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

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.

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

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.

Love, Lust and Icons: "My Love"

Video: Justin Timberlake's "My Love" (Better Quality Video)

The irony of “My Love” is in the frankness of the words, and the hyper-surrealism of the “symphony” of sounds. This is a love song that isn’t actually about love; it’s about the feeling of excitement and lust that anticipates love. Justin Timberlake isn’t writing a love note or a symphony, he’s writing a pop dance song.

But while the song brings up the subject, the video crystallizes the mood and sensual energy of the beat and verses. The “Let Me Talk to You” prelude foreshadows the double meanings of “My Love” with Timbaland’s playful exchange with JT across a mostly black backdrop with streaks of white light. The color choices here are paramount, and by keeping the video in black and white we are more aware than ever of a two-sided game. Much like Gnarls Barkley’s video for “Crazy,” the director is intent on showing us that there is more to “love” than meets the eye.

When the actual song begins we are immersed in a vast white space as JT comes spinning into focus. It’s a slow epic beginning to a song of equal measure, and the slew of cello’s that come flying out of Justin’s vest are a fitting tribute to the theme. This is an upbeat dance number that has a deceivingly slow beat, and the slow-motion effect of objects flying out of the singers captures that dialectic.

The “other side” of love in this case is sex. There is a manic energy to the inter-splicing of the shots (an editing masterpiece), but the way in which highly sexualized images seem to just flash on the screen and then disappear is a perfect way to make a kinky music video. Rather than lingering on any one move, JT and crew do things quickly and smoothly – like the dance moves themselves. Here we have a girl shaking her butt, then we have mysterious gloved hands grabbing Justin’s chest and finally we have the genius use of rubber bands in the scenes with T.I. (“rubberband man”). JT may be trying a bit too hard to sell his newfound sexual freedom, but then again, it’s working.

Above all the video is a clean-cut visual stunner that makes everyone involved look very cool. From the opening shots of the two white suited gentlemen, to the dance scenes that play like the greatest Gap video ever, and finally to that debonair aura of T.I. – this song is about the surface appeal of love. But that’s not to say it isn’t actually “love.” Justin throws a ring at the screen like he means it, and when he sits across from that girl on the couch; I think he does mean it. And even if T.I. plays up the whole misogynistic I don’t care about you role, it doesn’t retract from the one JT is playing. We just have to remember that they are both, just roles.

And perhaps the climactic final shot of JT dancing in tune with a gorgeous girl, and then moving off on his own (all the while the camera spins around him gloriously uncut) is a testament to our love of surface roles. It’s the most cinematic and visually stunning shot of the entire video, and it’s about nothing more than JT. In the end, it doesn’t matter whether or not JT is really in love, because what we really “love” is him – Justin Timberlake, the new king of pop.