Tag: music video

“The world is getting smaller, each passing day…”

On this, the anniversary of Martin Luther King’s march from Selma to Montgomery in 1965, this track, by the incredible Solomon Burke (who would’ve been 71 today), feels particularly apropos.

I listened to this track even as news of Libya, Japan, Haiti, Ivory Coast, Yemen, Bahrain, New Zealand, and so many more, ran (on mute) across my television, a whirlwind of flag-waving and fires, broken homes and watermarked family photos. As I watched those indescribable images, and guiltily bounced between them, email, status updates and moving arrangements, a series of thoughts presented themselves, especially one: I hate change. I mean, it’s good, but… it’s frightening. This thought coincided with another coughing jag, tied to a violent re-appearance of asthma, a condition I thought I was rid of long ago. My worries and resistance to change have taken on a suffocatingly physical form. I’m moving to a strange (if deeply beloved) city in a week’s time, and already I’m feeling pressed -for time, resource, air itself. The deep-seated worry has started about not having enough. But… enough for who? Within what context? Why am I worrying?

Grappling with freedom within the context of something new is exhilarating, if scary, both in a personal and political sense. Change isn’t comfortable, but it is a stepping stone. I had to consciously step away from the computer more than once today, turn off the telly and the radio, put the phone down and just remind myself to breathe, deeply, and frequently. And I slowly dissected what my lack of breathing-freedom really means. It’s true, we make mistakes. We’re guided by ego. We frequently accept the visible over the visionary. But the possibility for regeneration and renewal spring eternal, as befits this day, and, like the astrological sign it corresponds to, I keep ramming home the idea that change is possible, in our hearts, our heads, our homes, whether it’s the front door or the farthest corners of the globe. Or in our lungs.

The Greek historian Thucydides wrote, “The secret of happiness is freedom. The secret of freedom is courage.” And it takes courage to choose freedom for one’s self in both physical and figurative senses, to not look back in anger, to be the change, to use the force. Martin Luther King understood this deeply. It’s what inspired him to lead over three thousand marchers from Selma, Montgomery, on a trek that was nearly 60 miles and took five days. That courage was contagious; by the time he reached Montgomery, marchers numbered 25,0000. Staring fear in the face, making space mentally and emotionally for your enemies, staring change in its giant question-mark-shaped face because it’s far, far better than the slit-eyed, greying alternative… this is courage, fueled on a steady diet of faith.

And it’s this faith that I see celebrated in art, in the graffiti on a Libyan city wall, in the pencil line of a sketch shared round the world, in the rhythm and melody of music – the breaths, the wavering, wailing voices, the pressed keys and reverberation of strings and amps and snares, reaching for something higher, where not just a few of the well-read, well-connected, well-fed and well-meaning are free but… everyone, everywhere, spreading a hope-full, joy-full melody of liberation, a Song of Solomon in motion, a confirmation of collaboration with not just ourselves and our little clubs, but even (or especially) those we disagree with, write off, roll our eyes at, avoid, don’t call back, backstab, ignore, or, of course, feel suffocated by. I’m staring my own fears in the face right now, figuring out how much freedom is worth, what I’ll sacrifice, and how much a reset on my perceptions is possible. It’s easy -maybe even trite -to believe faith might overcome doubt in the face of fear.

But, we are -all of us, whatever our circumstances -free to choose something else, something broader, something bigger and bolder. Something that doesn’t just smell, taste, feel or look like freedom, but actually is that very idea in and of itself, embodied within the walking, breathing, spitting, bleeding masses of flesh we are. We have a deal with the universe, a deal that clearly tells us, in every shape and form: love thine enemy. Judge not lest ye be judged. Let he who is without sin cast the first stone. To deny any of these an acknowledgment and indeed, a manifestation in our busy, over-stimulated lives, where we preach to the converted and sing loudly in our online choirs, builds a lonely prison of our own devising, brick by brick. It’s easy to judge others; it’s even easier to judge ourselves. None of us is free indeed.

But perhaps George Clinton and Parliament Funkadelic said it best, at least for those of us who see a very thin line between the sacred and the profane. Within the confident crooning of Solomon Burke and the incredible Blind Boys Of Alabama, there thrives the encouraging spirit of survival, awareness, and even growth. “None of us are free”, it’s true, but we’re working on it. Change comes slow… but it comes -if we choose it. I am, and I’m terrified, and I’m thrilled. And I’m walking on, and taking very deep, slow breaths.

Song Song Sunday

Lying in bed mid-morning this sunny Sunday, two thoughts presented themselves: ‘why can’t I go back to sleep?‘ and ‘what the heck is the name of that French-Canadian electro band from the 1980s?‘ Several cups of Bewleys, a plateful of waffles, a scan of the weekend paper and a load of laundry later, I set myself the task of answering the latter question (there is no answer to the former, other than the mysterious wonders of the human body). A bit of snooping, and… voila. I thought of The Box in relation to Gorillaz‘s new single, “Stylo” -there’s that same pulsating beat, that bloopy-bleepy bass, that high-ish, scarily monotone vocal. It’s creepy and compelling all at once.

I have no way of knowing if Damon Albarn et al have heard The Box’s 1980s hit “L’Affaire Dumoutier (Say To Me)“, but I do hear a definition connection between the two:

There’s always been a European sensibility to what Gorillaz do, much in the same way with what Quebecois artists were doing twenty years ago. That spirit of experimentation, of pushing pre-conceived norms, of being… just plain different, feels weirdly duplicated and canned these days; ideas of what constitutes “authentic” within the musical realm are hazy at best.

I type this after an evening of half-observing the Twitter insults flying around over Ke$ha’s appearance on Saturday Night Live between sips of red wine and bites of calamari in a busy trattoria; I couldn’t help but feel compelled to observe the nastiness being hurled at the “garbage chic” singer/songwriter, and feel, at least, a bit sorry for her. Online, the running theme was that she ripped off Lady Gaga, in both sound and appearance. People know -or like to think they know -a fake when they spot it, and yet more often than not, the same fickle public openly applauds pre-conceived, packaged musical figures who’ve been primed to be the sassy “rebel” while simultaneously keeping a well-groomed public persona that has nothing to do with music and everything to do with celebrity. What’s original? What’s a rip-off? Is being obvious a hugely bad thing -especially when put beside artists that look (and, oh yeah, sound) like they’ve dropped out of a machine? I’d argue the online culture has blurred our ideas of what constitutes originality, in both good and bad ways. To borrow Warhol’s phrase, people want their fifteen minutes -but with fifteen different costume changes and a team of publicists, stylists, and hangers-on, ever singing the same damn over-manufactured, cutesy-wootsy, auto-tuned song. Some of us notice.

Incidentally, I remember Madonna’s break-out in the 80s, and her getting the tired old “trashy” / “slut” / “ripoff” insults hurled her way, too. Ergo, there’s something about all the hatred towards Ke$ha that makes her way more interesting to me. Fabulously shabby, awkwardly un-hip, and defiantly dirty, the young singer has less of the Gaga glam that so lends Ms. Germanotta to MAC campaigns and Philip Treacy hats, and more of the desperately young, ambitiously sexy vibe of Madonna’s live performance of “Like A Virgin” from the 1984 MTV Awards. She’s out of tune entirely, gets tangled in the wads of white netting and emanates such a vibe of delicious trashiness, you’ll want to take a shower at the end of it -but you can’t take your eyes off of her, either.

Then again, maybe I’m being an old fart. I do think it’s useful to go back and draw threads from past to present, however obvious, or un-obvious, that may be. Finding an original voice takes time, patience, and most of all, living (especially living away from the nefariously homogenizing forces of the record industry). It makes separating, mixing, kneading, and baking the authentic from the inauthentic that much more rewarding. Imagine a meal in a box; now imagine a meal in the oven. Originality is a tiresome old notion to throw around in the 21st century, but it behooves us to think about it, and how we approach our music, and what we expect from its performers, more carefully. Everything really is everything, as Lauryn Hill sang.

Herewith, a probable inspiration for The Box and Gorillaz -and probably everyone else, too:

Crystal Prunes

Is it me? One sounds like the other, to my ears:

Here’s a new track from duo Crystal Castles, premiered by the BBC (thanks to AUX for the heads-up):

And here’s a track from The Virgin Prunes that’s well over two decades old:

Fill in the holes between now & then; Einsturzende Neubaten, Nine Inch Nails, KMFDM, Massive Attack, and Neu! all come to my mind, but I’m sure there are way more. (Do feel free to leave suggestions in the comments section.) The influence and importance of these bands, seminal in the industrial-meets-electronica-meets-new-forms-of-rock-and-roll arena can’t be overstated, and yet so often, the names and faces and songs are forgotten.

Tying them all together with contemporary sounds makes for fascinating musical thread-spotting, but it’s equally interesting to see just how deeply these threads twist and spiral through the visual art realm; all these bands have a strong aesethetic (people today might use that over-used, tired term “brand”) where the worlds of painting, photography, video, and filmmaking are every bit as vital as the music.

Not everything is pretty, nice, and easily digestible here. I like that. There’s something about viewing something surreal, uncomfortable, and confusing that is hugely refreshing -it’s like aerobics for a brain more used to the pablum of dependable narrative arcs and tidy conclusions. I like the raucous visual attacks of Neubaten, NIN, and the Prunes, KMFDM’s Soviet-meets-Pop paintings, and Massive Attack’s embrace of experimental filmmaking partnered with their deeply atmospheric, unsettling sounds. So it makes sense that I was struck by the accompanying photo of Crystal Castles on the AUX site, which reminded me of Godard, Helmut Newton, and Wolford all at once. Nicely done.

Appropriation, influence, mainstream, underground -all these labels (and their concomitant definitions) are melting and forming a kind of morphed culturo-sonic Frankenstein, simultaneously scaring, shocking, delighting, and inspiring.

2010 Music: incredible.

Now, if only the major labels would get on the inspiration train.

Dreamy Dub

It’s the end of a long, frantic day. Turn down the lights. Pour a cup of hot tea, red wine, mulled cider. Exhale.

Images: wavy lines, coloured glass, paper stars, blue and green crayons. The smell of cardamom bread. The feel of cold ceramic against wet, bare feet. The bright dance of red oil paint across a linen canvas. The taste of maple syrup and cinnamon.

I experience all of these -and more -when I listen to “The Birth of Bellavista Nights“, the latest creation from Daniel Lanois. Filmmaker Adam Vollick‘s intuitive, Zen-like shooting masterfully captures the dreamy, thoughtful nature of this composition. I’ve always had a magical, sensual connection with art that moves me most, and this is a perfect example. If you want more, check out their live show from the Bowery Ballroom, full of the same kind of magical artistry and intuitive creativity that makes listening to this such a powerful experience.

Lanois was, and remains, a true visionary, and one of my very-favorite artists. Ahhh. That Black Dub album can’t come soon enough.

Linkalicious

I Eat Your Country (With Relish): In honor of the Sydney International Food Festival last fall, participating countries contributed flags made from the respective countries’ best-known foods. It’s simple but it’s nifty. Depending on which flag you like, I guarantee you’ll get hungry just looking. I especially like the French one myself. No prizes for guessing what constitutes its tricolour. Nationalism has never been so delicious.

Sweet… Song: Jonas Kaufmann is an opera singer. A really good one. Writer Olivia Giovetti describes his voice as “dark chocolate.” Mmmm. Also, he’s gorgeous. Mmmm. He has two new CDs out this week, and he’s set to perform as Don Jose in Carmen this spring at The Met. Aside from being keen to get down to New York, I want to see this production (easily the 30-something-ish production of Carmen I will have sat through), to stare at his pleasing Teutonic mug, sigh over Bizet’s beautiful score, and think of… chocolate.

Easel Ladies: Together with Virginia’s springtime celebration of women in the arts (called Minds Wide Open) comes Women of the Chrysler: A 400-Year Celebration of the Arts, which the Chrysler Museum has curated from their permanent collection. Featuring artists as wide afield as Harriet Cany Peale, Mary Cassatt, Käthe Kollwitz, and Dorothea Lange, to Diane Arbus, Louise Nevelson, Jaune Quick-to-See Smith and Cappy Thompson, this is one exhibit that is part history lesson, part celebration, all artistry.

I Love This Band: Preachers Son is a Dublin-based trio with a grit-glam sound channeling equal parts David Bowie (especially in his Berlin phase), Nick Cave, Johnny Cash, and the Legendary Shack-Shakers. They’ve created a unique, hard-rock sound that positively drips with drama and raw musicality. I can’t stop playing them. Fingers crossed they’ll be here for North by Northeast.

Viva La Eno: In this interview from March 2009, the artist/producer/all-around genius expounds on his processes of composition, production, and collaboration. He offers some fantastic insights into his past with Roxy Music as well as his present, working with bands like U2 and Coldplay. He also discusses the beauty of simplicity, citing an early viewing of a Mondrian painting as a formative moment in his creative development. Oh, and he has this to say about fans of bands:

I don’t like fans very much to be honest. Of course I like people enjoying my music and I quite like being admired for having some good ideas, but the anorak-y type of fan is a rather frightening object of humanity, because you think, “Please get a life; don’t have mine.”

Collaborawesome: David Byrne and Fatboy Slim have come together to produce an album chalk-full of deep grooves and original sounds. Here Lies Love features the vocal talents of Tori Amos, Martha Wainwright, Alice Russell Sia, Natalie Merchant, Cyndi Lauper, and many more. Beautiful.

Fountain of Woot: Marcel Duchampe’s 1917 exhibition called “Fountain” made a splash upon its exhibition, but a surfeit of duplicates threaten to tinkle all over the famed artist’s legacy… or possibly enhance it. As More Intelligent Life notes, Duchamp was one “who had painted moustaches on postcards of the Mona Lisa” and he “understood the power of reproductions to render a work iconic and consolidate an artist’s international reputation.” In this high-tech remix era where questions of originality are both critical and codswallop, and borrowing/stealing for recreation is plus normale, the issues Duchamp raised nearly a century ago have particular currency and potency.

Welcome to Detroit: Photographer Andrew Hinderaker went to Detroit -and took a lot of pictures. His work is a document of an area hit hard by the recession; empty, yawning streets, skeletal buildings, hard lights dominate many shots, but interesting, he also finds the beauty in the desolation, turning his subject (a microcosm of America itself) into a kind of victory over dark days and damning forces.

Tune in Friday: I’m going back to radio broadcasting starting April 9th, 9:30amET. Whether you’re an A&E afficionado, or just plain want to hear what my voice sounds like, tune in. Please?

Drunk. Test Later.

Two days ago I wrote a post about a Drunken History episode, in which comedian Duncan Trussell tried to explain the significance of Nikola Tesla astride a toilet bowl. It was gross, it was funny, it was weirdly educational. Mainly, I posted a feature on it because I find the entire concept highly creative and original. Would any of us (okay, most of us) care about the history of electricity if it were presented with less… flair (or alcoholic influence)?

The video was removed owing to copyright claims, which rendered my original post useless; currency being vital online, I quickly pulled the post, entirely bummed out. Trussell was trying to explain the history of Nikola Tesla and his stormy relationship with Thomas Edison. I loved Crispin Glover‘s glaring Edison, and John C. Reilly‘s whole-hearted earnestness. (The video was over at Inquisitr but alas, has been pulled there, too.)

Following my original post, I was surprised to see I’d lost a follower here. I don’t know who, and I don’t know why, but it made me wonder: why? Surely there’s far more offensive material on the internet than a sloshed Trussell explaining the foundations of electricity.Created by Derek Waters (who worked on The Sarah Silverman Program as well as Funny Or Die), the series’ premise is to get a celebrity inebriated before having them expound on a particular point in history. Past episodes have featured Jack Black, Michael Cera, Zooey Deschanel, Don Cheadle, and Will Farrell, talking about Benjamin Franklin, William Henry Harrison, Frederick Douglass, and other important American historical figures.

Drunk History may not be your textbook history, but it is very funny, and it’s also weirdly informative. What with American history being re-written lately anyway, who’s to say Drunk History isn’t a better -and more approachable -information source than textbooks? Somehow, the drunken lessons have an indisputable kernel of truth that combine with a youthful spark of fire and ingenuity. That’s what inspires curiosity and creates a thirst for more. Score one in the education column for Drunk History: smart, sarcastic, and slurringly educational. Somewhere, somehow, I can hear Charles Bukowski cackling.

Who’s That Girl?

Behold, a very young Lady Gaga pounding out her life’s passion in New York City back in January 2006. I love this video. It shows Ms. Germanotta’s incredible musicianship, strong vocals, and most of all, her absolute dedication to her craft. She’s clearly enjoying the relationships she shares with her bandmates, instrument, and audience. She might seem to be an entirely different beast now, with choreographed dance numbers, flaming bras, big wigs and crazily inspired outfits, but I’d like to believe a true artist’s heart still beats within her Armani-clad chest.

Also: this is one damn catchy tune.

“Look at me now, dahlings!”

Chit-Chat

The new Lady Gaga video is out. One word: wow.

As with many of her other videos, Gaga is pushing buttons here: ones relating to homosexuality, murder, and even rumors of her own androgyny. Directed and co-written by the award-winning Jonas Akerlund, the video -more of a mini-film -makes clear cultural references across the worlds of film, music, art, and dance. I caught nods to Thelma and Louise, Pulp Fiction, the work of Russ Meyer, Madonna (particularly during her Sex phase), Warhol, Roy Lichtenstein and Keith Haring (with the bright, cartoon-like coloring and innate sense of playfulness), – even the choreography of Twyla Tharp (with the sharp jerky movements and upper body swings), to say nothing of the influence Akerlund’s past work has on the vid. How many “mainstream” pop artists inject so much thought -and creative approach -into their work? And how many (successfuly) incorporate Beyonce into the mix?

Kudos, Gaga. Keep pushing those buttons. The world -especially the pop world -needs it more than ever.

5 for ’10

A new year always implies a fresh start. Those starts are always available to us whenever we so choose, but there’s something so fortifying about coinciding our personal beginnings with chronological ones, as if once a year, people (or those following the Julian calendar anyway) decide, en masse, that they can influence the course of their lives through resolution, faith, commitment, and an embrace of potential. Would that this attitude could last to Easter, when the real promise of renewal has never been made so plain for Western society.

In any case, people seem to love lists -to debate, to ponder, to look back and to measure one’s thoughts and accomplishments against. Should that movie be there? Why wasn’t that album included? What happened to that book? We measure our lives, our personal triumphs and tragedies, which seem to be both timeless and weighted to a specific moment, against such lists. I was equally heartened and amused to see possibilities for potential laid out in one particular list; some of the items are foolhardy, some are curious, some are inspired -but the spirit behind them all is, I think, genuine, and the spark of springy hopefulness is encouraging in these dour midwinter days.

So, as before, here is a list -a personal one -of things I am looking forward to in 2010:

More Live Music
While I am not a particularly big fan of club gigs (I never really was -comes with being raised in opera houses, I suppose) there are a few acts I’m hoping to see (and blog about) this year, including The Big Pink and Black Rebel Motorcycle Club. I was introduced to the former by a fellow twitterati with exquisite music taste who saw them in an early-winter gig here in Toronto and was suitably impressed; having heard The Big Pink’s stuff on the radio both prior and following that concert, I’ve become entranced by their marriage of old and new sounds. This is rock and roll you can dance to. I like that. And… BRMC? Dirty, good, loud. I’ll take it.

Pop Life
Happening at the National Gallery of Canada in June, this exhibit is featuring works of my very-favourites, including Tracey Emin, Takashi Murakami, Damien Hirst, Andy Warhol, and (sigh!) Keith Haring. It’s only January but I’m already excited. I can think of no other group of artists who have so changed the modern cultural landscape -and in so doing, altered the way we experience culture and its relationship to the everyday mundane reality of daily life. Thank you, National Gallery!

MOMAhhh
Still in the art vein, the venerable New York City art museum is hosting an exhibit of the works of Henri Cartier-Bresson, the first in the US in three decades. Exploring the entirety of the master photographer’s career, Cartier-Bresson was, and remains, one of my all-time favourites. I recall studying his works in film school many moons ago, and being drawn in by the inherent drama within his photographs. Suitably, MOMA’s website calls him “the keenest observer of the global theater of human affairs”. Yes, his work is indeed theatrical, but it’s also fleshily, gorgeously human and sensuously alive. If this doesn’t push me on to visit France at last, I don’t know what will.

Prima Donna
Presented as part of the 2010 Luminato Festival, “Prima Donna” will receive its North American premiere this June. Awesome Canadian singer/songwriter/all-around music god Rufus Wainwright channels his own inner diva and his passion for the operatic form in creating a work about the fictional faded opera star Regine and the re-examination of her life choices. When it debuted in Manchester last July, the New York Times called the music “impressionistic yet neo-medieval, tinged with modal harmonies”. Hopefully I’ll be interviewing the heavenly-voiced Mr. Wainwright about it closer to the opening. Stay tuned.

Toot Toot
I feel like there’s a big piece of me I’ve been hiding away that should probably come out. In that vein, I’m going to be posting my artwork, photography, and video interviews more often. This video is a favourite from last year. It’s about the award-winning production of “Eternal Hydra” by Crow’s Theatre:

So here’s to embracing… everything… which is everything, after all. I think Lauryn Hill expresses it best:

after winter / must come spring / change it comes / eventually

 

Go Madge

There’s something really, really cool about Madonna unabashedly dancing with herself, telling her man (in her head, through her hips), “Seriously dude, this isn’t on.” It has resonance for me, and I would imagine, for many women.

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