Breakin': Film Review 1984

I’m not breaking new ground here, calling this perhaps the greatest achievement in film-making of all time, but it’s fresh (no pun intended) on my mind so I wanted to revisit it with the benefit of hindsight. 

I was up Saturday morning with my 3 year old daughter.  She has dance lessons at 10:15 or as they call it, “creative movement”, so yes, it’s basically just a chance to dress them up in cute little dance clothes and let them jump somewhere until the weather turns.  At about 8:30, I turn on the TV and as I’m scrolling, I see that “Breakin” is on (as in Electric Bugaloo – is there another movie where you have to reference the second one to have people understand you’re talking about the first?  I can’t think of one) and in an act of extraordinary parenting, I say to myself, “I’m going to get her jacked up for dancing by letting her watch this.”  In retrospect, yes, this is demented and I half-knew going in that unless Dora was up there poppin’ and lockin’, her attention is going to wane pretty quick. 

Needless to say, my daughter’s part in this story began and pretty much ended there as she (fortunately) found better things to do immediately.  So there I was, watching “Breakin’” and an unholy sense of wonder and horror set in, the way only an 80s movie can make you feel and I realized at that moment how history would reflect upon this cinematic gem as the standard by which all other dance movies should be measured.  There are several primary elements of historical intrigue that need to be discussed.

Along the lines of the “Three Men and a Baby” tuxedo ghost boy and the hanging munchkin in “The Wizard of Oz”, perhaps the most colossal exhibition of comedy by an extra who would one day be a star is that of Jean-Claude Van Dam in “Breakin”.  When O-Zone is showing Kelly street-dancin’ at its finest and there’s the dude with the metal crutches busting out some crazy moves, rounding out the circle is Jean-Claude Van Dam wearing what appears to be a wrestling singlet, SO FUCKING INTO IT, it’s absurd.  And just when you think he’s going to fade into the rest of the group, he reappears, clapping, arms in the air, dancing just like he did in “Kickboxer” except he’s not supposed to be drunk and he doesn’t have the benefit of some 89 other minutes of kicking the crap out of Tong Po and trees and stuff.  It is so hypnotic.  I didn’t want it to end.

Christopher MacDonald is in this movie and it made me think about what it would be like to be Christopher MacDonald and act in like, a hundred movies, and have no one know your name (except dorks like me) other than Shooter MacGavin.  Do people ask him all the time if he really does eat pieces of shit for breakfast?  Point here is that this movie is in 1984 and he’s the older, sorta agent, for Kelly.  So how old is Christopher MacDonald?  This movie was 26 years ago.  I always thought of him as a young dude.  He’s actually 55, which is younger than I initially thought while writing this.  Okay, maybe this one just affects me.  Nonetheless, Shooter MacGavin in this movie, people.

Ice T is the rapper at the dance off and does a really, really vanilla rap at the end which I will discuss in a minute.  What hasn’t Ice T done and at what point was he an actual pimp, because he was a legit dude back in the day?  He’s 52.

Breakin’ actually revealed the existence and absurdity of dance-offs, yet this wasn’t exploited until “You’ve Been Served” or whatever the Hell that movie is called.  A main plot point in Breakin’ is that O-Zone and Turbo are dancing one day and kinda get challenged but they walk away but then O-Zone comes around so they “train”, pick up Kelly to offset the ugly broad on the other side and come out “victorious” during the ”club” scene.  Seriously, I could quote every other word in this review.  Why is it evident that someone wins a dance off and the other person loses?  During the club party where the “battle” goes down, I thought it was pretty even.  And then O-Zone, Turbo and Kelly line up and do some crazy run and leap at the evil dancers like it was clear as day they’d won.  

The main characters are the worst/best casting choices ever, chosen solely for dancing prowess.  Seriously, you couldn’t get anyone better than O-Zone?  He makes Gregory Hines look like Michael Clarke Duncan, except he dresses like a cross between Zorro and Olivia Newton John.  Is there supposed to be some sex appeal with that guy?  Johnny Castle, he’s not.

I fucking hate Turbo, dancing aside, because he’s much more than a pop/lock guy.  I know he’s supposed to be cheeky and represent the rebellious youth of street culture but he’s just a creep.  When he’s tasting the hors d’ouevres at the snooty dance event, you can hardly even enjoy how poorly acted it is.  It was like it was out of an episode of “Voyage of the Mimi” (if anyone gets this, it’s worth it).

I think of Kelly as a young, brunette agent Scully before she hooked up with Mulder.  And for this, she gets a pass.

So here’s the other thing about the main characters, Kelly aside - they have nicknames that aren’t O-Zone and Turbo!  Respectively, it’s “Shabba Doo” and “Bugaloo Shrimp”.  Just…why?!

Finally, because this is too long already, the last rap.  What was it about rap back then that was socially responsible and educational?  Did NWA usher in the era where it’s all about money, booty, killing stuff, and whatever?  Ice T’s ”rap talkin’” at the end of this movie is something The Fresh Prince would have thought lame.  All about kids and dreams and overcoming obstacles and realizing potential and giving people a chance, regardless of appearance… who wants to hear about that shit?  And he ends it with, “wait for part 2″ and they flash a coming soon, “Electric Bugaloo” – the new dance sensation graphic.  They greenlighted a sequel before this went out?!

I miss the 80s, early 90s.  Everything was so, just so… stupid.  And glorious.  Now excuse me while a break down some cardboard in my office and go all JCVD on it.

[Via http://thetvassassin.wordpress.com]

Review: Noblesse - We Are Not Humanity

Noblesse – We Are Not Humanity
March 12, 2010

Dutch rock band Noblesse recently released its sophomore album “We Are Not Humanity”. The band built a solid reputation, both as a recording band and as a live act, after the release of their debut album “Sound The Alarm”. Known for their intensity and lyrical depth, the band had high expectations to meet.

With “We Are Not Humanity”, Noblesse not only delivers on the expectations, the band is able to exceed the expectations. With a smooth conceptual art rock album that is melodically challenging and rhythmically intriguing, they provide the fans with not just 10 excellent tracks, but much more than that, they provide an excellent album, as the songs all grab into eachother musically and thematically.

Tapping into points of universal discussion like consumerism, communication, virtues, morals, and so on, they are able to deliver their messages and questions through deep lyrics and intense music. The most impressive feat of the band may well be their ability to play with the music and the lyrics. By using one towards the other and vice versa, they create a very interactive and dynamic environment in which their songs can flourish. Art rock may be the name of a genre, but in Noblesse’s case you can also take those terms seperately, because “We Are Not Humanity” is not just a very solid rock album, it also is a work of art.

Songs that definitely stand out are You Look Good, Different Flow, Detrimental & Life Support. You Look Good has a bit of a pointy sound, verging on powerpop in the rhythm, which gives it a very danceable and almost catchy character. Different Flow is closer to a classic rock song with strong guitar riffs and haunting vocals that work to a sparkling finale of the song. Detrimental is the easiest song on the album to sing along to and a likely candidate for a radio single as it’s a song that has the ability to stick in your head. It’s not a typically catchy song, but both rhythmically and melodically it resonates in your head for quite some time. Especially the chorus has that effect. Album closer Life Support is a modern rock opus with quite an epic build up. I picked  these four songs as key tracks because they show the band’s diversity, class and intensity very well.

It’s only march, but “We Are Not Humanity” is without a doubt the most impressive album release of the year so far. I would strongly encourage you to check out Noblesse and “We Are Not Humanity on their bandcamp page, where you can also purchase the album if you feel the same excitement and connection that I felt and am still feeling.

[Via http://innerearmedia.wordpress.com]

35 Million

According to a web source, that is how many singles Stefani Germanotta has sold since her voice began appearing on CDs. I know, that is a lot of sales, especially since you probably have no idea who that is. You might be more familiar with the equivalent title, Lady Gaga.

Yesterday, I was walking down the hall with a friend, who was humming something. He looked over at me, expecting me to guess the song. I said I had no idea; Pssshhht! It’s Lady Gaga. I said, alright? Ho was I supposed to know? I could not even pick her out of a lineup. I have never heard one of her songs, and I have no idea what she looks like. That amazed my friend. The discussion rounded out with me arguing that Gaga is just a “flavor of the month,” that she is just more of the same and my friend should check back with me in 10 years, concerning her popularity. My friend said she will be popular ten years from now, and although I do not agree, I started to compare her to the classic, timeless musicians. I had recently read startling statistic, and appropriately, I announced that in 2009, something like 940,000 copies of Dark Side of the Moon were sold; the album debuted in 1973. Let’s see if Gaga’s The Fame Monster almost goes Platinum in 2047. I am not picking on Gaga, exclusively, this is about the direction that genre of music and its popularity are heading. I will just use her as the model for my inquiry and analysis. Let’s take the components of her music and Gaga, herself, and try to discover what makes her so appealing to so many people around the world. In this current era of pop music being extremely popular, let’s first look at the music. After my discussion with my friend yesterday, I went home that night and “youtubed” 5 or 6 of Gaga’s songs. By the way, typing “L” in the search box already leads the software to think you want to type “Lady Gaga.” Somewhat wittingly, I think I was avoiding her music, sort of like how I refuse to see Napoleon Dynamite, but without as much passion. So, I listened, and I relistened, and I relistened. Of the songs I heard, Bad Romance was catchy, I will admit. Most, if not all of the song had an appealing sound. I felt similar about the chorus of Paparazzi, however, I was not much into the rest of the song. Although I found one of the songs tolerable, to listen to, ground-breakingly unique, it was not. There was nothing new about the sound, the tempo, the faux instruments. So, scratching the music off the list, I move to lyrics.

I want your ugly
I want your disease
I want your everything
As long as it’s free
I want your love
Love love love
I want your love

I want you drama
The touch of your hand
I want your leather studded kiss in the sand
I want your love
Love love love
I want your love

You know that I want you
And you know that I need you
I want it bad
A bad romance

That is the first verse of Bad Romance. Now when I listened to it, I kinda thought, actually very little, of the lyrics. But I have a history of not being able to understand all the words in a song. After reading through the printed lyrics, though, I was actually surprised that I am even more disappointed in them. Aside from addressing a fairly juvenile topic, in an even more immature and uncreative way, they do not even convey a message or an emotion that might appeal to the listener. And I could say this about probably any rap song, but if you are going to write incoherently, you could at least must a complete, rather than, an approximate rhyme, as in the ABCBDDD rhyme scheme of the first stanza. I have only ready the lyrics from this song, and perhaps all of the others are as enlightening as Dylan, but I doubt it. So, it cannot be the lyrics that is reeling in the equivalent of roughly 1 out of 8 Americans. Hmmm, could it be the instrumental innovation and proficiency? Wait a minute, she does not play any instruments. That was simple. I have not seen her live performances, but her music videos, while visually spectacular, did not show off much Fred Astaire type moves; I did notice some movements that were reminiscent of Tai-Bo.

Alright. I have covered the music-related components. In a world with all this free porn available, I do not understand why superficial, physical appeal is so important in music; Cash was not a handsome fellow. Nevertheless, I will look into it because maybe Gaga is doing something new with appearances. And……..Done! After examining the google images and her in her music videos, I can see nothing, physically, that sets her apart from a good number of the women in my Chemistry class, except most do not wear nearly as much makeup, they are in better physical shape, and they are actually more attractive, in my extremely biased opinion. The only thing I can see that would separate Gaga out from the rest of the pop-stars is that despite the dues, the million dollar, skimpy costumes, the various body part accentuators, like eye enhancements, masks, shadows, shoes, etc., she still does not look that great. It is amazing that despite unfathomable effort to look flawless and drive the “fellas” crazy and make the women jealous, she is succeeding marginally, at best. At least the fake version of Destiny’s Child, Aguilera and Stefani, Gwen that is, looks smokin’ hot After never having seen her and finally seeing her, at her supposed, “best,” I was surprised and not impressed. If you want to be in the spotlight and valued mostly for physical attributes, I, a cook am going to treat you like a piece of meat. Personally, I would either send it back or expect a discount for that cut.

M and M must be responsible for her utter popularity: money and mob-mentality. Gaga has got the bucks, no doubt about that. Someone who donates half a million in concert/merchandise collections to Haiti, at 23 mind you, is either really dumb, which I am not ruling out at this point, or she is sitting on an amount that would dwarf the former. There is something sex about money, and the person it’s attached to. I do not know what it is but if DaVito is gettin’ women, and God knows I love him and his acting talent to death, my theory is intact. Of course DaVito does have personality, as well. The mob-mentality simply, among other things, stems from the money thing. See, at our core, that is the core of a capitalist American, we crave money and everything that comes with it. That leads to popularity, which leads to more popularity, and strangely that never leads to the regression mob-mentality, caused by a minority realizing that what everyone is pining for is actually really stupid.

There is some anger in my tone because these people are not entitled to this much (fill in the blank), at least not as long as those that do not set young kids up for childhood depression, from inadequate self-image, are living modest live because all of the money is tied up in what is actually making the world a worse place to live. I could name a thousand different job positions, including hundreds of millions of people, that deserve fame, fortune, whatever, more than these fish-oil-covered plastic dolls. What beneficial differences are Gaga and the like making? None. They are simply building up false hope in the young, wasting valuable radio waves, and polluting and diluting a once, precious and sacred industry, known as music.

FYI: If you want to compare yourself to these celebrities, whether they act, sing, dance, play, or fuck for a living, compare yourself to the authentic version of these posers; you will be pleasantly surprised to realize that you outscore them in most categories and at least tie them in the remaining ones. They are not better than any of us. They are still human, most of which are sub-par. They drink heavily, they use drugs, they have numerous, trashy, brief relationships, they have only the values ascribed to them in order to maintain their fame, they contribute nothing beneficial to society, they only take, never give, they have accomplished nothing worthy of your praise, and they know far less and have a much narrower perspective on life than the average, hard-working individual has. They are mere prostitutes, being paraded around by their pimps, the record companies.

Take away their fame, their money, their makeup and their clothes, and they would have a hard time competing for a street corner. Prove me wrong; nothing would make me happier. For if Gaga starts writing lyrics that transcend the times like the greats from the past, that will only expand the scope of music I get to listen to.

So Gaga, fellow pop stars, this is a call to action. Keep it “poppy,” but separate yourselves, make music, instead of just noises, and write coherent lyrics that make the listener think and reflect, rather than scratch his or her head, wondering if what he or she just heard was music.

[Via http://thebonepicker.wordpress.com]

Why Lady Gaga is a Feminist - Part 3 - Telephone

 *** Fair Warning….this is a long post!***

 Since my last post, Lady Gaga has come out as a “little bit of a feminist.” Whether she is or isn’t, her visuals, music, persona, and command of culture is feminist. She knows exactly what barriers women in the music industry face, and challenges these head on without apologizing.

 Lady Gaga has released her new music video for “Telephone” featuring Beyoncé, and as can be expected there is a storm of comments once again on whether or not she is or isn’t a positive role model, what the hell the video means, let alone is or isn’t a feminist. Blah, blah, blah. I am sure Lady Gaga really isn’t losing sleep over those squabbles. But, I do think she and her music is feminist. Here is what I have to say about all of that in my part 3 of why Lady Gaga is a feminist.  

 

 1.) Identity is fluid- This has to do with the postmodern idea that our identities, whatever they are, feminine, masculine, old, young, black, white, ect., are never a constant, fixed thing. Our identities are always in flux, in motion, we are never either/or, as much as everyone else wants to put us in those boxes. They change over time and space and context. With “Telephone,” as well as, most of Lady Gaga’s videos, she is seen in a multitude of outfits, scenes, and behaviors. This is the crux of Lady Gaga’s usage of imagery, that no matter how hard you try, you cannot pin her down. In other words, she will not abide by artificial barriers and boundaries of where we want to place her and expect of her. She will not be either/or. She lives in that grey area that makes most of us uncomfortable. And this is exactly the point.  

 

 2.) Queering the Narrative - Out of all the comments I have seen on other blog posts and message boards about “Telephone,” the one that keeps coming up was during the Exercise Yard scene outside of the prison where Lady Gaga and another inmate kissed. What drove people crazy was the fact that they could not pin-point the gender identity (and hence assumed sexual identity) of the other inmate. This points to identity as fluid, but also queering the assumed sexual narrative of visual texts. We assume two people kissing in a heterosexual context, almost always. Yet, this is an all-women’s prison? But the other inmate looks kind of masculine, or at least androgynous. So, is Gaga kissing a woman, or man? Or trans? This drives people nuts is because they need to know the biological, sexual and gender identities of others to therefore know how to judge and treat them. Lady Gaga in this case is throwing that all in your face. Once again, you do not get to box her in, or the visuals she is representing.  

 

 3.) Reversing the “Male Gaze” - Called the “male gaze,” “pornographic,” or “patriarchal gaze,” this is a way of understanding and seeing media and stories from a heterosexual, male’s perspective (usually white and middle-class as well.) In this narrative, (which is standard issue in our culture,) sees women as objects, peripheral to the male story line, male progression and ultimate growth. Women in texts are only there as eye candy, to prove male heterosexuality, or as obstacles for men to defeat and dominate by domestication or death.

 In this entire video, as well as, “Bad Romance” and “Paparazzi,” Gaga reverses this gaze in a variety of ways. She refuses the male heterosexual narrative as the only way to see the world, and presents her views in a decidedly “feminine gaze” or at least a gaze that does not abide by male standards. Women’s bodies are not present in “Telephone” for male pleasure, they do not progress a male storyline, nor are women defeated for male purposes of sex or domestication. Women are not “othered.” In some ways, the bodies seen here are for female pleasure, sexual perhaps, or at least aiding in seeing women in positions of power, both as prisoners and prison guards. Women are in control, even in prison and outside of it. Gaga and Beyoncé’s emotions, ideas, and selves drive the story of the music video, not men’s. Women are central, not peripheral, they are the main autonomous actors in control of their destinies. Even as we see women in traditionally powerless situations, in prison, as diner wage workers, or as objectified bodies for male consumption, these positions are problemitized, and their meanings changed. When we see women in these places, we do not get the impression that they are mere tools of the patriarchy. They have agency, they have will, and they are not the “other.” We get a unique and visually appealing story from women’s perspectives, ideals, and world view that is so lacking in today’s media.  

 

 4.) Transgression, Prison for Bitches, & Lesbians - If you missed it, on screen as Gaga is being taken to prison is the date and name of the place where she is being held called “Prison for Bitches.” This small, but extremely significant part of the video cannot be underestimated. The video itself is a continuation of “Paparazzi” where Gaga murders her abusive boyfriend, and in the end is having her mug shots taken. As “Telephone” opens, we see her in her pinstripe glory being taken into the “Prison for Bitches” by two rather buff, femme-fatale prison guards.

 Prison is an interesting concept. We assume prison is where we take someone who has done something wrong. People in prison must have done something to deserve their punishment. Yet, in the feminine narrative of the story, we sympathize with Gaga because we understand why she did what she did, and if one could, do the same to those who abuse us. Yet, she is still taken to the “Prison for Bitches.” So, what is a Bitch? We use this term against women who do not know their place. Women who are too loud, too proud, refuse to be controlled and put down are called “Bitches.”  When they do not give into men’s sexual entitlement to their bodies and creativity, we call them “Bitches.” We use this term to police women into place. Women who transgress the gender norms of traditional femininity (being passive, emotional, weak, fuckable, dainty, heterosexual, and baby incubators) are hence “bitches” and must be punished for breaking these rules. Gaga is then imprisoned with other women who we assume have also transgressed gender norms. These women are being punished for “not being real women” in some way or another. Which leads me to the next part of the video narrative, Lesbianism.  

 

 As Gaga passes by the other cells in the prison, us the viewers hear other inmates sneering and calling out to Gaga. We get the sense that they sexually want Gaga, or at least as sexually attracted to women, because why wouldn’t a whole bunch of women, alone together in prison be lesbians right? Patriarchal society fears the idea of women being together, congregating, because they might start talking, and realize how crappy life is for them and revolt. The fear of female rebellion runs deep in our culture. These women in prison, with its lesbian undertones, harken to second wave womyn’s movements of separatism and female solidarity by literally and physically secluding themselves from men. In this prison, women are forcefully segregated over their shared transgressions against femininity. Lesbians fall into this category, because they are not attracted to men, hence break the heteronormativity mandate of our culture. Gaga also breaks femininity mandates by murdering her boyfriend, as well as, rumors of her being intersex. To which, she makes note of via exposing her genitals, albeit blurred, and the prison guards lamenting doesn’t have a “dick.” This small statement is a slap in the face at the pop culture rumor machine, but also at the idea that what makes a woman a woman is her “lack of a dick.” This is what women are in our culture, a sum of “what they lack” in accordance to men, who are considered the norm. Women are women because they are NOT men.  

 

Thus, this prison is where women who defy rules of their genders in our culture are taken to be punished. We see in this prison other women who have transgressed in different ways, and even though this prison is a bunch of women, there is a hint of danger about it. Whether it is because a whole bunch of women are together in one place, or the lesbians being powerful, or the role ambiguity, this prison is a place to keep these women from ruining the “lawful” rest of society.   

   

5.) Poison & Violent Women – As I mentioned above, women murdering their men, and in essence transgressing femininity norms of passivity and weakness to taking control is something that is feared in our culture. Men do this all the time. We see this as a common theme in movies, where the male protagonist is wronged somehow, someone kills their family, steals their money, insults their manhood, and therefore, they take the “law” into their own hands to get justice. We applaud this rebellion as essential to men transcending their “oppression” to gaining back their humanity. Yet, when women do it, we don’t accept that as possible, and even desired. It not only breaks feminine roles, but overturns their roles in the traditional narrative of masculine development. Women who become violent and rebel are unsettling, they are supposed to “follow the law” and “follow the rules.” Yet, when the laws are not made to give justice to women, the only way to get it is to rebel. Gaga does this in “Paparazzi” and in “Telephone.” Beyoncé breaks her out of the prison, and they plan their next attack on “society.” What more iconic of society than the American Diner? In that scene Beyoncé meets, what I am assuming is either her boyfriend, or maybe pimp? Either way, the label isn’t important as what the role symbolized. A figured who is dominating and controlling. You know this by his demeanor toward Beyoncé and others in the diner. He is a complete jerk, to be frank.

 

So, Beyoncé and Gaga plan to punish this dominator and purge it from themselves via poison. Gaga used this in “Paparazzi” as well. Poison symbolically in narrative was one of the few ways women could gain control. Traditionally they were not allowed to wield military, political power, or relationship power.  But, the knowledge of herbs, medicine, and beauty tools have been something that has been female knowledge. Therefore, poison represents power and a way to have control when all other avenues you are barred from using. So, by Gaga and Beyoncé using poison, they are once again subverting what “good girls” should be doing, in favor of taking back their agency. Which then, leads to the next point, consuming = death.

 

6.) Consuming = Death - The poison in “Telephone” also represents something else vile to women’s agency and autonomy, consumerism. You can see this in the product placement in the video. Whether intentional or not, the product placement is obvious, hence our susceptibility to being “sold” to isn’t separable from any other messages. It is obvious we are being marketed to. Products overtake everything in every part of our lives. It is like an addiction, one that the individual cannot win against.   It is like some unconscious hunger. This is symbolized as the poison which is added to the “honey” or “maple syrup” in the diner. We are nothing but consumers, and the message here is that it will kill you. We see the diners, viciously consuming their “food,” their “products,” and then, poison (relying on products) takes effect (the telephone effect) and kills everyone. Here, the messages is the obsession with consuming will be our death. On another note, when Beyoncé talks about “taking all her honey” this could also reference men who take everything from women, their self-esteem, their power, their humanity in order to consume and control them. Yet, this is a futile way to exist, because as Gaga and Beyoncé enact is how deadly and dangerous this consumption of products, and women is. It will come back to destroy you. The dancing in American flag apparel after the death scene is symbolic of consumerism as an American pastime, even as “patriotic,” the ultimate goal of our society, yet, to the end of death.

6.) Body as a Crime Scene – This is perhaps my favorite part of the video, Lady Gaga wrapped in crime scene tape. The symbolic messages of that are truly amazing. For one, women’s bodies as crime scenes are frighteningly true in our culture. Women are raped, abused, and sexually assaulted, literally making their bodies “crime scenes.” Their bodies are battlegrounds and this is where power and control are literally enacted upon. Gaga’s body is also a “crime scene” when it comes to crimes of sexual transgression. Her power as a woman has called into question her sexuality and gender identity, making her body and personhood a literal “crime again heteronormativity.” It doesn’t matter if she is bisexual, lesbian, pansexual, or asexual, she refuses to be obviously heterosexual, therefore is committing the aforementioned “crime.” Her body is also a “crime” against norms of dress and appearance because she uses her body to express some of the most horrible and vile ways out culture understands femininity. She refuses to blend in, to disappear in a crowd. She will be seen and heard. Her body is not invisible, but it is visible in the ways Gaga chooses, not the ways the “male gaze” or consumerism chooses. Therefore, once again, she is in control, and that is a “crime” for women.

 

7.) Pussy Wagon – If you have seen “Kill Bill Vol. 1,” you know about the “Pussy Wagon.” In the film, Uma Thurman’s character is raped (while she is in a coma) by a hospital employee. She swiftly kills that man, and takes his car keys to escape. She finds the vehicle, a large yellow truck emblazoned with the bright pink letters “Pussy Wagon.” The vehicle in many ways symbolized the misogyny of that hospital employee, basically reducing women down to their sexual uses and abuses for male pleasure. Such derogatory things like this, symbols, words, and actions have been reclaimed by feminist movements/civil rights movements as a way to take the power away from oppressors to define who they are through language and other symbols. For example, the word “Bitch” and “Queer” have been reclaimed by their respective groups to mean something positive, rather than negative, giving those groups the right and power to define who they are, not those who mean to oppress them. Now, that doesn’t mean every time it is used  it is used in this positive light, but attempts have been made to challenge it’s derogatory usage as a means of control.

So, Lady Gaga and Beyoncé’s use of the “Pussy Wagon” (a decided masculine and misogynist symbol in the “Kill Bill” movie,) as a means of a getaway car is a revisionist of its sexist meanings. It becomes their means of escape, their vehicle for freedom. Their use of it challenges its meaning and makes it something ironic, funny, and liberating for Gaga and Beyonce rather than oppressive. It becomes obvious how silly the “Pussy Wagon” is via their usage of it.

 

8.) Thelma & Louise – Finally, if you didn’t catch it, the movie has many references to the film “Thelma and Louise.” This film was considered the first “female action” flick about two women who run from the law that has wronged them, as well as, a man who attempted to rape Thelma. Louise shoots him to stop him in one scene, and the women then take to the road, on the run, because Louise is convinced they will not get justice for what happened. This is true, even today, where rape victims rarely receive justice. They are demonized as asking to be raped via their past sexual history, their appearance, or their alcohol level. No one ever asks to be sexually assaulted and abused. EVER. Nothing excuses a criminal’s actions against the victim/survivor. But, our culture continues to blame women when crimes are committed against them. It’s the “you made me hit you” argument. This silences women from actually coming forward when they are raped or abused, and even when going to trial, continues to dehumanize and demoralize them.

So, by Gaga and Beyonce referencing this film, they are paying homage to the women in the film, but in some ways, to all women who have refused to be victims of a society that despises them. They are standing up, refusing to be used, and will at any cost, remain free from a controlling world.  

 

There is so much in this music video, I could probably write another post on more of the symbolism. We’ll see, so stay tuned!  

Or, I guess this is just some silly pop music video huh? You decide. 

  

Here what Gaga has to say about “Telephone” here.

Telephone photos via Vibe and Jezebel.

Read some commentary about the “Telephone” video here, here, here, here, here, here, here and here.

[Via http://jukeboxheroines.wordpress.com]

Laredo Emerging Artists Festival (LEAF)

Local talent? We have local talent?? Of course we do! I received this invitation and might just go to check it out:

Laredo is not just a piping hot border town and endless amounts of mexican and/or texmex restuarants…it is the home of many emerging and talented artists…in which we bring you…L.E.A.F. Laredo Emerging Artists Festival!

On Saturday April 3, 2010 at Casa Blanca Ballroom, you’ll witness 20 multi-genre performances by:

BACCHANALIAN BLISS (Ska/ Rock)
SOMEWHERE IN BETWEEN (Indie/ Experimental)
MECHANICA INFLEXIBLE (Latin Rock)
SOTO ACADEMY OF MUSIC GUITAR ENSEMBLE
NEVER AFTER (Rock)
EREBUS (Experimental Rock)
FOR THE TAKING (Metal/ Hardcore/ Electronica)
FLAT 5 STUDIOS ROCK BAND ENSEMBLE
FRIENDLY TRANSMISSIONS (Pop Rock/ Indie)
ABOVE REPROACH (Christian Metalcore)
BENEATH THE FLAMES (Metal)
J.A.M. STUDIOS CHOIR
BLIND QUEEN (Hip Hop/ MC)
THE CLOSEST THING (Alternative Rock)
THE REEN (Singer/Songwriter/ Pop/ Rock)
ELITE (Hip Hop)
CORPSE KIN (Horror Punk)
CLOUD 9 (Pop Punk)
TWO LESS CROWS (Indie)
PROM WOLF (Electronica)

[Via http://quefregados.wordpress.com]

Guest Influence

Today’s entry comes from the influence of a track I was handed last week. I’ve tried to put together some complimentary music for it but I don’t know if any of it lives up to the first track. I’ll let the guest reviewer speak for himself:

I found this song almost by fluke, on one of my ever so often music searches, and was pleasantly surprised. It’s a classic Citizen Cope song, with his instantly recognizable drawl that though filled with horrid articulation, is incredibly easy to identify with. With a few different tempos, and a bluesy, soulful feel to it, it has the makings of a song for any occasion. The lyrics are well constructed and clever, and the music, though simple, has an interesting beat and sound to it. I hope you enjoy this song as much as I did and still do!         – Walker Brown

Citizen Cope – Healing Hands

Thanks Walker, I do enjoy. Here’s some other music that fits into the same vibe.

Black Keys – Lies

If you like the Black Keys sound check out their album Attack and Release and also one forthcoming on May 18th. Wish I had a new track off of it but nothing yet.

Take look at a collaboration they did with 11 hip/hop and r&b artists called BlakRoc.

BlakRoc – On the Vista (ft. Mos Def)

And finally let’s go old school soul with some Otis Redding

Otis Redding – These Arms of Mine

[Via http://lancermusic.wordpress.com]

Dissecting "You're So Vain" by Carly Simon

Ever since December 1972-January 1973, people have been trying to piece together the meaning of Carly Simon’s “You’re So Vain.” The problem is that everyone wants to know WHO the song is about, as if everything in that song is so straightforward that all that’s needed is the final clue to know what it’s about.

I would suggest instead that maybe people pay attention to the chorus. It brings out a definite color to the words, and gives meanings that have been missed for many years.

(but then, I’ve been way off before. I took one word that was meant to be a filler word, took it as intended and totally misread the lyrics; so take this blog with however much salt you feel safe with).

(Note: All lyrics come off the song page on The Official Carly Simon Website)

You walked into the party like you were walking onto a yacht
Your hat strategically dipped below one eye
Your scarf – it was apricot
You had one eye in the mirror as you watched yourself gavotte
And all the girls dreamed that they’d be your partner
They’d be your partner

If you notice, it’s about a guy who seems very much focused with impressions. His focus on his entrance, his dress, the scent of his scarf, his movements; everything calculated to impress. He even thinks that he’s impressing the girls, as well. (or, if we’re talking with Geffin, with the guys and Carly Simon felt the need to edit so that everyone could understand her).

Then we come upon the chorus (yeah, I transferred the “and” from the verse to the chorus):

and….
You’re so vain, you probably think this song is about you
You’re so vain, I’ll bet you think this song is about you
Don’t you? Don’t you?

And the songwriter is smirking. At the guy.

The song isn’t about HIM, it’s about WHAT HE THINKS ABOUT HIMSELF. We don’t know if the guy was actually a dud, but from the above verse, it’s obvious the guy’s a bit too taken with himself. And the song’s about that. Not Him, but what he thinks about himself.

On to the next verse:

You had me several years ago when I was still quite naive
Well you said that we made such a pretty pair
and that you would never leave
But you gave away the things you loved and one of them was me
I had some dreams they were clouds in my coffee, clouds in my coffee and….(chorus)

Was this some boy she dated for a while in the past? Warren Beatty (who WOULD wear an apricot scarf and know how to Gavotte)? David Crosby? David Geffin? Some guy who thinks that if he writes enough lovesick letters that he’ll win this woman? Her father, maybe (remove “you said that we made such a pretty pair” and you have the picture of someone whose ambition led him to give away everything for the sake of success. Include the line, and you have a record of her parent’s divorce, maybe?)? Herself?

Of course, she’s always said this was a composite, although it’s likely that she used one person as the main inspiration for the song and sprinkled other people’s foibles into the mix to make things harder.

Next, the third verse:

Well I hear you went up to Saratoga and your horse naturally won
Then you flew your Lear jet up to Nova Scotia to see the total eclipse of the sun
Well, you’re where you should be all of the time
And when you’re not you’re with
Some underworld spy or the wife of a close friend
Wife of a close friend, and…. (chorus)

This reminds me of Charles Bukowski’s self-characterization – Better than everyone else, and thus deserving his good luck. Granted, Charles made no attempts at self-aggrandization; indeed part of his pose was that he knew himself and kept to his strengths: Finding jobs when he needed them, always good with the ladies who saw underneath his exterior, smart with the horses (and knowing that horses were the best way to gamble), no nonsense with his poetry, loved his drink, had good taste in various things he could afford, and lived to write (of course, the guy worked for the USPS so he was able to do all this without the constant seeking of work that would have wore him down in truth). Add in the idea of always being at the right place at the right time (unless you chose to do something else), and you have the perfect self-image of someone who thinks everything about thmselves.

Hence, again, my thought that the chorus skewers the subject of the song by basically saying “What you think of yourself is SOO mock-worthy.”

- – - – - – - – - – - – - – - -

That, of course, would leave the question of WHOM Carly’s talking about up in the air, but it would make for the possibility that the guy was some small-potatoes person who thought of himself as more than he was. Not exactly uncommon.

[Via http://godozo.wordpress.com]

My sew song

Ok, so i told you that i was comming out with a new song but even though it was finished i lost in an accident. so i am finally writing a new one. it is called “Make her mine” and it has a lot more of a pop touch to it. i decided i needed something that was filled with energy because my other songs just don’t seem to grab attention like i want. i like them more for what it in them and not what they sound like. this song is different then all that i have ever written, it is faster paced, it has meaningful lyrics, and i like where i am going with this new turn in style. i will put it up as soon as it is done. Thanks for looking.

p.s. when i do get it done you could all help me out by linking to me on YouTube or on a blog of your own. if you couldn’t tell, i am trying to make something big out of my singing and to make that happen i will need as much help as i can get!

your friend

♥Taylor Kolker♦

[Via http://emovampire.wordpress.com]

BE THE ONE | the ting tings

an acoustic version of “BE THE ONE” by THE TING TINGS…

lyrics:
You say it’s not what you do,
It’s what you’re thinkin of
Well I think it’s just an excuse
It’s what you put across
And I don’t wanna be the one
Only overjoyed
Yeah I don’t wanna be the one
Makin all the noise
Yeah I don’t wanna be the one

So make sure you’re thinkin it through
You’ve let me down again
Offer me somethin
I know you really meant
Cuz I don’t wanna the one
Only overjoyed
Yeah I don’t wanna be the one
Makin all the noise
Yeah I don’t wanna be the one
Hey!

What you gonna offer now?

I don’t wanna be the one
Only overjoyed
Yeah I don’t wanna be the one
Makin all the noise
Yeah I don’t wanna be the one
Hey!

What you gonna offer now?
What you gonna offer now?
What you gonna offer now?

This was not my idea
Don’t you keep me waitin
This was not my idea
Don’t you keep me waitin
This was not my idea
Don’t you keep me waitin

[Via http://mymusikpicks.wordpress.com]

One A Day, Day 44: Music Without Embarrassment

I love Spotify, yet still don’t understand how it can possibly work. The record labels seem to be perfectly happy to keep working with it, though – there’s a ton of stuff available on it now, from the mainstream to the super-obscure. There’s even some movie soundtracks on there – after a throwaway comment regarding the Beauty and the Beast soundtrack the other day, I checked to see if it was on there, and it was. Score. Assuming you like Disney soundtracks.

The best thing about Spotify, though, is it gives you the opportunity to “try out” music you wouldn’t think of walking into a shop and buying. Actually, I’ve been known on a number of past occasions to walk into a shop and buy an embarrassing album simply because I either found one of the songs repeatedly played on the radio just a little bit too catchy, or I quite fancied the singer, or both. I haven’t done that for a while, now. In fact, I can’t remember what the last CD I bought was. It was certainly a long time ago now – if I’m buying music these days, I’ll tend to buy it from iTunes or Amazon.

Anyway, two irritatingly catchy things that have been stuck in my head thanks to the stagnant playlist on Radio 1 are Ke$ha (who needs a slap for doing the “dollar sign as S” thing) and Owl City (who I thought was actually a guy called Al City, and was notable for being a recent UK number one that actually had something approaching a decent tune). Now, neither of these artists are ones I particularly felt the need to rush out and buy the albums for, but the songs they’d released were just the right side of the “catchy/annoying” spectrum to warrant a bit of further investigation.

Ke$ha produces from her mouth not only the most American American accent I’ve ever heard, but also sounds remarkably like what would happen if you took Kelly Clarkson and forcibly inserted her into a NES. From her recent single (the obnoxiously misspelled “TiK ToK”) I had assumed that all of her stuff would be along the lines of the interminable stream of crap R&B that seems to flood the charts these days, but her album Animal was a pleasant surprise, including a number of different styles of music, many of which feature appealingly lo-fi backings that sound like they were produced by a synth that had never heard the term “wave-table synthesis” before. The tunes are catchy and the lyrics are vapid bubblegum fluff (one song is called “Party at a Rich Dude’s House” and is, as you might expect, about a party at a rich dude’s house, where Ke$ha proudly informs us that she was sick in his cupboard) but the thing I actually liked about the album is that it doesn’t take itself too seriously. So much crap R&B (which there are definite leanings towards) ends up trying to sound “dark” or “gritty” but just ends up sounding like an emasculated twat whining about ooh baby girl, I’ma take joo out, oooh, yeah, mmmmm-hmmmm. Ke$ha sings actual words, doesn’t do that stupid Mariah Carey warble and, more to the point, doesn’t stick to the boring R&B sound. I’m not even sure why I keep comparing her to that, as she’s clearly a pop artist.

Anyway, enough of that embarrassment. (She was fun to drive home to, thanks to the Spotify mobile app on the iPhone. I should shut up, as I’m only making things worse for myself, here.)

Owl City – if you haven’t heard of them, you might recognise the song “Fireflies” which hit the UK charts a few weeks ago and proved so popular for a short period that it was even heard on Radio 2 at the same time as it was on Radio 1. It’s a pleasant little song about fireflies (all right, I don’t know the lyrics and don’t really care enough to go and look them up) with a catchy tune and a vocalist with a distinctive voice. The album is much the same – electronic backings, gentle, slightly whiny American voice over the top. It, like Ke$ha, isn’t something I’m clamouring to purchase for keeps, but it was a pleasant enough listen for a little while.

So there’s Half Hearted Music Review Of The Day. If you have a copy of Spotify, why not try out something you don’t expect to like? You might just be surprised.

On a side note, I have three invites to Spotify available, so if you want one, write me a poem including the word “turgid” in the comments and the best three win an invite. No purchase necessary.

[Via http://angryjedi.wordpress.com]

Lady Gaga - Paparazzi

Artist: Lady Gaga
Album: The Fame (2008)

Paparazzi este ultimul single de pe albumul de debut al lui Lady Gaga,  “The Fame”. E unul dintre cele mai apreciate hituri ale artistei, atat in randul fanilor, cat si in randul criticilor muzicali. Videoclipul beneficiaza de prezenta bad boy-ului din “True Blood”, Alexander Skarsgard.

Lyrics / Lady Gaga – Paparazzi

We are the crowd
We’re c-coming out
Got my flash on it’s true
Need that picture of you
It’s so magical
We’d be so fantastical

Leather and jeans
Your watch glamorous
Not sure what it means
But this photo of us
It don’t have a price
Ready for those flashing lights
‘Cause you know that baby I

I’m your biggest fan
I’ll follow you until you love me
Papa-paparazzi
Baby there’s no other superstar
You know that I’ll be your
Papa-paparazzi

Promise I’ll be kind
But I won’t stop until that boy is mine
Baby you’ll be famous
Chase you down until you love me
Papa-paparazzi

I’ll be your girl
Backstage at your show
Velvet ropes and guitars
Yeah cause you’ll know
I’m staring between the sets
Eyeliner and cigarettes

Shadow is burnt
Yellow dance and return
My lashes are dry
But with teardrops I cry
It don’t have a price
Loving you is cherry pie
‘Cause you know that baby I

I’m your biggest fan
I’ll follow you until you love me
Papa-paparazzi
Baby there’s no other superstar
You know that I’ll be your
Papa-paparazzi

Promise I’ll be kind
But I won’t stop until that boy is mine
Baby you’ll be famous
Chase you down until you love me
Papa-paparazzi

Real good
(We dance in the studio)
Snap, snapped
(That shit on the radio)

Don’t stop boy, rewind
We’ll blast it but we’ll still have fun!

I’m your biggest fan
I’ll follow you until you love me
Papa-paparazzi
Baby there’s no other superstar
You know that I’ll be your
Papa-paparazzi

Promise I’ll be kind
But I won’t stop until that boy is mine
Baby you’ll be famous
Chase you down until you love me
Papa-paparazzi

[Via http://musicalobsessions.wordpress.com]