The Mirror Has Two Faces: On Fame, Politics, and Taylor Swift’s “Look What You Made Me Do” and Beyoncé’s “Formation”
Regardless of the accuracy of the claims of stealing from Beyoncé lodged against Taylor Swift regarding her new single and video “Look What You Made Me Do”, directed by the prolific Joseph Kahn, there is nonetheless a quick jolt of schadenfreude when someone quips, in quotes, “Okay ladies now let’s gentrification.” The riff on the chorus from Beyoncé’s single “Formation” sits atop one of the first images that appeared from Swift’s video, of the singer standing before a “squad” of dancers, in black. After seeing this teaser, before the video actually dropped, folks on Twitter ran with the vague similarities between that and a shot from the Melina Matsoukas directed “Formation” video, making a litany of variantly amusing jokes. But while the resemblance between the two music videos is arguably a stretch — the shots in question barely have the same blocking, never mind a difference in costuming, color palette, set design, and general scene composition, in context of the whole video or otherwise — there is a likeness between the tracks themselves that seems to have gone without much comment. It’s two women, under intense public scrutiny, answering the public in very different ways. Read the rest of this entry »
Once upon a time in West Hollywood, a friend of mine dragged me out to paint the town red and make me stop using old timey phrases like that when I was visiting Los Angeles. He took me to a gay club called Tiger Heat, which was supposed to be like the magazine in the sense that the twinks there were just as seemingly depthless. But I found one of my first true loves on the dance floor that night: the music video. As I don’t drink often and was then disinclined to engage with anyone in that kind of space socially, I spent the night swaying back and forth to the music, bathed in neon lights, and I stared up at the monstrous screen playing random music videos.
Perhaps surprisingly, yes, there were other music videos released this year not by Beyoncé. And while one may be quick to quip, “And I’m not sure why they bothered”, the little pieces of pop art pleasure here are just as worthy of attention as the tome Lemonade. Read the rest of this entry »
Over the summer, I briefly plunged myself into studying camp for a couple of pieces I did. Its definitions varied, one of the great conceptual terms whose definition is as elusive as the transient nature of what it may or may not describe. For some, it’s merely the love for kitsch; for others, it’s pointed exaggeration to subvert normative values in art; and for some others, it’s the enjoyable bad, where badness does a 360 and becomes good again in spite of itself. The common connection was the role artifice plays. It’s either tool or catalyst, coding in each second of a given text a kind of language recognized and shared by a niche group of people.
And then at some point, camp was mainstreamed, and what was once kind of secret became kind of populist, even if in a tangential way. Ryan Murphy, Madonna, Hairspray as a musical, and the grande dame, Lady Gaga. Read the rest of this entry »
There are two things about Sia’s music videos: 1) they are a voyeur’s delight and 2) they are made to be projected upon. These two ideas intersect fairly often, so it’s curious that such a perspective should be at once reinforced as well as negated for her most recent track and video, “The Greatest”, which, the artist says, was made in dedication of the victims of the Orlando massacre in June. Such an assignation of purpose is a little frustrating, honestly. Read the rest of this entry »
Amongst my worst qualities as a human being are my aggressive need to be right about the James Bond movies, my habit of impulsively buying food, and my disinclination to listen to complete albums. It’s not to say I haven’t done it (LEMONADE y’all!), it’s just that my taste in music, unlike my taste in people with whom I sleep and subsequently kick out of my room, is very high and finnicky. So, most of the music I listen to I’ve heard in commercials, trailers, movies, commercials and trailers for movies, the radio, and once in a while, recommendations from friends, enemies, and former lovers’ sister’s best friends. In honor and celebration of nothing in particular, here’s a list of 100 favorite songs that I originally intended on posting last year, but due to laziness and a bout of post-Mad Men depression, I never got to. Read the rest of this entry »
That guy – the one whose hairs cascades down his back like a nymph, straddling a line between art school sexy and Bushwick eye-roll worthy; the one who waxes poetically about peace, love, understanding, the latest Gibraltar coffee ad; the one that casually quotes Descartes and whose very nonchalance about the name dropping makes him all the more intriguing – has an album out, and it is both very good and also kind of silly. That guy is BØRNS and that album is Dopamine. Read the rest of this entry »
As I intimated back in 2012, “The Bond Sound” as we know it is mostly a cultural construct that was borne more out of John Barry’s orchestrations from the 1960s than much else to do with the theme songs in and of themselves. But, another few years and another couple of Bond tracks later, and I guess I should regroup and rerank them all, because that’s what you do when a new thing comes out, right? Listicles, man, listicles. My grading criteria shifts from son to song because I was rejected from SPECTRE membership, but it’s on two levels of consideration: a) is this a good song? And b) is this a good song for the Bond films? Because this is what you do when you have a lot of time on your hands. Read the rest of this entry »