PEEPING AT OTHER PEOPLE'S WINDOWS SINCE 2005
If you haven't watched Hairspray, I highly recommend that you do. I did, yesterday, and came out smiling. It was that entertaining. In fact, the most entertaining film I've watched in a long while.
posted by Alvin at 6:20 AM
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As a kid growing up in the 1980s, I got exposed to music videos through my elder brother, who would tape his favorites with our Betamax. Some of those he recorded included Culture Club’s “Karma Chameleon,” Duran Duran’s “The Reflex,” Nena’s “99 Luftballons,” Spandau Ballet’s “Gold,” and Toto’s “Africa.” Then I started recording my favorites once my family subscribed to Sky Cable in 1993 and peaking between 1996 to 1999.
Whether we like to admit it or not, music videos have influenced the way we watch movies and TV shows—as well as how some of these were made—for more than twenty years. That’s not surprising, since several music-video directors have made the big leap to feature films, most notably Spike Jonze and David Fincher. Music-video techniques have broken a lot of cinematic conventions in a big way, and continue to do so.
Below are ten music videos that I, to paraphrase a Kylie Minogue dance hit, can’t get these out of my head. At least much of the time. What for? Well, wala lang. Trip lang. Ü
“Are You Going My Way?” by Lenny Kravitz (1993). I’ve been a quiet Kravitz fan since he first broke out with “It Ain’t Over Till It’s Over” back in 1989, and since then has made some pretty interesting videos, including “Fly Away” and “Thinking of You.” But this video, showing him, in his dreadlocked glory, performing with his band at an out-of-this-world disco with a really cool ceiling, just wowed me. Just remembering it makes me want to dance.
“Bedtime Story” by Madonna (around 1998). The Material Girl has made a lot of unforgettable videos throughout her career, with some of them sparking controversy (“Like A Prayer” and “Justify My Love” easily spring to mind). But my favorite is this fittingly surreal, beautifully shot video that Salvador Dali would’ve admired. I especially love that last shot before Madonna wakes up, wherein she has lips as eyes and an eye for a mouth.
“Carribean Blue” by Enya (around 1990). Between “Orinoco Flow” and this video, I’ll go with this one any day. The treatment done on this video—subtly shifting movements, watercolor-like quality—really delights the eyes, even though it’s exactly the same one used on the ethereal Irish songstress’ first hit. The fact it’s my favorite Enya song doesn’t hurt either.
“Doo Wop (That Thing)” by Lauryn Hill (1999). It’s hard to believe it’s almost a decade since the Fugees frontwoman released the Grammy-winning The Miseducation of Lauryn Hill, and the video for one of its strongest tracks pays tribute to her musical roots while reinventing some of them (sort of). Juxtaposing two block parties—a common pastime among African-Americans—in different time periods (one, in the 1960s; the other, late 1990s), the technique, although hardly new, is perfectly appropriate to the song’s intentions and spirit.
“If” by Janet Jackson (1994). When her third album, simply titled janet, came out in 1992, music fans saw a tanner (especially when compared to her siblings LaToya and Michael), sexier Miss Jackson, and her videos around this time made this very clear. But in my opinion, no other video is sexually charged than this one, set in a steamy Japanese bar/brothel. Whew!
“Jeremy” by Pearl Jam (1992). Grunge had occupied a good part of the soundtrack of my teen years, and this video from one of the genre’s pioneering bands partly betrays that, as far as I’m concerned. Very well-done, provocative, and literally ending with a bang, it won the MTV Moonman for Best Music Video in 1992. Another video, “Do the Evolution,” is a close runner-up for my favorite Pearl Jam music video.
“Moving” by Supergrass (1999). Everything—and nothing—really changes in this regrettably underappreciated video from a British group whose members sport hairstyles similar to what VST and Company used to have in the 1970s. It uses a lot of time-breaking techniques—freeze frames, quick cuts, rewinds and fast-forwards—to help drive home an ironic point. Terrific.
“Smells Like Teen Spirit” by Nirvana (1990). I’m pretty sure this video helped a lot in propelling not only Nirvana to superstardom (much to Kurt Cobain’s chagrin, one might imagine), but practically ushering in the grunge movement into the mainstream. A darkened indoor basketball court, headbanging teenagers, tattooed cheerleaders, even an old janitor constantly swaying--just memorable.
“Stranger in Moscow” by Michael Jackson (1998). If nothing else, the best reason to watch this video is its brilliant black-and-white photography. As far as I’m concerned it’s a clear example of a great-looking video helping improve a not-so-great song. Perhaps I’ll be inclined to give this slot to “Thriller” on another day, depending on my mood.
“Street Spirit” by Radiohead (1995). Though I started liking this great British alternative band via their first hit, “Creep,” this particular video helped me become a fan around this time. Like “Stranger in Moscow,” its strongest feature is its black-and-white photography. It helped a lot the song is quite haunting to begin with.
OTHER FAVORITES:
“Adia” by Sarah McLachlan (1999)
“Take on Me,” by A-Ha (1986)
“The New Pollution” by Beck (1997)
“Push It” by Garbage (1998)
“Until It Sleeps” by Metallica (1998)
posted by Alvin at 11:30 PM
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posted by Alvin at 2:00 AM
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Let’s face it: on its own this year’s American Idol Top Twelve is at best an arguably decent batch, as decent as Season Three’s dozen. The fact that both batches have the women outclassing the men in virtually every way reinforces the comparison. But damn those who says that this year’s dozen improves on last year’s. I mean, come on! Seriously. No comparison at all.
I would've preferred Sabrina Sloan to be in the Top Twelve instead of Haley Scarnato. It seems her early exposure during the audition rounds played a key part in Haley’s surprise inclusion, for her semi-final performances contributed very little to back it up. She’s certainly this year’s Melissa McGhee (or Lindsay Cardinale. Or Leah LaBelle.). As for Antonella Barba, her vocal skills really paled in comparison to the divas (Melinda Doolittle, LaKisha Jones, Jordin Sparks and Stephanie Edwards, even Gina Glocksen) in the dozen. But I have to admit, she's really easy on the eyes.
If I were Jared Cotter or Sundance Head (who must be really singing the blues now), I would demand a recount. Sanjaya Malakar? Yeah, he’s a sweet-looking fellow, and I have to admit I find his voice pleasant (he’s rarely off-pitch in his semi-final performances as far as I can recall), but he really has no business being in the Top Twelve. He’ll be easily blown away by his competitors. Even last year’s Kevin Covais could beat him. America obviously didn’t mind how he creepily looked like Michael Jackson during the second semi-final week or how his hula demonstration made him look so much wimpier than he already is. Like in Haley’s case, I believe his extensive airtime in the show before the semi-finals, among other things, helped him advance.
posted by Alvin at 12:15 AM
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