip-hop video.

The car is made the focus here in order to comment on the vanity and cosmetically obsessed messages of contemporary music. NYOIL wants to say hip-hop is about more than that - that it's about people coming together for a cause, self-expression and the American spirit of hard work. The acting is forced and the finale is cheesy, but the anachronistic image of a rapper pushing his own broke down dreams with the help of complete strangers is more than refreshing. Slim Thug's world is prettier, but NYOIL's has a tangible and important message of self-confidence. Now why is it that these two categories of hip-hop videos always seem to be mutually exclusive?

Smiley Smile: Blonde Redhead "The Dress"

2007-07-19T07:42:00.000Z

Blonde Redhead "The Dress"
dir. by Mike Mills
Though not entirely original, the video for "The Dress" is a compelling portrait of sadness - and the beauty which lurks in every lonely tear. We see or hear people cry quite often, but rarely do we simply observe a stranger progress into weeping. Normally, especially if you knew the person, you would say something or reach out your hand to comfort. But here you are helpless; forced to be a spectator.

What you see, other than anguish, is fear. Lead singer Kazu Makino avers, "fear starts creeping up when you have so much to lose," and director Mike Mills fills the spaces around these troubled folks with foreboding darkness. The black emptiness seems to trap them in their sadness, swallowing all hope of escape.

Yet there is something quietly uplifting about watching these individuals sob. Each of them is uniquely distressed and have their own way of expressing that grief, but they are all crying - almost as if they lament some universal tragedy. And in that undeniable connection, one can indeed find beauty amidst the frowns.

Weapon of Choice: RJD2 "Work It Out"

2007-07-17T07:13:00.000Z

RJD2 "Work it Out"
dir. by Joey Garfield
A man who appears disabled faces a steep set of steps. Immediately a stranger offers to help, assuming the man will have difficulty completing the task on his own. Yet our sharply dressed hero rejects the stranger's help, and seems stubborn in doing so - after all, we also expect him to have some difficulty in descending the stairs.

But in a single continuous take, Bill Shannon (born with a hip condition that requires crutches) expresses uninhibited individuality and freedom - rejecting any notion that he is incapable of beautiful movement. He hops, skates and glides through the crowded city, garnering looks of astonishment wherever he goes. After all that he climbs right back up those stairs - past the stranger who once doubted his ability.

Simply brilliant.

No Alarms, Some Surprises

2007-07-16T09:04:00.000Z

There isn't a new video to discuss today on Obtusity as we are still recovering from a whirlwind weekend in Chicago spent covering the Pitchfork Music Festival. So in the meantime we've posted some photo and video highlights from the 3-day extravaganza - unfortunately not including any Sonic Youth, GZA or Slint photos (our camera crapped out on Friday night). It was the best P4K event yet, featuring everything from a g-stringed Kevin Barnes (Of Montreal) to the legendary Prince Paul arriving unexpectedly on stage with De La Soul. In between there were multiple appearances from members of Grizzly Bear, a bunch of brand new songs from The New Pornographers and a fence-shaking, insanely crowded semi-nude dance party curated by Girl Talk. Like we said - still catching our breath.

Sam Beam returns for an encore after a ho-hum set, unveiling this gorgeous cover of Radiohead's "No Surprises."

Clipse "Grindin" through an electrifying set that featured hits from both LP's and nearly every mixtape the Virginia duo has released thus far.

Though marred by technical difficulties, and only lasting a little over a half-hour, Junior Boys managed one of the more memorable shows of the weekend. They stuck mostly with the new stuff ("In the Morning" sounds even better live), but "Under the Sun," from first album Last Exit, was the real stunner.

Chicago natives Cool Kids had the crowd going wild over their unique blend of indie-style (check Mikey sporting form-fitting acid wash jeans) and hip-hop wit. The new songs sound fantastic, and experiencing "Mikey Rocks" with the crew of rabid hip-hop fans in the front row (including close friends of the rappers) was an unforgettable moment.

We'll get back to talking about music videos tomorrow, promise!

Heart It Races: Tracey Thorn "Raise the Roof"

2007-07-12T07:25:00.000Z

Tracey Thorn "Raise the Roof"
dir. by ?
The girl begins the video in yellow sneakers, a shy cat meowing at her feet. She works a menial job shining anonymous men's shoes, wearing a confining bonnet in a stark and lonely room that must surely reek of polish. Yet there is no despair in her eyes today, she pulls out her red shoes and dreams only of the coming night. Because this evening isn't just another Friday night - this evening she has a date.

Across town the boy of her dreams (or at least some guy who had a compelling MySpace profile), has just flown into town and anxiously hails a yellow cab. The fact that he comes from some distance implies their relationship - at least on the Internet - is more than a few days old. Thus the anticipation of this meeting has been building for a while on both sides, despite their mild-mannered appearances. As they each lay on their bed admiring pictures of the other, or practice dance moves in front of the mirror, they expose how truly ebullient - and optimistic - they are about this rendezvous.

Normally in these situations the cynic in you might take over, but the two characters here are played with such caution and humor that we allow ourselves to believe. Though the girl is wearing her Dorothy-shoes and the man initially jumps in a cab called "Confident Taxi," neither of them ever appear completely secure. Thus we are in the dance hall with him as he waits - wondering if she'll ever show up - and we are on the bike with her - worrying if he'll be anything like his online persona.

But once she finally does step in the room, without speaking a word, they know this is going to work. She crumples the picture in her hands and he waves sheepishly, but they are suddenly caught in the adrenaline of the moment. Their confidence grows by the second, with each furtive glance and every awkward dance move. The potential love that permeates the shrinking space between them is what lets them temporarily "raise the roof."

They don't kiss, because the music ends, but they stand inches apart waiting for it to resume. One imagines they don't speak at all in that silent gap. It's all about the dance tonight, finally being near each other and finally being free to express long dormant desire. Their heels kick up in unison - standing in their new shoes.

Wake Up: The Mint Chicks "Walking Off a Cliff Again"

2007-07-10T07:51:00.000Z

The Mint Chicks "Walking Off a Cliff Again" [Hi-Res]
dir. by Sam Peacocke
The white rabbit is coaxed out of his hole by the Mint Chicks, in hopes that it might inspire the bored and suppressed people of the world. As our speedy hero splashes wonderland all over these previously static characters, they suddenly erupt with emotion and desire - coming to life just as he seems to lose his.

Peacocke, who also directed the Mint Chicks previous video, does an excellent job of capturing the energy and tone of the band - especially here as the protagonist runs with the rising adrenaline of the song. His images of mundane offices and bland classrooms are delightfully composed, and the performances here are brief but sweet.

And could that opening shot be another indie reference to Donnie Darko (waking up in the middle of the street, rabbits, martyrdom, maybe?).

Re-Definition: eMC "What It Stand For?"

2007-07-10T07:33:00.000Z

eMC "What It Stand For?"
dir. by Rob Alphonose
In many ways eMC seem to stand for the same things as everyone else in the game, at least thematically. But as they rifle off one clever phrase after another, you begin to hear a lyrical creativity that sets them apart. The video has its moments (the transitions are nice), but it primarily defers to the song to keep things afloat. The beat by Nicolay (of Foreign Exchange fame) is supremely addictive, and the references to "eMC" in almost every line are entertaining - though we were left waiting for the obvious Einstein shout out.

A Different Perspective: Ellen Allien & Apparat "Way Out"

2007-07-09T08:42:00.000Z

This is an old video newly unearthed...

Ellen Allien & Apparat "Way Out"
dir. by Postodellefragole
In the reflection of the window we can barely make out the face of a young girl. She watches in awe and confusion as the shiny world whizzes by. The opening notes of the song are channeled into a quivering vision, as if everything out there is just barely being held together. Likewise she sees toy-like robots amidst an epic war, destroying the icy beauty of the city towards some unknown end. But in her daydream there can be some meaning to all this - there can be sides to choose and heroes to champion.

Yet in the real world these things are far harder to explain. When a child sees their environment destroyed without reason - whether through warfare, pollution or otherwise - it must be a terrifying feeling. While a strong imagination can go a long way towards rescuing hope, it's only a matter of time before despair sets in. The beautiful mystery of the world unknown suddenly turns ugly and fearful. The blooming mind of a child, assaulted by society's madness.

Put On Your Red Shoes: Cupid "Cupid Shuffle"

2007-07-09T08:01:00.000Z

Cupid "Cupid Shuffle"
dir. by ?
As much as karaoke songs like "Macerena" or "Electric Boogie" pain the ears, when played in public they provide a unique opportunity to get lost in communal self-expression. In recent times hip-hop has been especially adept at releasing songs which are specifically intended to bring people together on the dance floor - whether it be to "Lean Back" or "Walk it Out." These are songs which instantly spark a certain type of movement in the crowd, and thus create an exhilarating sense of unity. Cupid celebrates this phenomenon, calling on folks of all ages to join in his new "shuffle."

But even though he gets people moving, this is not the next "Charleston." It's catchy and easy enough to learn, but it's also a tad bit derivative. I imagine it will do quite well nevertheless, but in terms of the 'next big thing,' my money's on the "5000."

[via Notes From a Different Kitchen]

Nightswimming: Mintzkov "Ruby Red"

2007-07-06T07:12:00.000Z

Mintzkov "Ruby Red"
dir. by Gommaar Gilliams
There is something viscerally thrilling about watching this man explode with anger at a room full of sharply dressed men and women. His sloppy and violent outbursts are appalling but somehow familiar - as if this frustrated soul expresses what all these tightly-wound people wish they could. We watch with dread and rabid anticipation as he makes his way through the night, expecting some tragic end to this seemingly pathetic life. And yet he does have his outlet, the one avenue of self-expression which prevents him from going even further into his rage. Yet why must he seek this happiness in shadow? What is it in the eyes of strangers that makes a man feel less than himself?

Roll Out the Red Carpet: Plans and Apologies "Mel Gibson's Iraq!"

2007-07-05T08:07:00.000Z

Plans and Apologies "Mel Gibson's...Iraq!"
dir. by James Sharpe
If you haven't had the patience to wade through the exceedingly frivolous stories on the news as of late, you might be surprised to learn that the most powerful Tony to bow out in recent times wasn't a Soprano. Plans and Apologies are right pissed about their former prime minister's warm send-off last week, specifically because of his adamant support for George Bush and the Iraq war. A quote from their press release:

"This week the UK prime minister Tony Blair stood down, and to celebrate the fact we might see a little less of his grinning, murderous face, we at Pandaz Pop are giving out this preview of the video."

While the band riff on the way modern wars are created and sold like blockbuster films, there is also an interesting critique leveled at the audience itself. The consumers who sit aimlessly in front of their television sets are complicitly linked to the elected officials who seem hellbent on making the biggest profit at any cost. The singer admits that he himself didn't necessarily sit down to write a political song, but that certain times demand certain reactions. Unfortunately, it seems like his band is playing to a waning crowd.

Born on the Fourth: Animal Collective "Fireworks"

2007-07-04T07:37:00.000Z

Animal Collective "Fireworks"
dir. by Jon Leone
[via pitchfork]
The sparks slow down and reverse at one point, and it's almost as if we are space-traveling rather than enjoying an earthly fireworks display. It is a trip though, one that traverses through the mind and heart of the singer - expressing love, doubt and a childlike wonder with the ways of the world. All of which is triggered by a single moment standing under the beautiful exploding lights of a clear blue night.

The song is a thrilling ride through the always exotic world of Avey Tare, Panda Bear and company. Despite the typically strange vocal delivery, the tune is actually quite hum-able. It boasts a boisterous melody, among the best Animal Collective have written, perfectly placed piano notes and some beautifully crashing drums. Director Jon Leone captures the erratic energy of the track elegantly, and his images of bursting and retracting fireworks will be forever linked with the notes of the song in our minds.

The video will no doubt come back to you tonight as you celebrate America's birthday, and perhaps you'll have your own epiphany amongst the children who stare up in awe and fear. Yet even if you don't, one thing is clear: this is a brilliant piece of viral marketing on the part of AC and Domino Records.

Sleep Tight: Pikelet "Bug in Mouth"

2007-07-03T07:01:00.000Z

Pikelet "Bug in Mouth"
dir. by Matt Richards
The amazing thing about our nocturnal bug-eating is that, regardless of the pollution or rain forest destruction we seem to perpetuate daily, every night we are unwittingly involved in sustaining the natural world. The fact that we can contribute to the cycles of life in our sleep, reawakens one to the possibilities of the day. All the bugs that disappear into Pikelet's body at night are reminders of the uninterrupted flow between herself and the world around her. In that sense, once we understand our part in the natural process, we have all the more reason to avoid polluting and destroying it.

There is nothing particularly revolutionary here, but the video does deftly echo the best qualities of the song. The kaleidoscopic images that blend beautifully from one scene to the next fit perfectly with the psychedelic accordion that forms the backbone of the song. Pikelet's vocal delivery is utter charm, and her off-kilter antics on screen only increase her singular appeal. One imagines this distinct brand of indie-folk will be warmly welcomed in the second half of 2007.

[via antville]

Blood Lust: Chris Brown "Wall to Wall"

2007-07-02T07:10:00.000Z

Chris Brown "Wall to Wall"
dir. by Erik White
Chris Brown's performance at the 2006 World Music Awards was no one-off - he has his sights set squarely on the King of Pop's presently vacated throne. Yet while "Wall to Wall" shows the young R&B sensation taking bigger risks with his videos, it is without the coherent plot or singular vision (as well as budget) which made "Thriller" such a classic. In fact it's somewhat troubling that in a song where Brown celebrates the plethora of romantic opportunities available to him on a given night, the women are all depicted as dangerous vampires.

Yet what Brown lacks in fresh narrative ideas, he counterbalances with amazing dance moves. The choreography here is on par with Jackson's finest, and the gravity-defying bit on the wall is a nice touch. The video could have spent more money on creativity like that, and far less on pointless cameos from the likes of Tyrese.

Viewless Wings of Poesy: Petrol "Cera"

2007-06-29T07:54:00.000Z

Sublime stuff from some talented Italians...

Petrol "Cera"
dir. by Postodellefragole
via antville
The characters flicker like candles in the night. Tears like wax melting into the ocean. Wraiths disappearing into the vast blackness that separates each from each. Their white attire reflecting the moon's dim light, while their eyes lay open deep fears of isolation.

The jilted man attacks the camera as if it were an unwelcome voyeur, but his violence implies he has more to hide. Petrol sing of the little things that go unspoken between lovers - and the way they build into crashing waves of anger and resentment. The three involved here are on the precipice of a sea change, and they can feel it in the all-consuming darkness of the beach.

Yet exactly how many are present on this night? There are apparently two men wrestling in the dust, a pained woman who is of concern to both, the outed cameraman (the viewer?) and then Petrol themselves - impressively jamming without the assistance of lights or electricity of any kind. But then there is the beguiling similarity in appearance of the two dueling men (we never clearly see their faces together in a single shot), the way one's head expands to suggest a psychological struggle and a final pan to the right where it appears the man is seeing everything from a distant view - all of which actually intimates only one soul wanders these shores at midnight.

This may very well be a lonely man watching his love fall apart at the hands of his own indecision and hysteria, but it's precisely the mystery of the narrative which keeps "Cera" such a compelling treat. There is a shot of the women running across darkness as if upon water, subtle effects distort the visuals on close-ups and throughout cuts are hidden in the same black where secrets are kept. The directors create a mood that is as disquieting as it is hypnotically beautiful. An enigma that wants no solution - only to evoke and entice feeling.

Warm Solitude: Taken By Trees "Lost and Found"

2007-06-28T06:00:00.000Z

Taken By Trees "Lost and Found" [Hi-Res]
dir. by Sincerely Yours
It's a beautiful seaside city, but the winds are ominous. There is a lonely girl wandering the beach, who later enjoys the quiet vacation of a good book. Victoria Bergsman is sick with longing, yet afraid of commitment. She misses home, but doesn't ever want to leave this town. As much as she mopes about, she can't help but feel a strange contentment in these lazy days of her summer - having popsicles and dipping toes in the pool. She doesn't know what to do with herself, but there is a strange beauty in that "wild" confusion - a sense of hope in her own ability to self-recover. A storm's coming by the end, and the tide has already turned.

Lost in Translation: Kanye West "Stronger"

2007-06-27T07:37:00.000Z

A big-time production that may just win Kanye his coveted MTV EMA...

Kanye West "Stronger"
dir. by Hype Williams
Kanye follows up the lavish "Can't Tell Me Nothing" with another Hype Williams video that looks even more expensive - and significantly better. Daft Punk permeate the visuals as much as the music, but Hype's futuristic machinery parallels Bjork's sublime "All if Full of Love" as well (if only in visual style). It's a feast for the eyes, and the pairing of flashy lights, Japanese motorcycle gangs and the rising synths of the track works wonders. What doesn't work are Kanye's dance moves or those ridiculous glasses (which he may or may not have borrowed from Kells).

The plot riffs on the original DP version, placing Mr. West in a strange, potentially brain-washing experiment - except this time he seems to be controlled by the legendary dance duo themselves. Shots of Kanye's newly toned physique are meant to emphasize the literal strength he's gained while overcoming criticism and the pressures of stardom. There are bandages on his heart as he enters the robot-controlled machine, but the Chicago rapper wants to assure us he is still full of passion and emotion. His eventual escape from that torment reveals his resolve - mirroring the boastful verses that open the song.

Yet ultimately it's all just an exercise in style. West spent three months searching for those designer frames, just to make sure you'd never seen them before and thus knew they cost more than your house. In much the same way, the entire video is essentially an advertisement of the rapper's wealth, which at this point in his career we are already well aware of. The song is actually a bit more interesting, with Kanye undercutting his bravado while talking to a pretty girl in the club ("I'm trippin,' I'm caught up in the moment"). And while exploring that theme might have made for a more meaningful experience, it most certainly would have gotten in the way of R&B star Cassie shaking her stuff. Which strangely ends up being the focal point of the video.

Turn to the Left, Turn to the Right: Joel Plaskett "Fashionable People"

2007-06-26T21:05:00.000Z

Joel Plaskett "Fashionable People"
dir. by RT!
[via antville]
Director RT! avoids any hint of flashy or overwrought style, and ends up making one of the most charming and fun videos of the year. Plaskett performs for the camera with such ease, and this song is so darn catchy, it's surprising more people aren't talking about his recently released Ashtray Rock. The video begins with the cheesy idea of recreating the album cover for the camera and some equally silly directions on how to do so coming from the singer himself. We spend the next couple minutes watching a whole lot of bad acting from people doing many "questionable things," yet neither the director nor Plaskett seem above the fray. In fact the song, and the final shots of the video, suggest that everyone is playing a role of some kind - and that it isn't such a bad thing.

In The Morning: You Say Party! We Say Die! "Monster"

2007-06-25T08:07:00.000Z

You Say Party! We Say Die! "Monster"
dir. by Sean Wainsteim
The song begins with spooky notes of impending doom, as lead singer Becky Ninkovic's describes the frightening "nighttime" that exists in her heart. Red Riding Hood has wandered into the desolated streets of Prague searching for some light among its dark corners, but she finds fear and danger waiting there instead. Her attempts to escape are futile, and it's clear she must confront the horrors of this night sooner or later.

Yet once she turns to face the monster which haunts her, she finally understands that it's love which scares her the most. Opening herself up exposes her to the beauty of human connection, and perhaps now she notices the street lamps which illuminate the city. In the tangled mess of her own heart, she finds the strength to overcome the anxieties of the world outside.

Take Me Out: Sloan "I've Gotta Try"

2007-06-25T07:48:00.000Z

Sloan "I've Gotta Try"
dir. by Stardust
[via antville]
This gorgeously animated video is full of the imaginative qualities that Sloan seek to evoke in themselves and those around them through their song. Stardust uses a wallpaper-like motif, but each piece of plaster is vividly alive - fluidly moving from one frame to the next. The cumulative effect is somewhere between hand-made psychedelia and graphic poetry. When the camera pulls out in the end, we know the band had this beauty in them all along - it just takes a little courage to wear your colors on the outside.

In My White Tee: Kinfolk Kia Shine "Krispy"

2007-06-25T04:17:00.000Z

Kinfolk Kia Shine "Krispy"
dir. by Vem
Months after first hearing Memphis rapper Kinfolk Kia Shine's "Krispy," the beat sounds as irresistibly clean as ever. And if you had any doubts about the meaning of the oft-repeated chorus, director Vem's spiffy new video makes it clear Kinfolk is all about the shine. It's interesting to hear a rapper boast chiefly about his style rather than the sheer amount of his possessions. Granted "jeans 900, shoes 850" is meant to signify his inordinate wealth, but Kinfolk seems more interested in discussing his aesthetic choices - in everything from footwear to home decor - than simply throwing money at the screen (ahem). As the drawly rapper glides through a hundred different outfits in the streets of his hometown, without the assistance of busty models or slow-motion car rides, he succeeds in establishing himself as a unique voice in the monotonous world of contemporary hip-hop - while still appealing to its core principles of self-promotion.

No Alarms: Seventeen Evergreen "Lunar One"

2007-06-22T23:43:00.000Z

Seventeen Evergreen "Lunar One"
dir. by Elliot Jokelson
Seventeen Evergreen and director Elliot Jokelson depict the momentary escape from this "messed up place," inspired by beauty and love, with a slow-mo trip to the moon. The video contrasts images of the absurd with close-ups on the singer's sincere face, much like the Grandaddy-esque song melds the vocal delivery with spacey background noise. Jokelson uses lo-tech solutions to create this sense of realism and disconnect, from dust on the drums to flashlights in the helmets.

The "No Surprises" reference, with the fishbowl/lights imagery, is more than just an interesting visual though. Like in that Radiohead song, the singer here feels trapped by the banality of earthly living. So when he finally finds his "pretty face," he's floating some place far away - doing the splits in a spacesuit.

Love Some Waffle House: R. Kelly & Usher "Same Girl"

2007-06-21T07:17:00.000Z

R. Kelly & Usher "Same Girl"
dir. by Little X
While the writing can't sustain itself through the second act, that first section is pure gold. The combination of dramatic build and comedic payoff (in every line), works wonders with the pitch perfect deliveries of Usher and Kelly. It's a small tragedy then that these two R&B superstars couldn't sustain the charm of the sing-song exchange all the way through. Little X helps them along with some typically flashy camera work emphasizing the duo's ridiculously lavish lifestyles, and Kells surprise ending is clever enough (if somewhat implausible). But in comparison to those epic finales that characterized his last foray into rap-opera, this one feels a bit tame.

I Think You Need A New One: Avril Lavigne & Lil Mama "Girlfriend (Remix)"

2007-06-21T07:07:00.000Z

Avril Lavigne & Lil Mama "Girlfriend (Remix)"
dir. by ?
In the real world Lil Mama is a teenager and Avril Lavigne is a recently married 22 year-old, but on record Mama sounds like a rapidly maturing rapper while Lavigne wallows in the voice and style of a confused adolescent. Together they make a strangely solid team, which should guarantee another couple months of torture for everyone sick of that bubblegum chorus ringing in their ears. The video is an inspiration-less rush job, which comes as no surprise considering the shoe-in popularity of the song regardless of the work done here. But let's hope in ten years - when Lavigne is packaging a singles collection around "Girlfriend" - Lil Mama looks back at this, in the midst of a multi-platinum career, and has a good laugh.

Permanently Under Construction: Blue Scholars "Back Home"

2007-06-20T08:35:00.000Z

Blue Scholars "Back Home"
dir. by Zia Mohajerjasbi
While much of Zia Mohajerjasbi's video is concerned with the suffering that follows the death of soldiers in a futile war, there is also substantial anger directed at a system which manipulates some young people into making that decision to fight in the first place. It isn't simply recruiters outside schoolyards, but the constant barrage of depressing images which kids growing up in the poorer neighborhoods of America must face on a daily basis. From decrepit environments to institutional racism, these minds are molded to doubt themselves and their ability to transcend their surroundings from day one.

Under these circumstances, the military does seem to provide an avenue for escape - and in many ways it could - but the subsequent illogic of our actions in Iraq makes it all seem like a pointless trap. The cumulative frustration of all this is personified in the simplicity of the title/chorus, and in a single poignant image. As an impressionable young girl walks past a black man being handcuffed against a wall, Malcolm X looks on from a fading graffiti portrait where the word "Sisters" is scribbled to his left. Social justice silenced and forgotten in the alleyways of the city.

City By The Sea: Maia Hirasawa "Gothenburg"

2007-06-19T15:48:00.000Z

Maia Hirasawa "Gothenburg" [if:mv]
dir. by ?
The home movie-style camera work and flooding sunlight evoke a sense of warm nostalgia as Maia Hirasawa and crew wander through the city of Gothenburg. The singer approximates the nervous excitement of returning to a place you once knew - a meeting filled with all the emotion of confronting an ex-lover. Anywhere you live for some time is inevitably linked in your memory to the situations, feelings and people you encountered in that period. A deserted alley may remind you of childhood happiness, but then a bustling marketplace or a beautiful tree bring back long-buried heartbreak.

Yet Hirasawa approaches with new hope - a lover who enjoys R. Kelly and promises to erase all the pain of the past. She wants to hold back her joy, cautious and aware of the potential dangers in "Gothenburg," but occasionally her true emotions break through. In those moments her voice soars above the city and she embraces her happiness without a hint of doubt - in love with life in its entirety.

Again and Again: Lupe Fiasco "He Say, She Say"

2007-06-19T09:23:00.000Z

Lupe Fiasco "He Say, She Say"
dir. by Christopher Adams and Hana McDowell
Lupe's Food & Liquor was officially released in September of last year, but unofficially it's been circulating iPod's longer than that. Either way it seems a bit late to be commissioning videos for his critically acclaimed Grammy-nominated debut. Yet when you realize the public service announcement-nature of "He Say, She Say," you can see the justification behind it.

The track uses a creative narrative approach in telling its tale of absent fathers, and the video doesn't veer too far from that model. The use of longish takes in the first-person perspective is an adept way of focusing attention on the words, and reveals new sides to Lupe's story. The performance of the pained mother is compelling as well, but her counterpart has a harder time conveying real feeling. And while the video begins strong, it sputters out with a redundant series of images. Which could suggest a lack of ideas, but also (whether it's intentional or not) reflects the anti-climactic nature of real life situations with neglectful dads.

Listen to Her Voice: Rona Kenan "Ness"

2007-06-18T15:38:00.000Z

The miraculous power of inner strength...

Rona Kenan "Ness"
dir. by Adam Bizanski
According to the Jewish Talmud, women have an intellectual power called "binah" - which translates literally as "between." This implies the faculty for differentiating truth amongst seemingly identical things, or finding the deeper meaning in complicated situations. A common Jewish morning prayer explains things in a succinct metaphor: "You have given the rooster binah to distinguish between night and day."

The video actually opens with cawing crows in the shadows, but our abused protagonist - like the rooster - is able to see the coming morning despite the onslaught of darkness. In addition to the sounds of ominous birds, the room is colored with dull and dreary tones, and the cycle of oppression seems endless. Yet she endures the parade of power-hungry men and ignores the foreshadowed death - making her own path out of that hell.

The men who walk in and out of the stifling room appear to have the same face, but they represent the collective blind abuse of women on the part of a patriarchal society. Before the first one even appears, the young woman is already tensely seated - hands in lap and feet closed together. It hasn't just been her husband or her father who has held her down, but a lifetime of abuse which has now developed into an intense fear and distrust of men. They all treat her with the same arrogance, so in her memory they fold into one evil persona.

The hope comes from her repeated attempts to stand up. No matter how many hats accumulate near the door she continues to resist. It's this small action which overtime builds into the self-confidence that allows her to eventually walk out. Once outside the crows scatter away and she escapes death - not just because she knew of the rising sun outside, but more importantly she understood the power within herself.

Obtusity Channel on Chime.TV!

2007-06-16T21:22:00.000Z

You may have noticed we recently added an extra button up there under the header, mysteriously named "watch videos." It's actually an exciting new development for our modest little blog, and here's an explanation:

"Chime.TV is an always-on, never-ending stream of videos hand picked by humans so you can spend more time watching and loving life on the couch (or computer chair!)."

Now, thanks to the brilliant folks behind Chime, Obtusity has its very own music video network (sort of)! You can skip all our hyperbolic interpretations and get right to the good stuff: the videos. It's an always on, constantly updated streaming feed of the videos analyzed here on the blog. Check it out!

We Share Our Mother's Health: Hans Appelqvist "Tänk Att Himlens Alla Stjärnor"

2007-06-14T14:39:00.000Z

Hans Appelqvist "Tänk Att Himlens Alla Stjärnor"
dir. by Andreas Nilsson
Andreas Nilsson, the creative mind behind all those crazy The Knife videos, returns with even more animated hilarity in this new work for fellow Swede Hans Appelqvist. The musician himself fills the song with strange sounds and distracting noises which contrast with his apparently somber tone (we admit, we need a translator). This undercurrent of absurd in the music is used similarly by the director to develop the image of a man playing his guitar amidst rampant silliness. It's quite literally a jungle out there, but Appelqvist seems safe and sound by the campfire with his guitar.

Or perhaps - since we lack the language skills to know for sure - the director has done a completely faithful adaptation of the track and Appelqvist is indeed singing of falling skies, hungry squirrels and the chaos of nature. It may very well be that the singer isn't lost in a strange world, but simply at home in his singular mind. Either way, we'd avoid the defecating man-eating beast at all costs.

I Would Never Wish Bad Things: Soko "I'll Kill Her"

2007-06-14T12:15:00.000Z

Soko "I'll Kill Her"
dir. by ?
It's a simple video for a simple song - a song which you either love or hate with a burning passion. We fall into the former group, so it's nice to find Soko looking rightfully sardonic in this improvised performance on the streets of Paris. People have called her the French Lily Allen, but her pouty charm initially comes off as more sincere than "Smile" (if far less catchy). The hyperbolic chorus is merely a guise behind which Soko holds her real pain, and it emerges in those moments when she briefly glimpses in the dirty mirror. Yet her sulking expression of anger is funnier than it is affecting, and the self-pity is ultimately a tool for dropping witticisms. Which, so far, is a pretty good gimmick.

The Airborne Toxic Event "Does This Mean You're Moving On"

2007-06-14T11:42:00.000Z

The Airborne Toxic Event "Does This Mean You're Moving On"
dir. by Jason Wishnow
It's pretty obvious she has moved on, and lead singer Mikel Jolet knows it - but that doesn't mean he'll stop asking. Director Jason Wishnow plays upon the mix of sincerity and stubborn denial in the singer's words, as well as the breezy tone of the music. In a little over 2 minutes he throws together multiple storylines of heartbreak - which could or could not be related - while still retaining a light and lively spirit. The various parts never fully congeal but the visual style is engaging, and Jolet is charming enough that the video doesn't need much else.

Seize the Moment: Another Chance "Everytime I See Her"

2007-06-14T08:05:00.000Z

Another Chance "Everytime I See Her"
dir. by Justin Kerrigan
The appeal of Justin Kerrigan's work here is the ease with which he tells this age-old tale. He establishes the love triangle within a matter of seconds, and in the first minute we are already certain of the heroic conclusion. Yet as with any cheesy romance film, we watch not for the surprises but for the reassurance of a moral ending. The suspense is in the anticipation of Romeo making his move, and helplessly watching the girl run headfirst into a wall. Despite our immense familiarity with the story, the semi-lite tone of the work (cued by the song), use of young actors and the grandest middle school dance in recorded history keep things compelling right up to the dramatic finish.

Just This Time: Keren Ann "Lay Your Head Down"

2007-06-14T07:08:00.000Z

Keren Ann "Lay Your Head Down"
dir. by Camille Vivier
Keren Ann is at a crossroads, between desert and ocean - water and ice. She can dry up in her memories or turn cold with a broken heart, but there seems no avenue to happiness. Yet even as she steps back her doubts are overwhelmed by the relentless sun - unable to shake the hope that this time everything will be alright. Like the child staring through crystals on the beach, the world looks much different when she holds him in her arms. And even if she knows it'll sink her in the end, she can't resist floating here a while longer.

All Ye Need to Know: Cornelius "Like a Rolling Stone"

2007-06-13T10:00:00.000Z

Cornelius "Like a Rolling Stone"
dir. by Koichiro Tsujikawa
Despite the use of toy cars and action figures, there is something overwhelmingly sad about Koichiro Tsujikawa's work here. Amplified by the spacious tones of Cornelius's track, the director presents a stunning vision of humanity's futility. Yet it isn't just that these little people move in circles, but they are all caught in their own vortex - orbiting only in their own galaxy. Many of the characters do indeed notice others, but in these cases the outside individuals now become the center of their world - whether it be a father, mother or lover. No one really seems cognizant of the anonymous person standing in front of them in line, let alone the bigger picture of humankind.

But sometime after the halfway point, Tsujikawa zooms in on a Venus de Milo-type women spinning inside one of the many portal-like doorways. Not only does she seem a unique figure in this redundant universe, but there is something unexpected about her beauty. Now as the director pulls out to show us this world once more, it suddenly has symmetry and grace where it once seemed pointless and stagnant. The ballet of the process - no matter how lonely - is at least something to admire aesthetically. The ability to enjoy such things is perhaps the only thing that prevents us from actually becoming stone.

Rock With You: Justin Timberlake "LoveStoned/I Think She Knows"

2007-06-13T07:00:00.000Z

Justin Timberlake "LoveStoned/I Think She Knows"
dir. by Robert Hales
From the director of the Rorschach-inspired "Crazy," the fourth video from Timberlake's epic Futuresex/Lovesounds veers dangerously close to a Windows Media Player visualization. But the stark contrast between the first two-thirds and the finale keeps things from getting entirely sleep-inducing. As the star stands in a vast white space (where he's been before), the camera floats in on his now completely visible face. The effect is meant to highlight the sincerity of the "I Think She Knows" interlude - the wooing was the easy party, but now he stumbles when faced with his actual feelings (a muted suit and modest beard are thrown in for added effect).

But following the large scale of his last video - and considering the obviousness of the visual motifs utilized here - the video overall feels somewhat lazy. Granted watching Justin Timberlake dance to great music dressed in snazzy outfits almost guarantees airplay, but we've come to expect more from the new king of pop.

Dance Lessons: M.I.A. "Boyz"

2007-06-12T07:00:00.000Z

Our favorite English-born Sri Lankan artist drops a raucous new video...

M.I.A. "Boyz"
dir. by Jay Will
Though it's hard to believe, M.I.A. has taken the visual themes of 2005's Arular (seen everywhere from the cover art to the video for "Galang") and created something even more gloriously epilepsy-inducing for sophomore LP Kala. The vibrant collage of neon colors and cheap special effects found in the promo for new single "Boyz" (as well as her fantastic website) is a homage to everything from 80's video games to the advertising and film culture of Nigeria, Southeast Asia and Jamaica. But it's also a completely singular vision, and one that is impossible to pin to any particular movement or region of the world.

Which, by no coincedence, mirrors the melting pot style of her brilliant music. M.I.A. (who studied fine art, film and video at London's Central Saint Martins College of Art and Design) aims to change the world with her message, but it's her intelligence and enthusiasm in pursuit of that goal which makes her so exciting. Earlier this year she ran amok on the streets of Sri Lanka in the politically-charged "Bird Flu," and here she manages to stuff every major dance craze in contemporary Jamaica into one hypnotic short video.

It would come as no surprise if M.I.A. films her next project in yet another new locale, showcasing the under-appreciated talents of even more people. She has no fear of expressing her own sexuality or desire for a good time (check out the recent non-album cut "Hit That"), but her greatest talent is the ability to code meaning into such fun music. Turns out boys are the same everywhere, which is good for free drinks and cross-cultural unity - but worrisome for global politics.

Check out the "Making of Boyz" here, and more set photos here.

The Hours: Róisín Murphy "Overpowered"

2007-06-11T07:39:00.000Z

Róisín Murphy "Overpowered"
dir. by Jamie Thraves
Murphy's song is a far out masterpiece, and so we approach the video almost expecting avant-garde images to accompany that spacey bass line. Yet even as director Jamie Thraves emphasizes the singer's abstract outfit early on, there are drops of sweat that impose the reality of life from the opening shots. Murphy stumbles off stage as if drunk on fame, but soon after she leaves the surreality of performing she is on the bus home next to an actual drunk.

But Thraves' vision is about more than revealing the very average life of a popular artist. As Murphy sits next to that toasty man on the bus, she avoids looking at him completely. Later she is forced to notice a couple fondling each other, boys sprinting down the sidewalk and a police car blaring down the road - but she shows no real interest in any of this. Instead, as the action encircles her, she seems a bit overwhelmed by the sheer weight of its everydayness (McDonald's - a perfect symbol of banality - is shown in the background). She sleeps in her checkerboard dress to hold tightly to the intoxication of the stage, but her thoughts wander as she turns out the lights. Stardom is the drug which protects her from her deepest fear - that life is actually this boring and she herself is as mundane as everything else.

Running to Stand Still: Editors "Smokers Outside the Hospital Doors"

2007-06-07T11:30:00.000Z

Editors "Smokers Outside the Hospital Doors"
dir. by Arni & Kinski
Editors want this escape from the insanity of social suppression to move you - to inspire a wave of hope inside. The band plays with purpose and lead singer Tom Smith emotes every note as if it's his last. The moment when the precious young convict skips across the water to freedom is meant to convey the greatness in all of us - the hidden magic which is stifled by fear and hate. And it is a magnificent image.

Yet despite the beautiful cinematography and well-intentioned narrative, it's hard not to feel this video is held back by the weaknesses of the song. The predictable progression and obviousness of the lyrics really bog down "Smokers Outside the Hospital Doors" (it drags a bit), and the story suffers as a result. Which is really a shame, as both the young actress and the artists behind the camera seem in top form. Proof that good directing can only take a music video so far.

We Have Crashed the Party: Arctic Monkeys "Fluorescent Adolescent"

2007-06-07T07:55:00.000Z

Arctic Monkeys "Fluorescent Adolescent"
dir. by Richard Ayoade
A peppy riff is accompanied by clowns and sunshine, but these normally pleasant parts don't add up to the summertime jaunt you might expect. As Alex Turner delivers rapid-fire lyrics about an aging woman, the similarly grown-up clowns engage a suited group of men in a battle royale. Violence and hilarity ensue, but within all this absurdity there is more than a hint of sincere storytelling.

Like Turner's characters, these are men who lament the loss of their innocent youths; reacting defensively rather than pausing to reflect on their growth. The momentary flashbacks are bitter memories, and the "Karma Police"-finale is not catharsis - it's a resignation no amount of makeup can hide.

Don't Look Back: Bat for Lashes "What's A Girl to Do"

2007-06-06T08:55:00.000Z

An absolutely killer new video, for an old song, from the next-big-thing...

Bat for Lashes "What's A Girl To Do" (QT)
dir. by Dougal Wilson
Rolling down the street in the dark of night is akin to playing catch with butcher knives - someone is bound to get hurt. Yet Natasha Khan (a.k.a. Bat for Lashes) can't seem to stop playing Russian roulette with her heart (and his), helplessly wandering into an impending train wreck. Beautifully sinister notes accompany the singer as she moves deeper into this Donnie Darko-ish world of life-size rabbits and roadside accidents. The cinematography is excellent, and the director imbues the setting with a contrasting mix of horrific tension and images of the absurd.

Yet as Khan ignores one foreboding sign after another - repeatedly admitting her love has weakened - we begin to wonder if what keeps her going is more than an inability to let go of a previously good thing. She may look disheartened as she rides, but the costumed company she keeps is having a whale of a time. Perhaps she persists past these crossroads for more self-serving (and understandable) reasons. After all, far after the tingling inside is gone - her lust remains.

Soldiering On: Green Day "Working Class Hero"

2007-06-05T08:01:00.000Z

Candles burning amidst barbed wire...

Green Day "Working Class Hero"
dir. by Sam Bayer
From clenched fists to restrained tears, this is a video boiling with emotion - suppressed into black and white where it wants color. Director Sam Bayer and Green Day take Lennon's working class themes and apply it to the genocide in Darfur; to the universal struggle for freedom and expression. The boys aren't after your sympathy - sympathy is too easy - but more crucially your empathy. Bayer uses a deep focus on realistic portraits to give a face to the accompanying facts and statistics. People aren't just being killed, this specific man's father was murdered in front of him. A woman was raped next to her dead husband's body, citizens are hunted like rabbits and the Sudanese live in fear of making a sound - these are the witnesses. These people tell their stories not simply for help, but for understanding above all else.

Green Day both mock and embrace the pathos of the title, seeing it as an embodiment of the false American ideal as well as the hope for future change. The song trudges along like an army march, but the the chorus gains steam each time it's repeated. With a flag hanging solemnly behind them, Billie Armstrong and company challenge the "working class" of America to break through the walls of society which box them in, to fight for something real. The horror of Darfur demands immediate action, but it also presents an opportunity for millions around the world to step up and don the proverbial cape - to actually become heroes. In the process the artist's hope we might escape the communal self-doubt which terrorizes the world and fuels hate crimes in the first place.

What Goes Around: Hillary Duff "Stranger"

2007-06-04T11:16:00.000Z

Hillary Duff "Stranger"
dir. by Fatima Robinson
A sketch of a plot and visual style, which recalls at least two pop videos already released this year, is mixed with vaguely middle eastern-sounding music (the beat is very "Don't Cha"-like as well) in this excuse to promote Hillary Duff's newfound sexual freedom. And with that goal in mind, the director does an amiable job - combining risqué belly dancing with overt scenes of the morning-after. It also wants to present the former Lizzie McGuire as a strong independent woman - even if her voice is still struggling to grow. Yet as fellow pop stars Britney and Lindsey can attest - showing skin doesn't neccesarily equal maturity.

Through the Windowpane: Kate Nash "Foundations"

2007-06-04T07:51:00.000Z

A delectable gem we originally missed, discovered through Antville's monthly recap...

Kate Nash "Foundations"
dir. by Kinga Burza
As Kate Nash and her beau wrestle over a silent game of cards, the songstress steals a sarcastic glance over at her only "friends" - a lonely bowl of goldfish. What she comes to realize is this relationship not only suffocates her emotionally, but literally isolates the couple from the outside world. The intimacy that was once a source of enormous comfort is now as icky as an anonymous drunk passed out on top of you - vomiting on your brand new shoes. Suddenly she would do anything to get out and breath fresh air, to see some real flowers rather than those painted on her bedroom wall.

Yet ending a relationship is never that easy. There is always the fear (yellow permeates) of even more loneliness, and a struggle with forgetting both good and bad memories. On the one hand the littlest annoyances that silently pile up inside are beginning to nag incessantly, but at the same time she can't seem to shake the feeling of nostalgia she has for the earliest days of her love. Every time she looks at their cute little toothbrushes sharing a cup or their laundry tangled up on the floor, she must weigh it against disinterested looks and a fridge full of beer bottles. So like many she seems stuck, forced to put flowers in empty trash and pretend it's all right.

The video captures the worst moment in a failing relationship - when the only pleasure one gets is from winding up the other (cleverly shown to be a childish activity). Yet through all the arm wrestling and finger holding, what Nash discovers more than anything is how much her boyfriend seems to sleep. It's the utter lack of enthusiasm he shows - more than the mean things he says - that eventually pummels through their foundations. Sometimes all you want is an angry outburst, or at least a bitter goodbye as you walk out the door - but he's putting his feet up while she takes out the trash.

Calm and Ready: Common "The Game"

2007-06-01T13:15:00.000Z

Common "The Game"
dir. by Neon
Ever stand middle of the pack at your favorite artist's concert and feel, for a split second, his or her eyes meeting your own? In that moment it's as if no one else is in that crammed auditorium, bar or basement venue - suddenly it's a private performance. Directing group Neon capture the sensation of those connections, but from the perspective of the musician as well as the audience. Common storms the stage looking for that reciprocity; he catches brief glimpses of fans singing along and is genuinely motivated by it. He loses himself in that communal experience, and wants to share it with each and every face in the crowd.

The rest of the video falls somewhere between 8 Mile and Raging Bull, with Common showing off his newfound acting ambition. As he speaks to the mirror we initially assume he's alone in the room, but in fact he's only isolated in his mind - revealing the strength of his concentration before a show. He quickly moves from a moment of hesitation at the sink into the excitement of approaching the stage, like a prize fighter preparing for battle. It's a compelling look inside the game, and raises expectations for Common's forthcoming Finding Forever.

We Ain't Goin' To the Town: The Answering Machine "Silent Hotels"

2007-06-01T11:56:00.000Z

The Answering Machine "Silent Hotels"
dir. by ?
A performance video composed with a certain zest, "Silent Hotels" is an excellent introduction to an exciting young band. A spry guitar riff and catchy hooks keep things bouncing through darkly-lit shows and the occasional black and white road footage. The split screen emphasizes the individual parts that each member of the band plays, but in certain moments all three come together in a chorus of expression. Keep an eye out.

Here We Are Now: My Chemical Romance "Teenagers"

2007-06-01T07:48:00.000Z

My Chemical Romance "Teenagers"
dir. by Marc Webb
In pseudo-Nirvana fashion, My Chemical Romance and a group of strange cheerleaders rile up a crowd of angry kids with their commentary on society's stereotypical perception of teenagers. This continues the themes of rebellion we've seen in a number of previous MCR videos, but the band adds a charming stomp to their typically pop rock sound this time around. Unfortunately the song doesn't hold the emotional weight it requires, and the band seem to know it - ending the video rather abruptly with a cautious disclaimer. Rise up and reject the oppressive trappings of society, but just don't hurt anybody while you're at it.

Danger Stranger: The Strokes "You Only Live Once"

2007-05-31T08:21:00.000Z

One of the best videos of the year is a remake in more than one way...

The Strokes "You Only Live Once"
dir. by Warren Fu
"We cast this message into the cosmos . . . Of the 200 billion stars in the Milky Way galaxy, some - - perhaps many - - may have inhabited planet and space faring civilizations. If one such civilization intercepts Voyager and can understand these recorded contents, here is our message: We are trying to survive our time so we may live into yours. We hope some day, having solved the problems we face, to join a community of galactic civilizations. This record represents our hope and our determination and our goodwill in a vast and awesome universe."
- Jimmy Carter's statement placed on the Voyager 1 spacecraft on September 5, 1977

Thirty years ago, in 1977, America was at a pivotal moment in its political and cultural history. Following decades of disappointment involving assassination, war and Watergate, the people had just elected a Georgian governor to come in from left field and clean things up. The "hippie" counter-culture movement of the 60's was over, and a new breed of anti-establishment activists were sprouting up. In their song "1977," English band The Clash blasphemously declared "No Elvis, Beatles or the Rolling Stones" - symbolizing a rising global wish to start anew. Writer Roger Sabin went as far as calling '77, in reference to the birth of the punk movement, "year zero."

Of course by the end of Carter's presidency we had trained terrorists in Afghanistan, lost complete control over the Middle East through the Iran hostage debacle, and suffered a major energy crisis. It would be too easy to blame a single moment in history for our current woes, but it's fascinating to study how quickly that hope for change in '77 disappeared into an avalanche of problems that still plague us today. The recent renewed interest in the music of that time isn't just about back-to-basics rock, it represents a yearning for a new revolution - our own chance at starting over.

The Strokes latest video for "You Only Live Once," from their 2006 album First Impressions of the Earth, sets all this up in a matter of seconds. Director Warren Fu brilliantly flips through 70's television commercials and documentary footage of our rising consumption habits as an ominous slab blocks out the sun. Carter gives a speech on energy while all that gas guzzling and thirst for "more" everything leads us into an eventual nuclear holocaust - wiping away our entire civilization sometime in the near future. Yet it's no coincedence the band's name appears in the stars with the sun poking through the "o" in "strokes" - hope is in the music.

This is a band that led the garage rock revival of the early 2000's, and thousands of years in the future they are apparently going to lead the rebirth of the human race*. References to Stanley Kubrick and Arthur C. Clarke's iconic film abound, from the Hal-like artificial intelligence to the climactic colorful passage through space - but there are a number of differences here as well. Whereas 2001: A Space Odyssey has often been interpreted as a spiritual trip from birth to enlightenment, or a historical critique spanning the entire history of human civilization, Fu's vision is much more limited in scope. By focusing on a specific time period and a specific chain of events, his video forms a potent critique of our current cultural climate (via 4000 A.D).

And while "2001" has been said to allude to the coming of a new "god" via Byzantium (1), Fu's decision to take us backwards in history at the end signifies his faith in humanity to overcome its own problems. As the Strokes sing of "countless odd religions" the director portrays everything from the star of David to the Ying Yang symbol in a slot machine of random luck - "it doesn't matter which you choose." Kubrick ends his masterpiece with a giant fetus observing the Earth, but in this video the spaceship learns of the miracle of birth through transmissions emitting from a sunken time capsule. Despite all the ugliness, the beauty of human life and artistic expression is not completely buried.

In many ways Fu's vision isn't just an ode to Kubrick, it's his personal interpretation of 2001. The former LucasFilm employee wants us to revisit the classic from a fresh perspective, to apply its lessons to modern times. It's also a work that sheds new light on the Strokes much-maligned third album, which now emerges as a commentary on our self-destructive society. If machines were to find our relics in the distant future, would they have a positive first impression? What if they found only your artifacts, your time capsule? These are the important questions that linger after watching Warren Fu's beautifully realized music video - you only live once.

* The Strokes debut, The Modern Age EP, was released in...2001

Back In the Jungle: Ash "Polaris"

2007-05-29T08:03:00.000Z

And you thought Ralph and Piggy had it bad...

Ash "Polaris"
dir. by Jeff Thomas
In the middle of a heated battle between child soldiers, where guns are made from sticks but the explosions are real, a determined young fighter has a momentary lapse in concentration. He looks to his left to see a female friend completely immersed in the war, and for a split second feels intense fear - the thought that he might lose her here today.

Yet Lord of the Flies allusions aside, kids aren't actually blowing themselves up in backyards across America (though they might be in Palestine, Iraq...). When the final scene reveals a grown man shot by actual bullets, we understand that all that has passed before was a memory of a childhood game. In his mind the reality of his current situation is belied by thoughts of an earlier, more innocent time. This soldier remembers that moment of fear in the forest - perhaps his earliest hint of love - and now realizes that he has indeed lost her (and his youth) forever.

Despite the sticks and stones which define the game, the director includes very realistic emotions and violence in the proceedings to make a direct correlation between childhood experience and adult consequences. We are all veterans of those tumultuous years spent growing up, and we carry the scars of the socialization that occured. It isn't just that we are trained from youth to see life as a two-sided struggle where violence is a neccesity, but our confrontational perception carries over to matters of the heart as well. As the band sings of a pained relationship, the camera displays love as a battlefield - where someone is always bound to get hurt.

At the same time it seems the man in the final shot is killed wearing American gear in the desert, and thus likely a victim of the current war in Iraq. By comparison the earlier scenes of violence take place guerilla style in the jungle, which could very well represent Vietnam (there are a few Platoon-esque shots as well). The lesson here being that certain people may have never learned their lesson, and when that happens history is bound to repeat itself.

Stuck Between Stations: Kanye West "Can't Tell Me Nothing"

2007-05-25T17:02:00.000Z

Mr. West makes his return in typically grandiose fashion...

Kanye West "Can't Tell Me Nothing"
dir. by Hype Williams
This is a beautifully stylized and skillfully shot performance meant to grandly introduce the world to the biggest album of the year, Kanye West's Graduation. Like the music and lyrics on this first single, Hype Williams video for "Can't Tell Me Nothing" recycles old ideas behind the guise of modern technique. It almost certainly carries astronomical production costs, but as the Louis Vuitton Don tells us - "it's so hard not to act reckless."

The opening sequence, with Kanye pacing around the camera like a prizefighter, sets the star up as a resilient and unrelenting force - alone in the desert of his own determination. He's a man still caught between God and the allure of Earthly pleasure, which Williams represents with scantily-clad women barely obscured by flowing veils - a simultaneously religious and sexual image.

In many ways this is a glorified ode to beautiful girls and fancy cars with Kanye simply treading water in his tired themes of personal and universal hypocrisy. Yet he is searching for something more to say, and even when he skips like a broken record one can't help but be enthralled by the possibility that one day he will actually graduate to fresh ideas. Though I imagine this song or video will do little to increase enrollment in the Kanye-believers camp, it hasn't dropped anyone out either.

Beautiful Voice: The Veils "Calliope"

2007-05-25T15:20:00.000Z

The Veils "Calliope"
dir. by Arran and Corran Brownlee
The Veils don't have a calliope on hand as they play their second single from the excellent Nux Vomica, but their music could very well be inspired by the queen of the muses herself. Grabbing the magic in the air and letting it infuse their sound, the band rollicks through a beautifully animated underworld while lead singer Finn Andrews teeters on the edge of love. He fears taking the plunge because of the inevitable loss of innocence and perfection he sees in the girl of his dreams - especially when he has lost faith in everything else around him.

The directors mirror his hesitation by coloring the screen with sepia tones and silent film-aping moments, while a little flickering bug cuts across like Andrews ever present love - as if it were facilitating the entire experience. In the end the artist fears losing more than just his idealism.

Rose-Colored Glasses: The White Stripes "Icky Thump"

2007-05-25T12:01:00.000Z

The White Stripes "Icky Thump"
dir. by Malloy Brothers
Jack and Meg stomp through Mexico on a mission to uncover the hypocrisy of American foreign policy. The fantasy Mr. White sees there is a collage of surreal imagery and real world scenarios. The directors create a gorgeous environment of enticing neon lights, tiny details of the absurd variety and the always potent mix of red and white hues. All the death puppets and one-eyed villains of this underworld imply impending doom for Jack, but he seems to emerge unscathed - save for an icky bump on his head.

The nonchalance with which he strolls in and out (simply waving at a border guard) suggests an elitist (and racist) view of the place. It's a country where you go to have a good time or see something bizarre, but make sure to leave before it gets too ugly. Apart from the literal border trips that some Americans take on Friday nights, there is a more symbolic fleecing of Mexico going on - with our government playing the role of "pimp and prostitute." The wall being built is aimed at keeping immigrants out, but it might never rise high enough to prevent grubby hands from reaching back in.

We Didn't Start The Fire: Uncut "Darkhorse"

2007-05-24T16:47:00.000Z

Uncut "Darkhorse"
dir. by Kris Lefcoe
What were once cuddly memories of youth, in the hands of Kris Lefcoe and Uncut, are now vile symbols of big business brainwashing. Little did we know that Carebears and Ronald McDonald had sinister ulterior motives from the moment of our first happy meal. Yet it's clear now you've been suckered into supporting a conglomerate of greedy bastards out to burn trees and silence all those who stand in the way of profit. What's the only sensible thing to do? Riot.

Uncut don't just share musical similarities with Tokyo Police Club, their video should play back-to-back with their Canadian brethren's "Cheer It On." Both works criticize suppressive aspects of modern society through plastic miniatures who go crazy, but Uncut takes aim specifically at the way in which gigantic corporations are ruining free expression (which could easily apply to happenings within the music industry itself). The band is shown playing an open field concert before being chased away by an impending construction project, but it's this vital brush with art that inspires the fiery passion for change in the people.

Let's Sway: Paul McCartney "Dance Tonight"

2007-05-24T12:17:00.000Z

Another excellent opportunity to ramble about Gondry...

Paul McCartney "Dance Tonight"
dir. by Michel Gondry
Michel Gondry's humour is often overshadowed by his veritable ingenuity and finesse behind the camera. His lo-fi aesthetic and technical wizardry have made him the most well-respected and influential director in the history of music video. Even when we applaud the playful absurdity of his images, we tend to dissect their meaning on an emotional level before we discuss the importance of comedy in his work.

Of course Gondry wouldn't have it any other way, as the power of his drama is indebted to the laughs that accompany it (though not always vice versa). In his video for Paul McCartney's "Dance Tonight," he hires Mackenzie Crook of BBC's legendary comedy The Office to inject a distinctly British sensibility into the set-up (afternoon tea and all). As the piece grows increasingly chaotic and visually arresting, we are whisked away into a fantasy that seems as lightweight as the lyrics of the song.

Yet if we peel back the layers of pop shine, McCartney's insistence on making "everybody dance" in the current climate may be aimed at defusing conflict rather than simply having a good time. He's in a recollective mood, enjoying the company of spirits on a secluded farm in the English countryside - rather than the high-speed city from which the postman has arrived.

The postman's is the first voice we hear though, and he is in fact the protagonist of the story. As the final shot suggests, he may have taken a fatal turn on route to delivering mail down that country road. But when the soul of McCartney's mandolin rises up from its empty box, it's no coincedence she momentarily appears to have wings (it also helps that she is played rather angelically by Natalie Portman). Just as obsessive Beatles fans dream every night, McCartney seems to open the door to the after life (though apparently the real party is down in the basement). More than anything it's an introduction to a world that inverts stale expectations - where music can carry you wherever you like.

We've strayed from our focus on humour, though not as far as you'd think. It's impossible to define, but comedy - in both the classical and popular sense - has much to do with misunderstanding. The climax of this video, in which many the personified objects return to the "wrong" place in the house, is both silly and enlightening. In many ways Gondry has an affinity with Kafka or Camus (as does frequent screenwriting buddy Charlie Kaufman) - a love for all things absurd. Life doesn't fall perfectly into place like knives in a kitchen drawer or books on a shelf, it's a jumbled house of mirrors* where anything goes. Through this dance at Macca's house the postal worker finally expresses himself and escapes the sterility of his previous life - perhaps too late for him, but not for us.

* technique used to create ghostly aura in house

Never Let It Go: T.I. "Big Things Poppin"

2007-05-23T11:48:00.000Z

T.I. "Big Things Poppin"
dir. by Eric White
After becoming the biggest rapper on the planet in 2006, T.I. faces '07 with a fresh set of dilemmas. It's no longer simply about representing his block or enjoying his rising fame - he now faces the fear of losing all that he has acquired. As Eric White's video shows us, there are thousands of fans out there who adore the southern MC and impatiently wait for a monster follow-up to King. With his influence at an all-time high, T.I. faces an internal conflict on how to present himself now that he is certified-platinum royalty.

Yet rather than settling on any one persona, he wisely chooses to show us the conflict itself. The first single from T.I. vs. T.I.P. is a self-addressed pep-talk in the vein of Gwen Stefani's "What You Waiting For" or Eminem's "Lose Yourself." It rebukes the naysayers and recalls past glories, while in its very existence represents the slightest bit of doubt.

The video cleverly begins with the two sides of T.I. facing off in what is the most engaging and humorous scene of the work. The two characters are separated by one's carefree fun-loving attitude and the other's business-like desire to succeed. They are later shown embracing super stardom in different ways, but neither seems greater than the other. In either case T.I. wants to convey that his biggest priority remains the fans - that he is still a Bankhead kid who loves to rap. Yet his success in this video lies in revealing how difficult playing that role can be when you're own expectations are so high.

Fast Food: The Killers "For Reasons Unknown"

2007-05-23T09:07:00.000Z

The Killers "For Reasons Unknown"
dir. by
The criticism of Sam's Town has centered around its obviousness - a mediocre rip-off rather than the homage to Born to Run it wants to be. The video for first single "When We Were Young" didn't help matters much, a melodramatic tragedy full of barstools, dusty hillsides and fallen women. Suddenly The Killers first album, Hot Fuss, looked just as false, a costume of new wave rather than synthy sincerity. All that dramatic posing in the "Mr. Brightside" video wasn't masking a broken heart, it was simply posing.

It's always been tough to judge where Brandon Flowers is coming from as a writer. The cringeworthy "Somebody Told Me" was certainly tongue-in-cheek, but then again where can we find good Killer's lyrics? Isn't the band's entire enterprise tongue-in-cheek? The "For Reasons Unknown" video certainly seems to suggest as much. Poking fun at the "Americana" image they apparently don't fit, as well as their lack of subtlety (sitting in open chairs right as he says "there was an open chair") and even Flowers' recently cited resemblance to Kernel Sanders - The Killers manage a mildly entertaining ride (which happens to sum up their existence as a musical act thus far). Is it fair to expect anything more?

Yes, especially when after writing one of the best pop songs of the decade you proclaim - with a straight face - your next album to be the best in 20 years. Ouch.

This Green Earth: Gui Boratto "Beautiful Life"

2007-05-22T03:23:00.000Z

Gui Boratto "Beautiful Life"
dir. by Cadú Datoro
Beauty in the hands of DJ Gui Buratto is sunlit synths on the back of heart-racing drums, angelic hope emerging from cloudy fuzz and tense build-up as much as cathartic climax. His latest album, Chromophobia, is littered with moments of darkness overwhelmed by the sound of joy, and nowhere is this more fully realized than on lead single "Beautiful Life."

Director Cadú Datoro plays with our emotions in much the same way, setting up a stark contrast in order to convey his meaning. As we realize the false nature of the picture perfect set-up, we may be inclined to dismiss the earlier scenes of happiness. Yet discovering the realities of life only makes our innocence grow fonder in retrospect. The smile on the old man's face lingers in our memory whether or not it was "real," and subsequent events can't change our initial reaction. There is a neccesary beauty in knowledge and growth - but naivety holds its own charms.

Depth of Focus: David Bowie, Part 4

2007-05-19T18:16:00.000Z

The final installment of our week long odyssey through Ziggy's labyrinth...

photo by mark seliger

Bowie found a nice comfort zone towards the end of the last decade, and even if he may never reach the heights of his former glory - one imagines he isn't trying to anyway. Like Dylan in the movies he don't look back, and - for the most part - is always on the cusp of what's next. Though critical and public acclaim have followed him throughout his career, the artist never put on a pretty face simply for the enjoyment of his audience. Bowie has explored everything from jungle beats to techno grunge in recent years because he has to. Constant transformation is exactly what his art is about. He presents himself as the undefinable shape-shifter, so that we might realize the futility of attempting to judge or narrowly define any human being.

Make sure and check out Part 1, 2 and 3 of our feature.

New Killer Star: Present Era

"Little Wonder" (1997) Earthling
dir. by Floria Sigismondi
There's obvious irony in Bowie naming his album Earthling after a lifetime of reaching for the stars. Yet the artist wasn't any less inclined to get carried away to mars in 1997, even if he did seem increasingly frustrated with the stagnation around him. Director Floria Sigismondi perfectly captures this sense of stifled dreams in her video for "Little Wonder." When Bowie desperately flaps his arms staring up at the sky - he stands inside a grimy bath tub.

Sigismondi, who just won the MVPA for 2006 video of the year, matches the dub energy of the beat with trippy images of urban chaos. Bowie gives a manic performance, leering and sneering at the camera as he jumps between the edges of the frame. At the same time a man who resembles a young Bowie trudges through the streets collecting the world's garbage, keeping them in his briefcase of treasures. There's a sense that his fascination with eyeballs and severed heads is drug-induced, but it also speaks to Bowie's embrace of the ugly and absurd which became an important theme in his 90's videos.

"Dead Man Walking" (1997) Earthling
dir. by Floria Sigismondi
There's a puppeteer theme than runs through this video, but what is really controlling Bowie is not a force from above - it's something lurking behind. He may push forward with his music, but his lyrics are wrapped in nostalgia. It isn't just "dancing under the lamplight" or "sliding naked and new" which he misses so dearly, but the naivety of his world view before he was "older than movies." He looks at the TV screen and suddenly wonders if there is any point in performing when life itself seems like a stage show, "is it all just human disguise?". Without the power of his masks, Bowie suddenly feels dead inside - memorably represented here by his faceless anguish.

"Seven Years in Tibet" (1997) Earthlings
dir. by Rudi Dolezal & Hannes Rossacher
Bowie's enchantment with Asian culture continues as this video is infused with images of Tibetan faces and flags as well as a vague vibe of Buddhist philosophy. The lyrics of the song seem to suggest a moment of profundity following a violent realization - personified by the angry notes of the song. The directors hone in on the line "see nothing at all," with Bowie's wide open eye slowly becoming jumpy and paranoid. The lyric is followed by a series of visual observations, suggesting that Bowie is actually seeing more than he ever has before.

Also, is there any doubt this video directly inspired Zoolander - on a number of levels?

"I'm Afraid of Americans" [remix] feat. Trent Reznor (1997)Earthlings
dir. by Dom & Nic
Co-Written by Brian Eno, this song is less about hatred of a certain nation and more universally critical of dominating cultures of any kind. Bowie uses the two most visible symbols of the modern monopolization of culture - Christianity and America - to represent his fears and frustration. The directors also make reference to Scorsese's Taxi Driver with both Trent Reznor's character and the "hand gun" motions everyone seems to make. Like De Niro's Travis Bickle, Bowie's character here is slightly delusional. They are both a product of their society, but Bowie's paranoia is less about loneliness and more rooted in the depressing truths of American culture's omnipresence in the world.

"I Can't Read" (1997) The Ice Storm OST
dir. by Tim Pope
The projected face on a masked Bowie is effective - if a bit obvious - in conveying a similar idea to those explored in the earlier Earthling videos. Bowie is face to face with his old age and realizes that 15 minutes of fame (a panning shot of his costume rack reminds us of his success) doesn't guarantee even 15 minutes of happiness. The realities of the superstar dream are further emphasized by the highly visible presence of the camera - which represents both the paparazzi and the transparency of performance.

"Thursday's Child" (1999) hours...
dir. by Walter Stern
The themes of old age and waning talent which had briefly made appearances in the past, found themselves in the spotlight on 'hours...'. Once again the mirror is used as a reference point for Bowie's thoughts on his age and changing physical appearance, but there is much more going on in this Walter Stern directed video than simple yearning for youth. With a few simple glances Bowie tackles issues of lust, body image and fidelity.

According to the always accurate Wikipedia, there is an old poem that predicts the fate of children based on the day in the week on which they were born. Bowie was born on a Wednesday, and is destined for "woe," but as he says in the song he is really a child of Thursday - one who has "far to go." What let's the singer avoid the pangs of looking back and stay forward-looking is supposedly the lovely woman next to him.

Yet as he thinks back to a past lover, he suddenly feels guilty for lusting after his memories. It's clear from the opening moments - when Bowie struggles to find his old voice - that the man is wishing for something that is gone. Standing in front of that mirror he wonders if perhaps his current love simply reminds him of another younger woman - or youth in general. It's a secret bit of doubt he harbors in his heart, and only shows when she's not looking. But the dark shadows of the room suggest these thoughts can't stay hidden for long.

"The Pretty Things are Going to Hell" (2000) hours...
dir. by Dom & Nic
Another missing clip. Isn't it strange that the newer videos seem harder to track down than the older ones?

"Survive" (2000) hours...
dir. by Walter Stern
In "Ashes to Ashes" Bowie is strapped to an electric chair in his kitchen, caged by nightmares of domesticity. But a more seasoned and wiser man sits solemnly at his dinner table in this video. Bowie is lost in self-pitying thoughts of youth once again, and Stern surrounds him in a cold metallic environment to reflect his mood. Yet the singer slowly realizes that one can reach zero gravity without a spaceship or bright red hair - it's simply a state of mind.

"Slow Burn" (2002) Heathen
dir. by ?
It's always surprising that there aren't more videos for Heathen, which really marked a return to form for Bowie in terms of critical and popular success. This short promo features more references to space travel, suppressed emotion and lost youth - with the conduit to freedom being music. It also features Pete Townshend on guitar.

There is also a video for "Everyone Says Hi" from the album, but we once again were unable to locate it online.

"New Killer Star" (2003) Reality
dir. by Brumby Boylston
A combination of "Let's Dance"'s social conscious and the environmental concern of "When the Wind Blows," this strange video is fairly dark under its sunny covers. Many of the shots focus on the momentarily changing expressions on the faces of people, which suggests the fleeting nature of our emotions. But the eventual effect of our shortsightedness could be far more dangerous - with the fallen spaceship being only the tip of the melting iceberg.

...back to Part 3...

Previous Depth of Focus Features: Radiohead / Bjork / Michael Jackson

Depth of Focus: David Bowie, Part 3

2007-05-17T20:38:00.000Z

Diamond dogs in the rough...

It may come as a surprise to some that David Bowie, despite the lack of many major hits, produced a handful of his best videos in the 1990's. Rather than settling into mediocrity or just recycling the rewards of his fame, the artist continued to explore new ways of expressing himself visually. Bowie has always faired well in collaborative work, and in this era he expands beyond the Mallets and Rocks of the world to recruit new directorial talents. The results are largely positive - with a few videos here standing amongst the best of the decade.

In case you missed them, here's Part 1 and Part 2 of our feature.

Real Cool World: The 90's

"Heaven's In Here"(1990) Tin Machine
dir. by ?
Bowie looks as cool as ever, but something about the guitar wankery doesn't suit him - probably because he isn't the one doing it. Tin Machine was by no means a great album, but if the band had lasted a few more years they might have found commercial success amongst the angsty-bands of the 90's. Thankfully Bowie didn't go that route, though he may have directly inspired it.

"Fame 90" (1990) Remix Single
dir. by Gus van Sant
The man who went on to submit Golden Palm-winning films at Cannes here directs Bowie through some interpretive dance alongside professional dancer Louise LeCavalier - all while clips from classic Bowie videos burn up around them. Which suggests, like the lyrics of the song, that the flames of stardom can keep you sane just as they push you towards insanity.

"Pretty Pink Rose" w/ Adrian Belew (1990)
dir. by Tim Pope
Belew is a sort of virtuoso, playing multiple instruments on numerous records with legendary musicians (from Talking Heads to Frank Zappa) as well as being a vital member of the band King Crimson himself. Bowie first used Belew's talents on his 1979 album Lodger, where the American played lead guitar and supported him on tour. Thankfully these two skilled artists combine their formidable gifts to come up with...a ridiculous music video.

"Real Cool World" (1992) Cool World OST
dir. by Ralph Bakshi
I've never seen this film, but apparently it involves humans having sex with cartoons - and the obvious repercussions of such acts. It also, not surprisingly, was released four years after Who Framed Roger Rabbit?. Bowie's Michael Jackson impression actually works pretty well, and I'd be lying if I said I wasn't going to rent the movie this weekend.

"Jump They Say" (1993) Black Tie White Noise
dir. by Mark Romanek
Bowie always had a fascination with the paranoia of 1984 (at one point planning a concept album around the book), and in this superb video he is able to further explore ideas of 'big brother' and fear of the unknown. Standing on the edge of a futuristic corporate building, Bowie's character looks down at the metaphysical and literal prison bars of the busy street below. In many ways he just wants to escape the corner in which he is boxed, but at the same time he feels a despair and self-pity which will provide the final push over the edge.

Of course the pressure which torments him is induced by his job and the stifling society around him. Romanek borrows from Temple's "Day-In Day-Out" with the white handheld camera, which recalls the themes of social corruption highlighted in that video. Yet the majority of the crisis is mental, and the star is shown repeatedly rubbing his forehead in existential pain. In general Romanek's video is masterfully filled with detailed imagery so that not a single frame is wasted. There is a particularly striking visualization of the character's sense of worthlessness as Bowie - one of the iconic faces in pop culture history - disappears into an assemblage of suited businessman. When he doesn't stand out in a crowd we know there's something seriously wrong with the place.

Another crucial shot comes when we see the character's face after he has hit the ground and presumably died. We have rarely, if ever, seen Bowie's normally pristine face so mangled and broken - and in showing us this side the artist expresses a rare moment of sincerity. Bowie had lost his step-brother to suicide prior to writing this song, and the physical pain of that experience is worn openly. He exhumes his frustrations through the images and questions posed here.

Neither the director nor the singer paint suicide as a simple right or wrong choice. It's at times shown as a desperate plea for attention, while at others a Christ-like sacrifice aimed at inspiring a mechanical world. But whatever the interpretation, the moment when Bowie removes his tie - standing above the world - is key. In the end, whether you choose to do as "they say" or make your own decisions in life, the universal desire of humanity remains liberation. No bird enjoys being trapped in a cage.

"Black Tie White Noise" (1993) Black Tie White Noise
dir. by Mark Romanek
The return of Mick Ronson wasn't the monumental event some had hoped for, but it did - along with Bowie's recent marriage to Iman - breathe fresh excitement into the artist's career. If Black Tie White Noise isn't superior to his pop albums of the late 80's, it is at least more adventurous. And perhaps nowhere is that more obvious than on the genre-bending title track featuring unibrowed R&B star Al B. Sure!.

Though the song struggles to meld its disparate parts, the video manages to speak to the Los Angeles race riots which inspired the lyrics. Filling the screen with people from multiple walks of life, Bowie once again pines for equality and fairness in a troubling society. It works much better in the hands of Romanek than it has in others, mainly because he doesn't use foreign fetishes as the root of his argument. In fact there are so many stark and startling shots that one can almost ignore the sometimes cringe worthy lyrics - almost.

"Miracle Goodnight" (1993) Black Tie White Noise
dir. by Matthew Rolston
A simple kaleidoscopic effect lifts a series of odd images into the realm of compelling surrealism. Bowie dances with himself, cross-dresses and shares the screen with a scantily clad cowgirl - all within director Matthew Rolston's house of mirrors. The theme of dueling personalities is not only established by the reflections, but in the crisscrossing of traditional and challenging images of male sexuality. In one scene Bowie is covered by beautiful writhing women while in the next he poses dressed in high heels. The gaudy blatancy of the cowgirl's come-ons, backed by bright neon colors, pale in comparison to the black and white eroticism of these scenes - or the classic Greek art referenced here.

Yet the real impressive aspect of Rolston's work is how each shot is so carefully composed and balanced, while at the same time deftly layered with the music. From the toe-tapping Bowie that highlights the bridge, to the sublime editing of the finale - it's a visual feast of shocking and engaging ideas.

"I Feel Free" [Cream cover] (1993)
dir. by David Mallet
The performance video is interesting for its dramatic stage lighting and Bowie jamming out on the saxophone. It also marks a return to David Mallet's career-defining vision of Bowie.

"You've Been Around" (1994) Black Tie White Noise
dir. by David Mallet
A very minimalistic approach which brings out the classy trumpets and gospel choir which carry the song. And in case you're wondering, you aren't going crazy, this upload is not properly synced with the music.

"Night Flights" (1994) Black Tie White Noise
dir. by David Mallet
The interview that precedes the video is far more interesting than what accompanies the song. I wonder if Beyonce used the Black Tie White Noise Videos as inspiration when she filmed a million videos at once for B'Day?

"Buddha of Suburbia" (1994) The Buddha of Suburbia
dir. by Roger Michell
People kind of forget that there was this album of new material released as a soundtrack for a BBC show called The Buddha of Suburbia. In fact, it's ignored so much that we were unable to track down a clip of this anywhere on the Internet (little help?).

Yes, that is a young Naveen Andrews!

"The Hearts Filthy Lesson" (1995) Outside
dir. by Samuel Bayer
Bayer, who directed Nirvana's iconic "Smells Like Teen Spirit" video, developed a creepy and memorable style in the 90's with grimy lighting and off-kilter cuts. Bowie's impending collaboration with Trent Reznor and his appearance on the soundtrack to Seven seem right at home with the industrial violence of his work here. While at times it just feels like excessively gory shock value, Bowie is in fact exploring tense themes of artistic and social relevance.

From the tarnished existence of modern art to the spread of HIV/Aids across the globe, Bayer's fantasy is in fact a representation of society's very real problems. Freddie Mercury - a good friend of Bowie's - had recently succumbed to the rapidly spreading sexually transmitted disease, and here we see both needles passing through skin and simulated sexual acts. But the "filthy lesson" Bowie sings of isn't "use condoms" or "avoid drugs" - it's realizing the horrible and scary consequences of ignoring a serious global epidemic.

The destruction of all things beautiful is simply an extension of that message. The mannequins which are torn open show mechanical hearts within - lifeless people and art. The imploding chaos of the "last supper" suggests a necessary revolution resulting from all this ignorance and suppression. Not surprisingly, the messiah appears to be Bowie and his music - once again standing on the outside.

"Strangers When We Meet" (1995) Outside
dir. by Samuel Bayer
Bayer returns with more silent-film referencing cinematography and set-design, but things are drastically less gloomy this time around. Though even as things look a little brighter, it's clear that there is no lack of despair in the room. The woman who dances with Bowie almost looks like the plastered models from the previous video come to life, but she is more Raggedy Ann inside.

We already knew that Bowie had a thing for unknown and inanimate lovers, but we soon learn that Bayer enjoys scenes of mob violence just as much. The resistance here is rooted in Bowie's own heart - trapped in a circus of his own creation. Though as always, he doesn't seem quite ready to leave just yet.

"Hallo Spaceboy" [Pet Shop Boys Remix] (1996) Outside
dir. by David Mallet
Even though we immediately recognize Mallet's cinematic gaze, the 1996 version is decidedly updated from his earlier incarnation of soft-lighting and low-angle hero shots. The influx of pop culture references and exterior film clips (not to mention some really world class editing) make this nostalgic remix video an unforgettable modern peak for Bowie. It also raises that age-old question - how come Pet Shop Boys are so succesful in England but not in the States?

...back to Part 2...____________________...forward to Part 4...

Previous Depth of Focus Features: Radiohead / Bjork / Michael Jackson

Depth of Focus: David Bowie, Part 2

2007-05-16T08:40:00.000Z

Moving forward through the long, long video career of Ziggy Stardust...

Entering the third decade of his life in entertainment, Bowie didn't slow down a bit - pushing his fame and creativity past the brink of super stardom. While some may argue his best days were already behind him, as the 80's moved forward the artist was in the midst of his most succesful reinvention yet. Releasing his best-selling album, working in movies and collaborating with top artists was just part of the ever-changing game for David Bowie.

In case you missed it, here's Part 1 of the feature. Part 2 is split into two segments, the second of which will be posted below tomorrow.

Loving the Alien: The Let's Dance Era

"Cat People (Putting Out Fire)" (1983) Let's Dance
dir. by David Mallet
Let's Dance was Bowie's most internationally succesful album to date, and the video for "Cat People" finds the artist at the peak of his popularity. The stage show is grandly orchestrated and exuberantly executed, but the song - much like the entire second half of the album - is only mildly thrilling. Thus, as far as performance videos go, it's one of Bowie's weaker efforts.

"Let's Dance" (1983) Let's Dance
dir. by David Mallet
Bowie plays both the villain and hero in this confrontational video set in the Australian outback. Director David Mallet (who at this point has linked his entire career with that of Bowie) tells a story of discrimination and resistance within a still largely class-based modern society. The white upper class characters (one of whom is played by Bowie) look down upon the less wealthy workers (all of whom have darker skin) and reinforce their inferior status in the community. Yet with a little inspiration from Bowie the musician, the forgotten folks don't let the perception of others control their self-image for very long.

Mallet depicts the initial psychological effects of social snobbery with a few potent dream sequences. As a high-heeled lady towers over a worker scrubbing her floor, the diligent employee imagines herself cleaning congested streets in the middle of the city. Drivers and passengers leer at her blocking the traffic and the woman feels as if she is one with the dirt which she so tirelessly washes away. Her job seems pointless in this context - only serving to remind her of her facelessness within this ignorant crowd.

Yet being stepped on in this way doesn't just influence your nightmares, it has a distinct effect on your dreams as well. The young couple walk by shops and boutiques which promise happiness in the form of luxury - or a pair of red shoes. But the characters reject this false ideal, and they do so with the help of music and self-expression (of course dancing). One of the final shots of the video shows Bowie standing between the workers and images of Sydney high class - art represented as the great leveler and source of hope for the downtrodden.

"China Girl" (1983) Let's Dance
dir. by David Mallet
It's ironic that Bowie follows up one of his most socially conscious videos with a particularly insensitive one. Though upon release the biggest controversy was Bowie's bared backside, watching it today one can't avoid the blatant fetishization of Asian women throughout. The lyrics were supposedly originally a reference to cocaine (as in "China white") and written for Iggy Pop a few years earlier, but when Bowie decided to use it on his own work he deleted an introduction that might have made that clearer. What's left is a From Here to Eternity-referencing video that wants to free women from suppressive cultures, but ends up reinforcing already confining stereotypes.

The work begins with vaguely "eastern" music and an image of a decorated woman trapped behind barbed wire. Bowie, through his charms, is able to illicit emotion and personality out of her previously solemn face - proving that she is indeed more than simply a caricature. Yet the repition of "little china girl" - which sounds a lot like little china doll - paints a negative picture of women (particularly Asian women) as fragile infantile creatures who need the nurturing and help of men to express themselves. The shot of Bowie and the girl embracing on the beach only reiterates this point - the man being on top and all.

Perhaps even more interesting is what the video says about Bowie's attraction to and love of image. Even though he often challenges or dissects his fascination with guise and show through his videos, he still clearly enjoys inhabiting and creating statuesque characters - personified here in his doll-like love interest. Bowie has always criticized societies stifling codes of behavior, and perhaps his personas are in response to, or a product of, that suppression. But one can't ignore how influential the artist's promotion of image - particularly that of cool detachment - has been on the history of popular music and culture. Sometimes Bowie's robotic steeliness can feel very confining in it, of itself.

"Modern Love" (1983) Let's Dance
dir. by Jim Yukich
The song recently appeared on the soundtrack for the film The Business (2005), and thus this YouTube clip attributes the video to the movie. But the footage is clearly from the 80's and comes from a time when Bowie was enormously popular worldwide. Their are two amusing back-up singers and an impressive stage show, but the song really carries things with its catchy beat and always interesting lyrics. In fact it might have been much more fun to explore Bowie's ideas on love, religion and humanity in-depth.

"Blue Jean" (1984) Tonight
dir. by Julien Temple
This clip is only a short glimpse of the 21-minute epic production that Temple directed in anticipation of Bowie's Tonight album. While the video succeeded in vaulting "Blue Jean" into the top ten, there was no helping the public's lukewarm reception of the rest of the album. Nevertheless the music video is one of the earliest long-form narrative style releases, and features humor, lots of dancing and a compelling enough story.

Bowie shows some acting range by playing his dreamy stage persona and a dorkier version of himself simultaneously. With his face covered in paint and a turban on his head, the light reflecting off his get-up makes him look nearly hand-drawn or digitally animated at times. While the song seems to make reference to earlier hit "Jean Genie," the way in which the audience is blindly rapt in the movement of the performer (mimicking his actions often) reminds us of "Fashion." Except this time he appears far less critical of that phenomenon.

"Blue Jean" [alternate version]
dir. by Julien Temple
This faux-live video is memorable for its TRL-setting, hotel lobby introduction from Bowie and really great performance from the star (what an outfit!). The first video juggles a number of things but here Temple focuses purely on the song, bringing out the chorus with panning shots of everyone singing in unison. It's enough to make you dig up that dusty copy of Tonight and wonder why it is so oft maligned.

Having traveled this far into Bowie's video career without mentioning MTV was probably a mistake, as many forget he was just as vital to the success of music television as Michael Jackson(if not more so). It wasn't just videos either, Bowie was really setting up - as this work illustrates - the television pop star model that lasted for years to come.

"Loving the Alien" (1985) Tonight
dir. by David Mallet & David Bowie
Whereas in the past Bowie always represented a feeling of disconnect through images of space travel, during this period he goes with more literal ideas of "foreign" to represent not fitting in. He melds Buddhist and Hindu visuals with Middle Eastern and Islamic iconography (they're all the same anyway, right?) - with a story that holds more than a passing resemblance to "China Girl." The key is that no matter how he chooses to convey his ideas, ever since the days of "Major Tom" it has been Bowie himself who feels more "alien" than anyone else.

Here he has trouble looking in the mirror and perhaps imagines the entire affair from inside an insane asylum. He attempts to hide his insecurities through exterior changes (the backing band seems to reference the Tin Man from "Ashes to Ashes"), but this fails as the burqa-ed woman throws his money back at him. Before Bowie can ever escape that room he must first come to terms with his own humanity - maybe start believing that he isn't that weird after all (nobody is).

"This is Not America" w/ Pat Metheny Group
dir. by John Schlesinger
The film from which these scenes are taken, The Falcon and the Snowman (starring Sean Penn and Timothy Hutton), tells the true story of two Americans who decide to sell secrets to the Soviet Union during the Cold War. While one character is motivated by money and the other a sense of idealism, both are feeling disillusioned with their country and government. This impression of lost innocence - in regards to society's perception of American ideals - is expressed in the song through images of melting snow men and bloody falcons.

"Dancing in the Street" w/ Mick Jagger (1985) Absolute Beginners OST
dir. by David Mallet
You see, umm, Bowie and Jagger are imitating each other, err, I mean it's supposed to be kitschy, uh, never mind. There's no point in explaining this silliness - you either love it or love to hate it. There were rumors at the time that these two were an item, but it's unclear how those got started.

"Absolute Beginners" (1985) Absolute Beginners OST
dir. by Julien Temple
If you take out the film tie-in and look past the blatant sexism of the catty female, this is really one of Bowie's finest videos - at the very least one of his best looking. Naturally he slips quite easily into the film noir genre, and director Julien Temple (who also directed the feature film of the same name) uses harsh lighting and more than a passing nod to "Billie Jean" to create an exciting environment of back alleys and empty cafes at night. There's a throw away reference to race riots (which only serves to magnify the peculiarity of the female character's costume), but this is really about Bowie's search for easy answers in a tough world.

In the classic fable, the zebra gets his stripes when he is burned while fighting a baboon for the right to give access to water to all animals. Here Bowie is torched by love and lust, in pursuit of his ideals. There's also a revival of the imagery from "Rock 'N Roll Suicide" - cigarettes which never last long enough, much like the innocent pleasures of new love.

Navigating the Labyrinth:

"When the Wind Blows" (1986) When the Wind Blows OST
dir. by Jimmy T. Murakami
We had trouble locating the actual music video for this (if anyone has a tip, holla!), and instead posted a link to the film from which it was taken. The original video featured scenes from the movie with Bowie's face on top, and not much else. The song features bleak and pessimistic lyrics - much like the darkly humorous nuclear war themes of the animated film. Worth renting if you've got the time.

"Underground" (1986) Labyrinth OST
dir. by Steve Barron
This is one of the better movie tie-in videos ever made, with director Steve Barron actually using Labyrinth as a source of thematic inspiration rather than merely a promotional tool. Here the claustrophobic maze is within Bowie's own head - where he spirals down through a myriad of his past masks and characters. Yet when faced with the ultimate decision to turn to the dark side (er, represented by some cuddly puppets), Bowie releases a hand-drawn sketch he holds inside. It appears the only away for him to avoid complete madness, is to dig further into himself and his art.

"As the World Falls Down" (1993) Labyrinth OST
dir. by Steve Barron
Though it was fantasy film of the highest pedigree, Labyrinth has been a cult favorite since the early nineties due to Bowie as much as Henson or Lucas. He not only gives a wickedly strange performance, but carries himself with some very creepy sexual energy - on top of composing a few memorable songs for the soundtrack. In fact, for many kids growing up in the '90's, Labyrinth was their first introduction to the weird brilliance of Bowie.

The story of maturity and retaining one's childhood fantasies is also very relevant to Bowie the musician. Though his fantasies do seem to involve mainly himself as a space cowboy or an irresistible sex icon (sometimes both). Barron chooses to play up the latter of the two, underlining what the NY Times called a "driving, sensual appeal" in the soundtrack. In the film his Jareth character is the villain who takes Jennifer Connelly's baby brother away, but also the one who spurs a subtle sexual awakening in the pre-pubescent girl.

The more you study it, the more absurd (perhaps brilliant) this movie becomes.

"Day-in Day-out" (1987) Never Let Me Down [full clip]
dir. by Julien Temple
Because of the controversial nature of some themes, this video was often banned or re-cut for television. The YouTube clip is case in point, so make sure to click the link to the longer version (though still edited) on iFilm above. A particularly important edit was made with the close-up on the child's building blocks near the climax of the video. In the edited version they read, "Luck", "Look" and "Mom," but originally those first two words were "Fuck" and "Food." The changed version doesn't make any sense, but the real one is a bleak distillation of what life will be for the impoverished (male) child.

Julien Temple became Bowie's go-to-guy for longer narrative videos, and he brings his flare for extreme imagery to this rather transparent video (which may be in response to criticism that the song's message was buried beneath it's over-produced sound). Once again (as in "Absolute Beginners") Temple presents the female body as prey chased through the night in a male-dominated environment. On the outer edges there is commentary about the treatment of poverty in America and the governments ineptitude in bridging the class divide (one of Bowie's favorite subjects). But at the center is the blatant rape of the protagonist and the second-class status of women in modern society. From the strip clubs that illuminate the background to the lover who deserts her in times of need - the woman is constantly reminded of her dependency on corrupt men.

Yet through it all Bowie can't resist making references to his own life - with the woman donning a Ziggy Stardust wig just as she enters into prostitution. Which either supports or counters those critics who claimed the artist had "sold out" in the 80's. It also raises the question of whether Temple and Bowie are themselves guilty of making their social commentary on gender at the expense of the woman - selling sex in order to speak of equality. The angels with fake video cameras imply hypocrisy, but the pretense here extends beyond religious morality.

"Time Will Crawl" (1987) Never Let Me Down
dir. by Tim Pope
There's sexuality of all kinds on display in this mock-documentary of backstage rehearsals on Bowie's Glass Spider Tour. The song itself continues themes from When the Wind Blows, lamenting the destruction of the Earth at the hands of pollution and capitalism. But it's a pretty stale affair overall, with the only highlights being the campy innuendos and a Peter Frampton cameo.

"Never Let Me Down" (1987) Never Let Me Down
dir. by Jean Baptiste-Mondino
Never Let Me Down is often cited as Bowie's worst album, and the videos don't do much to refute that opinion. The opening narration sinks this one before it ever gets off the ground - putting us to sleep almost immediately. Baptiste-Mondino's creates an atmosphere of sexy boredom to bring out the melancholy notes of the song, but the sepia smokiness actually does bore us - and far too easily. The only attraction through the rest of the video are people humping each other (which isn't all that hot) and Bowie laying it down on harmonica (which is).

Most importantly: though we respect young Americans looking for a good time at an all-night dance-a-thon/orgy - this is surely no place for impressionable young minds!? Or is it all actually part of the young girl's fantasy? Or perhaps Bowie's? Let's hope the answer is "no," on both counts.

"Tonight" w/ Tina Turner (1988) Tina Live in Europe
dir. by ?
For once, Bowie is soundly beaten in the categories of craziest hairdo and gaudiest outfit. Though he might still have the edge in make-up.

...back to Part 1... _______________________________ ...forward to Part 3...

Previous Depth of Focus Features: Radiohead / Bjork / Michael Jackson

Depth of Focus: David Bowie

2007-05-14T08:00:00.000Z

Our continuing series on the video careers of major artists moves from the King of Pop to the Thin White Duke...

Nearly every discussion of David Bowie's career emphasizes his propensity for change, summed up by the much-beloved phrase "musical chameleon." As clichéd as that conversation can be, most of it holds true - Bowie has displayed an amazing ability to transform and reinvent his art on a consistent basis. Yet despite the constant flux of his image, there are a number of themes that have stayed throughout most of his five(!) decades of pop stardom.

Closely studying his video output is one way of observing Bowie's ideas develop over time. From the obvious love affair with extravagant show to his more subtle social commentaries, Bowie's videography is perhaps the most unique and influential of any one musician in the history of music video. He single-handedly revolutionized and expanded the form - much in the same way he altered the course of rock 'n roll. The most vital legacy of Bowie is not how often he switched costumes, but how drastically he changed the landscape of pop art in the process.

I Am What I Play: The Ziggy Stardust Era

"Let Me Sleep Beside You" (1969) David Bowie (Love You Till Tuesday)
dir. by Malcolm J. Thomson

The Elvis-gyrating and suggestive guitar motions are a modest preview of what was to come. This and the following two clips are taken from a marginally successful promotional film made in 1969, Love You Till Tuesday, meant to introduce the world to the future icon. Even as it failed to peak the interest of potential buyers, it's clear from the first shot that David Bowie is a performer, through and through.

"Love You Till Tuesday" (1969) David Bowie (Love You Till Tuesday)
dir. by Malcolm J. Thomson

(If you follow the link above you can watch the version without the movie titles.)

Bowie is in prime music hall form, reminding us all that he once shared a name with Davy Jones. Yet even at his cheesiest extreme, he has the camera wrapped around his flighty finger.

"Space Oddity" [Version 1] (1969) The Deram Anthology
dir. by Malcolm J Thomson

"Space Oddity" [Version 2] (1972) Space Oddity
dir. by Mick Rock

"Space Oddity" [Version 3] (1979)
dir. by David Mallet
It's hard to justify three videos for any single song, but "Space Oddity" is such a grand achievement that it almost demands repeated attention. The original version features an alternate take on the classic song, and is the most interesting of the three. Director Thomson supposedly planned a more risqué piece, with presumably more sex and psychedelia, but what remains is a humorous and creepy visualization of Major Tom's really bad trip - from which he never returns. The video also stars then girlfriend Hermione Farthingale, who apparently influenced the writing of the song. Her presence, and the way the video concludes, suggests that love (or lust) has pushed the singer into space as much as any drug might have.

Mick Rock's take, which is decidedly darker from the get go, matches Major Tom's disconnect from ground control with hints of paranoia and mental collapse. The green transmissions on the screen are the literal visualization of the sound waves, but the rest of the video peeks into the thoughts behind the notes. The sitting Bowie suggests that Tom never leaves the ground, and that his messages echo inside his own empty control room. The video also plays upon the dramatic impact of the music by emphasizing the guitar Bowie holds in his lap - music is yet another conduit to escape.

In the third video Bowie looks Dylan-esque with his curly hair and an acoustic strapped to his shoulder. There's also an improvement in trippy camera effects from the first one. The rumbling smoke at his feet and the occasional moments of darkness once again highlight the dual nature of the experience, but the decision to end in shadow makes director David Mallet's interpretation clear.

"John I'm Only Dancing" (1972) Ziggy Stardust (Single)
dir. by Mick Rock
It's fairly certain from the song itself that the singer wants much more than a dance, but even if he were simply seeking a tango, the performers in this video demonstrate the potential eroticism of "only dancing." The director does a good job of magnifying the three essential components of the track - the big drums, guitars and Bowie himself. While the singer sells desire and suppression through a few hand gestures and a pensive look on his face, the camera spins around him and his burning red hair.

"The Jean Genie" (1972) Aladdin Sane
dir. by Mick Rock
Co-starring Cynthia Foxe, a friend of Bowie and Andy Warhol, director Mick Rock channels the street-level Velvet of the song with the glamour of Hollywood life. Foxe looks a bit like Jean Harlowe, dancing energetic circles around the unaffected Ziggy Stardust - while Bowie jams out with the Spiders From Mars.

"Life on Mars" (1973) Hunky Dory
dir. by Mick Rock
The concepts of guise, ambiguity and escapism have been central to David Bowie's popular image from the very beginning. The artist himself was well aware of his propensity for show and his naturally androgynous looks - and he used both as tools for expressing a sense of detached cool and shifting identity. One of his many songs about the distant corners of space, "Life on Mars" uses the outsider persona to criticize and show frustration with the current state of the world.

Director Rock focuses deeply on Bowie's "alien" characteristics, and sets him up to contrast the "saddening bore" mentioned in the song. From heavy face paint to close-ups on his lengthy eyelashes, Bowie is the complete antithesis of the macho "cavemen" who pollute society with unnecessary "fighting in the dance hall." He's also covered in a stark white color that nearly blends him into the studio background - mirroring his feeling of despair in this suffocating social environment. It's the type of loneliness that leads one to search for answers beyond the stars.

"White Light, White Heat" (1973)

"Ziggy Stardust" (1973)

"Changes" (1973)
Ziggy Stardust - The Motion Picture dir. by D.A. Pennebaker
Though the film wasn't officially released until '83, this is a chronicle of the final performance of Ziggy Stardust and the Spiders From Mars in 1973. Directed by the legendary Pennebaker (Don't Look Back), it captures David Bowie at his highest peak as a performer. The crowds are chaotic and obsessive, creating an infectious aura around the concert, which Pennebaker translates well.

The version of the Velvet Underground classic here is quite strong, which comes as no surprise considering Bowie's admiration for the band and his own ability to transform. Though upon release "Changes" wasn't a huge hit, it went on to become one of his most well-known and (for obvious reasons) representative of his entire career (and probably inspired this children's television theme).

"Rock 'n Roll Suicide" (1974) Ziggy Stardust
dir. by Mick Rock
Bowie physically connects with his audience through his music, and shots of his passionate singing are coupled with desperately reaching hands from the crowd. The footage is compiled from various shows during his tours in the 70's, and the singer is shown to joyfully personify the "cigarette" lifestyle promoted in his song. It isn't necessarily "live fast, die young," but more along the lines of - take as many drags while you still can.

"Little Drummer Boy" w/ Bing Crosby (1977)
dir. by Dwight Harrison
There's far less awkwardness here than you might expect, and that's chiefly due to Crosby's class and Bowie's more than capable acting skills (Labyrinth, The Prestige). Neither of them looks too uncomfortable, despite the fact the situation is clearly forced. It was a huge hit as well, reaching as high as # 3 on the UK charts.

"Be My Wife" (1977) Low
dir. by Stanley Dorfman
Low did in fact spawn singles, even if it didn't storm the charts like many of his preceding albums. Yet "Be My Wife" is probably the most accessible track on the landmark record that initiated his "Berlin Trilogy." The heavy riffs are emphasized here by the prominently placed electric guitar and the artist's emotive playing - all in a white setting that recalls the detached "Life on Mars."

There's an improvised feel to the song, and this spontaneity is brought out through Bowie's off-kilter acting - including a humorously blatant stroking of his guitar fret. The combination of this performance and his appearance is also purportedly meant to reference silent film star Buster Keaton. As we've seen recently with faux-punk glam bands, the silent form has become popular amongst musicians who admire its over-the-top acting and excessive use of eyeliner. Yet here Bowie uses it as a satirical tool to contrast the apparent earnestness of the lyrics, "share my life."

"Heroes" [Version 1] (1977) "Heroes"
dir. by Nick Ferguson
When the video starts, as Bowie stands in shadows backed by the bright lights, it almost looks as if he's wearing a gown - rather than a full-body leather jumper. In either case, the singer gives an impassioned performance of his huge hit, and even if the lyrics are more hopeful than sexy - a strategically placed light makes sure dirty things are on our mind throughout.

"Boys Keep Swinging" (1979) Lodger
dir. by David Mallet
Though "Boys Keep Swinging" was a top ten hit in the UK, RCA decided against releasing it as the lead single for Lodger in the US. There were a couple of reasons for that decision, but David Mallet's controversial video likely played a major role. It would be easy enough to censor lines like "When you're a boy, other boys check you out" (which is what Saturday Night Live did when Bowie performed it on the show), but the video makes it impossible to avoid the issues at hand.

Bowie attacks the unequal standards of our patriarchal society and plays on gender stereotypes with sarcastic lines like, "Life is a pop of the cherry" and "clothes always fit ya." Mallet begins the video with the singer in full-on Elvis mode, a mock representation of standard idealistic 'masculinity.' Then he slowly moves further and further away from that set-up, first introducing female back up singers and then revealing that they are all in fact Bowie in drag.

In the first two cases the singer rips off his wig and wipes away the lipstick, as if to confront the audience with the truth of their deeply held assumptions on gender. Yet he ends the video with wig on - showing us the silliness of even needing to remove make-up in order to prove your sex, and that neither women nor men should be treated differently based on their physical appearance alone. The sad part is, you couldn't easily get this on national television today.

"DJ" (1979) Lodger
dir. by David Mallet
The line, "I am a DJ, I am what I play," could easily be David Bowie's slogan as an artist. It not only implies multiple records spinning at once, but also references devotion to the craft which often supersedes any sense of personal identity. Though with his record smashing he seems to violently reject the trappings of music, his walk amongst the people rejuvenates his love for the role as spokesperson for the masses - "I've got believers."

Yet despite the onslaught of kisses and well-wishers, there remains an individual struggling to emerge from under the pressures of stardom. Bowie tears down the shades to reveal a piercing bright light, and defiantly smashes a mirror that reflects a false image. But even after spray-painting a window in rebellion, he dejectedly plants a record on the glass - as if forever trapped by his art.

"Look Back in Anger"(1979) Lodger
dir. by David Mallet
Mallet injects even more narcissism into Wilde's The Picture of Dorian Gray by having Bowie play the role of both painter and subject - locked in his personal attic. His obsession with his own beauty leads to physical weakness and rapid aging, not to mention psychological torment. Yet he isn't initially staring into the mirror, but merely looking at an artistic representation of himself (a fallen angel that rises in the opening). This created image is what he truly falls in love with.

In that way the video continues the themes we saw in "DJ" and "Boys Keep Swinging," a self-reflective look at Bowie the artist and how that affects or represents Bowie the person. Here the allure of performance and idolatry becomes an addiction, a room from which the artist cannot escape. Yet just as Wilde saw Dorian almost as an ideal (1), Bowie gives such an ecstatic portrayal of his character that one imagines he still finds much to love in that mirror.

"Ashes to Ashes" (1980) Scary Monsters
dir. by David Mallet & David Bowie
One of the most influential and popular videos of all-time, when released the £250,000 "Ashes to Ashes" was also the most expensive video ever made. Utilizing ambitious special effects, a larger cast and multiple locations - this was Bowie and Mallet's grandest visual statement to date. It's no shock then that the accompanying song is also considered amongst the more intricate works in the artist's oeuvre, and that the single went on to dominate the UK charts.

The video begins with Bowie standing on the red earth of a distant planet, proving there is indeed life on mars. Major Tom has landed here, for who knows how long, but Bowie seems far less sympathetic to his plight this time around. He comes right out and calls him a junky, and the bulldozing funeral march is his over-the-top burial of the character. Yet the appeal of Tom is tangled up in his mind too deeply to be removed completely - in the final shot the addicted inner Bowie looks sinisterly alive.

This prison-like distance from reality is represented in a number of novel ways throughout the video. The Wizard of Oz march down the yellow brick road to freedom conjures up thoughts of home, and we later see Bowie trapped in his mother's kitchen. The scene with one chair in a claustrophobic space represents his cognizant struggle to emerge from this hole (and was recently recycled by Sophie Muller for Rufus Wainwright's "Going to a Town"). Even when he seems to have escaped this place and takes a walk along the beach with his mother, he is still detached and lifeless. The greatest fear of the addict, like a convict released from jail, is that once they hit the ground they will fail to ever adjust back to life in the real world.

"Fashion" (1980) Scary Monsters
dir. by David Mallet
Hot on the heels of the success of "Ashes to Ashes," this video was another huge success for Mallet and Bowie. The subdued delivery of the chorus highlights the monotony of fickle fans ready to follow any command, and the costumed followers in line for more soup predict the zombies of "Thriller" (some of the dance moves do the same). Bowie has said the song is less about fascism than some critics have claimed, because rather than simply criticizing the suppression of the individual voice in an authoritarian environment - the singer is also wondering why people are so easily swayed by fashions in the first place. We laugh at the man awkwardly hopping on the dance floor or the drummer playing an invisible drum, yet we are all at one time or another victims of popular fads - even the trend-setting Bowie himself.

"Under Pressure" w/Queen (1981) Hot Space
dir. by David Mallet
Mallet does so much here with such a simple idea. His varying depictions of personally released pressure, contained pressure and the horrible effects of an entire society controlled by pressure are dead-on. Perhaps none more so than his theme, like that of the song, of love as the ultimate liberation from anxiety - both physically and mentally.

"The Drowned Girl" (1982) Baal EP
dir. by David Mallet

"Wild is the Wind" (1981) Baal EP
dir. by David Mallet
No matter how stripped-down the setting or sound, one can never entirely remove the dramatic performance from the dramatic performer. It shouldn't come as any shock that these songs were recorded for Bertolt Brecht’s play Baal, as they carry the weight of melodrama in every note. Mallet's videos are as deceptively simple here as Bowie's songs, using lights and shadows to create creeping suspense around the rising tension of the music. The close-ups on Bowie's facial expressions, and particularly his mouth, give emphasis to the words - and yet at the same time they strangely distract us from digesting the complete story.

...forward to Part 2...

Previous Depth of Focus features: Bjork, Radiohead and Michael Jackson

Ice Age Coming: Maps "It Will Find You"

2007-05-11T17:58:00.000Z

Maps "It Will Find You"
dir. by Chris Richmond
Director Chris Richmond paints a visually heavy trip through the mind of a disenchanted youth, which could possibly be drug-induced. While many of the post effects on screen and the look on the main character's face (not to mention the inhaling sounds of the song) seem to suggest the use of narcotics, one could easily interpret the events as a transcendent experience sans illegal substance. In either case, things are starting to look increasingly weird for our hero.

As the man walks around a city he has clearly seen before, suddenly everything begins to turn dark and ugly. Richmond uses some very cool filters, editing tricks and cinematography (the eye hovering on screen is especially memorable) to create this sense of paranoia and doom (amplified by the creepy factor of the music). Whether the phenomenon is real or in his head, his mind is definitely opened to new sides of the world (perhaps even to the truth) - and the lyrics of the song suggest he probably should have seen it coming.

The Road Just Rolls Out Behind Me: Mandy Moore "Extraordinary"

2007-05-11T11:24:00.000Z

Mandy Moore "Extraordinary"
dir. by Ace Norton
Pop star Moore attempts to tweak her image by hiring indie-ish director Norton to give her the "down-to-earth" treatment. Though in order to make Ms. Moore a more likeable and relatable star, the director puts her up in the clouds - piling numerous versions of the the A Walk to Remember star up towards the sun. There's actually a considerable lack of sunlight in this gloomy town that Moore rises above, and perhaps her various talents will bring new warmth to the city once she jumps into her dreams - but the lackluster sky remains until the very end.

What is clear is Moore's attempt to juggle numerous personalities, skills and appearances at once - even if none of them ever represented who she truly was. She realizes this at the conclusion, once she has built a tower of pressures and obligations beneath her. She floats down feeling weightless and free for the first time - apparently no longer tied to concerns of popular image, and ready to display her true "extraordinary" quality.

All The World's A Stage: Brandi Carlile "The Story"

2007-05-11T08:30:00.000Z

Grey's Anatomy approved singer asks us to keep our ears to the ground, 'cause the story's in the soil...

Brandi Carlile "The Story" (Hi-Res)
dir. by ?
Inflated balloons rest on a red carpet in the hallway, as if a party had just ended a few hours before. The auditorium is empty but it sparkles with life, and mysterious characters wander through the aisles. Slowly the lights come on and the air is filled with music, but it's still not clear what is real and what is imagined in this strange setting. It's reminiscent of the spooky ballroom in The Shining, and Brandi Carlile's "The Story" is indeed filled with a sense of horror - just not the kind that gives you the creeps.

Carlile conveys the frustration of carrying a life's worth of adventures without a friend with whom to share them. The director draws a parallel with an old rundown theater, filled with people and stories long since forgotten. The marquee outside spins through a million unknown plays and young lovers share an intimate moment in the vacant seats. The fear that the song expresses is one of disappearance - of not mattering. By the end of video we realize that Carlile and her band are ghosts themselves, singing love songs to a person who is long gone.

Yet each time the singer abruptly breaks into the passionate peaks of her narrative, the camera shakes and the image blurs - as if her voice crosses the distance of time for just a moment. What we realize is that even if she lacks the one audience member she desires, her stories do reach out and matter to others through her music. In fact, the old man who sits at a piano on the very same stage at a different time could very well be playing the same song. Carlile's stories live on, and in the process so does her love.

Telling your tale to an empty room lacks meaning not because you need fame or the reassurance of others to feel valuable, but because to speak to another human being extends your impact on the world beyond your own skin - and touching something outside yourself is what meaning is all about. The video deftly visualizes loneliness in the way Carlile doesn't seem to care how many fans or listeners she actually has, because inside she still feels like a ghost of who she was with her lover. Yet by the final shot we sense that perhaps she has felt the transcendent power of storytelling - that feeling of connection with humanity that only self-expression can give us.

In My White Tee: Travis "Selfish Jean"

2007-05-10T11:33:00.000Z

Travis "Selfish Jean"
dir. by ?
A fresh take on the Dylan/Pennebaker model, though not quite as compelling as it could/should be. The funniest part is probably the way Demetri Martin is introduced - as an "international comedian" and far more pumped than when we last saw him. And I still swear The Man Who is a great album, even if I haven't listened to it since I was seventeen.

Stand Up: Serena Ryder "Weak In the Knees"

2007-05-10T07:13:00.000Z

Serena Ryder "Weak In the Knees"
dir. by Kevin De Freitas
Serena Ryder sings of unrequited or lost love with a forced voice of strength, which fails to hide the vulnerability she carries beneath. When she suggests walking over and kissing her lover, she sounds less than confident in her actual ability to do so. Director Kevin De Freitas uses a number of images and contrasts to establish these emotions behind the words, but there is one scene that captures the feeling particularly well.

As Ryder proclaims her ability to stand tall even with her legs warbling beneath her, De Freitas alternates between close-ups and wide shots of the singer standing in front of flowers. When we are near her face the background is completely filled with colorful arrangements of hope as if she were standing in a garden. But when he pulls out we remember she's in fact in the cold street - and those potted flowers look rather cheap (maybe fake) inside a dirty truck. As hard as she tries, she can't escape the weight of her longing.

Under Siege: Jim Jones "Lockdown, USA"

2007-05-09T09:25:00.000Z

An unlikely voice of reason amidst the furor over hip hop culture...

Jim Jones "Lockdown, USA"
dir. by Micheal Skolnik and Rebecca Chaiklin
Dipset is not known for their social conscious - by any stretch of the imagination. America, via 60 Minutes, was recently introduced to Cam'ron's campaign to let serial killers roam free, and fellow labelmate Juelz Santana named part of his last album after Ronald Reagan only to warmly recall the rise of crack in the US (he also refers to himself as "human crack in the flesh"). Yet if you wanted, one could make an argument that in both cases the artists were struggling to say something pertinent about their experience growing up in America. The only problem is, there is so much nonsense one must wade through to even arrive at those points that it makes it hard to really care (step 1 is avoiding Killa Season at all costs).

Jim Jones is perhaps the least likely co-founder of The Diplomats to correct all this. Not that Mr. "We Fly High" makes everything right here, but this video for "Lockdown, USA" is a revelatory look at himself, America's war on drugs and the other artists in his crew. If the man who got millions of kids to start senselessly screaming "Ballin!" now has a social agenda, imagine the potential in the rest of the Hip Hop world.

In many ways this video is precisely about the power of music to drive societal reform. Many of the clips we see are taken from a 2006 documentary of the same name by Skolnik and Chaiklin, which focuses on the Rockefeller Drug Laws signed in 1973 that made heavy drug enforcement widespread by the 80's. The film reveals the drastic increase in US incarcerations (and money spent on jails), particularly among the African-American population, since that time. The story of Wanda Best, who was left to care for 5 kids after her husband was sentenced to 15 years on a minor drug charge (which he likely didn't commit), is the fulcrum from which these issues are explored. At the same time we follow Russell Simmons and his brigade of hip hop friends trying to help her cause.

In some alternate universe this video would cause an avalanche of similarly minded efforts to change society through hip hop. Regardless, it's important to understand as much as we can from Jones' work. Once you realize the backstory and the incredible fear that must permeate impoverished communities in America, "stop snitchin'" doesn't seem like such a far fetched concept after all. The loss of trust that has built up between the government and certain groups of people since the dawn of the drug war is a verifiable epidemic of its own. Promoting this rift as a positive phenomenon obviously isn't the answer, but educating the masses to its existence is a start.

Visit the Official Website of the documentary...

Just Be You: Brother Reade "Now They Want Half"

2007-05-08T09:46:00.000Z

Underground artists promote authenticity in hip hop...

Brother Reade "Now They Want Half"
dir. by Banner Gwin
Upon first watching "Now They Want Half," one could easily make the mistake of assuming the stoic bespectacled man staring at the screen throughout is an actor rather than one-half of this hip hop duo. It isn't simply because of his performance, but Bobby Evans doesn't seem to fit our typical assumptions about the culture. Of course this sort of stereotypical opinion of hip hop is precisely what Brother Reade's Jamz is addressing in his rhymes. Director Banner Gwin intentionally amplifies the strangeness of Evans in order to drive home the point, "you don't have to be rich, you don't have to be cool."

Yet these artists are two parts of the same group (cleverly shown through a shot where Jamz raps at the screen on the left while Evans appears through a mirror on the right), and they are not oblivious to the charms of typical hip hop dreams. Jamz defends LA despite its downsides, while he scrounges his refrigerator for food. As the rapper points out early on, he wants to make money but isn't ashamed of poverty either. The camera zooms in on him as he sits in an undershirt and gym shorts, eating a bowl of cereal in a modest kitchen.

The video works by setting up a series of contrasting or absurd images, the most obvious of which involves the members of Brother Reade themselves. There is also the blue light which glows outside the windows, compared to the red light that imbues the interior. A nailcutter graces a cutting board, and Fugazi is mentioned in the same breath as Jay-Z. These ideas are meant to confound any attempt at pinning either the video or the music into a box.

There's also intentionality in the way the images conjure up feelings of nostalgia. Like the dorky organ that accompanies the bassline, the retro walls hold family photos from the 70's. When the camera passes through the house in the end, it's now completely empty of people. Yet it's still alive with memory, and the artists will not soon forget the vibrant history that exists within those walls. Just as Brother Reade bring us a new voice filtered through familiar sounds, the video for "Now They Want Half" is as mysterious as it is inviting.

It's no Da Vinci, but it may very well show up on a few end of the year lists.