http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Wed, 31 Jan 2007 22:50:26 EST http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. 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Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2007/01/31/225026.php Imran SiddiqueeIf you make yourself more than just a man, if you devote yourself to an ideal, then you become something else entirely… – Ducard/Ra’s Al Ghul, Batman Begins (2005)Nietzsche described the “superman”, or übermensch (also translated as “overman”), as the surpassing of man. Man, in his current state, is something to be overcome. In the rejection of self-doubt, guilt, and all the pain of standard morality, human beings can reach a state of “great healthiness,” where they are free to give life their own meaning.The Nietzschean “superman,” described through his fictional Zarathustra character and in his discussion of the anti-Christ, is one that decides for himself what is “right” and “wrong,” moving beyond the religious and social standards of good and evil to create new ideals, ones that inspire all of humanity to participate in their own constant process of self-overcoming. But to overcome man, one must first be human, and that is precisely the inspiring notion in Nietzsche’s seeming disregard for humanity. We are all capable of becoming supermen (although it disregards women, the theory still applies for all) and in this way we overcome the doubt and nihilism that plagues modern life. Yet in modern American entertainment, from comic books to films, the word superman has come to represent something else entirely. Rather than the inspiring elements of the “overman” concept, we are presented with an alien creature that is not human and whose supernatural abilities are thoroughly unattainable -- the hero of Bryan Singer’s Superman Returns. This latest incarnation of the Superman comic myth has nothing to do with Nietzsche's notions, instead reinforcing, through its Christianity iconography, the very same ideals he rejected. The superhero genre is filled with such awe-inspiring characters, unreal Christ-like beings who use their powers for the good of all people, sacrificing their own happiness in the process. Superman is the epitome -- though he learns to love humanity and recognize human potential, he remains forever above us, which colors his attitude with condescension. The idea of martyrdom, or self-sacrifice, is key to this concept of Superman and mirrors the ideas behind Jesus and other eternal figures; but it runs directly against Nietzsche’s vision of the superman, which hinges on the ability to surpass pity and embrace inspiration. To take Nietzsche’s vision of the anti-Christ this far, to actually reinterpret him as Christ himself, is the ultimate act of re-appropriation, negating what Superman actually could be. Though Superman seems fairly similar to every other comic book creation, Christopher Nolan’s Batman Begins (2005) features a hero much closer to the Nietzschean concept. Disgusted by the corruption around him, Bruce Wayne (Batman) decides to create from inside himself a beacon for his fellow humans. Batman fights the crime and corruption in his city not because he hates the criminals, but because he believes that people will do good if shown good. The film inverts religious iconography, placing the hero in shadows and darkness. His cave is beneath the ground, in the traditional realm of the devil, separated from the heavens above. Yet this is not Paradise Lost, and Batman has no satanic desire to spite God or humanity; instead his initial revengeful instincts are turned into a desire to rid the world of the fear that limits it, and instead reach for inspiration. While Batman Returns echoes our disgust with society and our collective intuition of our own possibilities, Superman Returns reflects a culture of pity and guilt. The villains in each film highlight this stark ideological contrast. Kevin Spacey's Lex Luthor is a jealous animal, one who aims for control but mainly seems motivated by the destruction of Superman himself. His inability to become as great as Superman is what fuels his hatred. Luthor is trapped in a hopeless competition against an infinitely superior being, and we are invited to despise him for it – a closer approximation of Milton's Satan. But Ra's Al Gul of Batman Begins aspires to create a perfect world, like Batman himself, only with more drastic and impatient methods. He has no compunction toward killing all those that oppose him or sicken him, instead of showing them the way. Al Gul and fellow villain Dr. Crane operate on fear, and it is fear that Bruce Wayne is constantly struggling to overcome (using the image of the bat intentionally to face his own fears). Batman works toward a community where all can feel capable of achieving something even in the face of great pain, rather than be horrified by self-doubt at every moment. He tells his trusted friend Alfred when explaining his theatrics, "people need dramatic examples to shake them out of apathy." Indeed the actions of Batman lead the rather unassuming Police Chief Gordon to slowly believe in himself and the cause of the Dark Knight, leading him to literally take the reigns of the "batmobile" and become a hero in his own right. Superman, on the other hand, simply works to keep people safe. Because of Superman's indomitable superiority, Lex Luthors will always exist in Metropolis as long as there is a Superman to envy. Celebrating a hero who invokes feelings of pity and envy in us is not a way to motivate people to believe in themselves, but rather it increases our doubt in humanities strength. Though we are shown images of a younger, more relatable Clark Kent realizing his potential, as he grows older he changes from an unlikely hero into the messiah, the chosen one who has no choice but to help us. Take the scene where Superman floats above the earth, listening to the millions of voices calling for help in his ear. There is an immense amount of pity associated with his decision to help us, because we cannot help ourselves. At the same time, director Bryan Singer invites us to pity Superman himself, because of his burden. Thus when he is injured and forced into the hospital, Lois Lane and others feel as though they took him for granted and that they owe Superman for all the times he has saved them. This reinforces humanity's self-pity and self-doubt instead of showing a path toward its own greatness. The difference between what Superman and Batman offer audiences also plays out in how each relates to his father. Superman’s father appears as either a huge floating head or simply as a booming voice assigning him responsibilities and duties involving humanity. In Batman Returns, Bruce Wayne is inspired by his father's optimism, which forms Bruce's foundation of faith in the human race. His father provides an example which directs us toward our own capabilities. Superman only shows us how happy we might be under his protection. But comparing the two love stories reveals the greatest difference between Batman Begins and Superman Returns. The romance in Singer’s film supplies its heart and soul -- it's the reason we are supposed to stay compelled. In the depictions of unrequited love between Lois and Superman, we once again are invited to embrace the condescending pity of self-sacrifice. Superman decides not to reveal himself to Lois, sacrificing his own love for the greater love of all mankind. Superman saves the life of Lois Lane many times, and she returns the favor as well, but it is uncertain whether his presence improves her life in any way. Yes, he can save her from burning buildings and fly her around town, but in the end his otherworldly power will not inspire Lois to be the best person she can be; instead it will push her into dependency. But in Batman Returns, Rachel Dawes is only initially transfixed by the mystery and awe-inspiring qualities of the Dark Knight. When Bruce Wayne, who has passed for a lazy sybarite, finally reveals his identity to her, the inspirational quality of the Nietzschean superman takes root. By learning that Batman is simply a man, her love for Bruce is renewed, as is her faith in limitless human potential. That’s the type of effect a superhero movie should aim to have: pushing people to reach for their own greatness, rather than worship someone else’s. As an audience member we want to be like Rachel Dawes, inspired by Batman to pursue our own ideals of “overcoming man” as we watch him create the Batman myth from the ground up. But in Superman Returns we are Lois Lane, in awe of another’s power and ready to merely serve this great alien creature. Video59002@blogcritics.org Wed, 31 Jan 2007 22:50:26 EST http://blogcritics.org/archives/2007/01/15/094329.php Imran SiddiqueeAlan Ball’s criminally underappreciated HBO drama, Six Feet Under, was as much about learning to live as it was about coming to terms with death. And though the tagline for the final season was “everything ends,” the show was also a series of new beginnings. The Fisher family is severely haunted by the loss of father and husband Nathaniel Fisher in the very first episode, but in their subsequent half-decade healing process they are also uncovering personal identities, goals, and meaning. And even as the characters age through five seasons of life’s cycles, it always seemed that the show itself wanted to push them towards eternal youthfulness. The multi-faceted themes of the show are partially reflected in the soundtrack choices made by each episode’s directors. Whether or not creator Ball had a hand in every one of these selections it’s clear that there are threads that run through the entire series' musical backdrop. This perspective is particularly relevant to the idea of growing youthful, and within it there are a number of examples of the power of song to uplift, change and provide escape from our perpetually sinking lives. In naming the entire series “six feet under” it was clear far before the first frame that tombstones would be carved. The strange fact that this family owned, operated, and lived in a funeral home only supported that inclination. Moreover, there was a prominent sense (especially in the younger Nate Fisher’s case) that with each passing day the characters were slipping further and further into their own future graves. It’s not entirely surprising then that the first song we hear (other than the theme) in episode one, season one, is from an opera. In French composer Georges Bizet’s Carmen (1875), the track "L'amour est un oiseau rebelled" is part of a larger meditation on the volatile nature of love. Here the song is juxtaposed against a faux-commercial for a “Glamorous Hearse” (these initial “commercial breaks” were later dropped in favor of more varied dream sequences and quite a few musical fantasies), which reflects the dark humor of the show as well as amplifying the implication of impending disaster. The tragedy is complete a few moments later when the elder Nathaniel is abruptly killed in his brand new funeral vehicle. In a sense the Fishers are consistently struggling to come to terms with the erratic spirit of life itself.The operatic mood is sustained throughout the next five seasons, with particular early emphasis through the use of Vivaldi and Mozart. Yet the most unforgettable musical moments are decidedly more pop in nature, from Peggy Lee to Kelly Clarkson. Even as the show presents itself as a dark, brooding indie production, its use of mood is far more varied. The inclusion of lighthearted, uplifting or pop radio music (as well as the twisted humor of the narrative and dialogue) belies the tragic undertones of the work. The aforementioned Lee, a '50s pop jazz icon, is a thematic link for the character of Nathaniel throughout the rest of the show, providing background music for his scenes with Nate especially, and establishing him as a carefree yet romantic figure. This is a consistent choice on the part of Ball, but there are many other times when music, plot, and visual poetry sublimate a mundane current of tension into something far more powerful.In season two Nate revisits his old flame Lisa in Seattle while recovering a body for Fisher & Sons. He takes his younger sister Claire with him, and during the trip the two have one of the few serious moments of bonding they’ve shared since Nate returned from Seattle (also since the death of their father). As they exit the car outside Lisa’s place, Yo La Tengo’s “Our Way to Fall” plays rather prominently over a close-up shot of Nate observing her house. It’s a fairly romantic song, with whispery vocals and hushed sounds; the lyrics recalling a moment of first love. Nate and Lisa were of course previously involved, and sparked by this moment, they will be involved again later. Yet the song selection at this juncture is far more perceptive than simply foreshadowing the future or recalling the past; it underlines the emotion that Nate must be feeling upon approaching this place as well. He has recently had difficulties with his current girlfriend Brenda, and returning to Lisa reminds him of the innocence and youthful energy of the past – something Nate is constantly seeking throughout the show. This marks a major turning point in Six Feet Under, because what Nate decides to do in Seattle will come back to literally haunt him for the rest of the series. In the season three opening episode “Perfect Circles” Nate is face-to-face with a completely new life that springs out of that desperation in Seattle. Coldplay’s “A Rush of Blood to the Head” is played twice in this episode, mainly as an indicator of the extreme shift in Nate’s life. His entire path has been altered before him seemingly overnight. The song also serves to prominently highlight the shift towards more popular selections that occurred as the show gained viewers. Yet the inclusion of Beck, Steely Dan, and others can only partially be attributed to the ratings (if that). Even as the budget grew the show continued to demonstrate a keen eye for unique and meaningful song choices. At the conclusion of the very same season Hank Williams gets the limelight with “Jambalaya,” featuring the chorus “son of a gun, we’ll have big fun.” It shines as a wry underscoring of the dramatic tension between Ruth’s (Nate’s mother) wedding and the death of Lisa – which has driven Nate to the edges of suicide.There are other musical themes that relate directly to characters, like the Peggy Lee commentary on Nathaniel Fisher. Though almost every character gets a chance to sing, David is most memorably associated with show tunes. Bands such as Built to Spill, Stereolab, and Yo La Tengo accompany scenes involving Nate and Claire, mirroring both their youth and their optimism (initially, in the case of Nate). Claire especially tends to be surrounded by indie music, further emphasizing the rebellious/artistic spirit that seems to drive her to and away from art school. In fact the majority of the memorable songs in the last half of the show are Claire’s moments. Season four’s “Parallel Play” episode finds the Fishers holding a garage sale, attempting to rid themselves of many painful memories. At the end of the day they pile everything that is left and set it aflame. Claire turns her boom box up as Radiohead’s “Lucky” comes slipping out the speakers, and the entire family gathers to watch the cathartic burning (which includes Lisa and Nate’s old bedsheets). While Thom Yorke croons that his luck “could change” and that he’s “waiting on the edge,” one could feel hopeful, but there is always a hint of doom in his words. Thus it’s not completely surprising that the bonfire helps only momentarily, with the rest of the season sinking deeper and deeper into turmoil.The turn in musical focus from Nate to the younger Claire is the same turn the narratives and themes take in the show. In the end the show passes the mantle to Claire, hoping to find some future in her spirit and creativity. In the second to last episode the mood is almost completely taken over by the dark angels of the present – Interpol, Juana Molina, and Arcade Fire.The Arcade Fire song is notable because it was written specifically for the Six Feet Under soundtrack (later nominated for a Grammy), and appears at one of the more climactic moments of the entire show. As Claire comes back from her horrific experience in the desert, Brenda is giving birth to Nate’s child and there is inexplicably a hint of optimism in the air. Much of this comes from the song, which plays through the end-credits. As lead singer Win Butler sings, “something ain’t right” a chorus of voices answer rather triumphantly, “yeah yeah yeah.” It is precisely this moment that Claire looks out into the night and first realizes that some cataclysmic change in her life might need to be made if she is going to avoid the fate of her brother.But it’s the episode before, titled “All Alone,” that is the most musically intriguing of the five-year drama. It also happens to be one of the more gut wrenching, with the death of Nate fully realized. In a flashback Claire recalls the day Nirvana singer Kurt Cobain killed himself and Nate comforted her with a joint. Cobain’s “All Apologies” plays on her stereo, and this marks another pivotal moment of bonding between the two. It’s clear that music is a definitive way in which these two characters could relate, but it’s also a moving tribute to the power of the singer to unite. Like Tupac or Morrison, Cobain represents a figure that moved beyond music to become almost saintly after his death. Nate, like his father, continues to exist in the show as a ghost in the minds of those he touched. Later, during Nate’s funeral service, Bob Dylan’s “Knocking on Heaven’s Door” plays (it was Nate’s request) while the guests enter. As you watch the scene you can’t help but notice how fitting the song is for Nate particularly; a man constantly troubled by thoughts of death, faith, and guilt. Nate has also literally been near death’s door since his AVM diagnosis a few years prior. During the same episode, as Claire and her new boyfriend Ted take a drive to escape the pain, Ted puts on some Kelly Clarkson. Even amidst her extreme grief Claire has her indie-radar on and questions Ted’s musical taste, but his rebuttal is quick – sometimes pop is exactly what you need to release these types of emotion. There is a small smile on Claire’s face, which is mirrored at the very conclusion of the show as she drives off into the sunrise to the sounds of Ted’s mixtape.But Six Feet Under revealed that there is much more to music than simple escapism. From David’s show choir to the random outbreaks of song and dance throughout, the series often threatened to break into an all out musical – and for good reason. For a show that seemed to be decidedly fighting the masses - emerging out of left field with oddball characters and an entirely unconventional premise – it was always really about finding one’s place in the unity of everything. What could be more unifying than a sing-a-long? At the end of the episode Claire puts on her headphones and listens to that Nirvana song again, with the final lines, “all in all is all we are.”Show Finale, Featuring: "Breathe Me" by Sia on Six Feet Under Vol. 2 - Everything EndsComplete music credits for Six Feet Under Video58114@blogcritics.org Mon, 15 Jan 2007 09:43:29 EST http://blogcritics.org/archives/2006/12/18/184839.php Imran SiddiqueeThe wide-spread availability of digital camcorders and the arrival of YouTube meant anybody with some talent and six treadmills could make a life-changing music video in 2006. But the sheer amount of footage out there meant that artists had to really step it up to truly stand-out, and our year-end list reflects a heated battle between indie and pop that can be seen as nothing but healthy for the future of the music video as an artform. 10. Christina Aguilera “Hurt” - Among the more visually sweeping videos of the year, Aguilera and director Floria Sigismondi also accomplish what is rare in music video – they show and tell us a gripping story. Using multiple old-school film genres and styles to heighten the impact of the memories we see on the screen, Sigismondi underlines the narrative with references to Aguilera’s own celebrity status. It’s this pairing of high-drama with the soul-shattering voice of the pop star that is most affecting throughout. Yet it’s the final sequence, moving quickly from a mid-level shot to an extreme close-up on the singer’s beautifully shattered expression that secures the emotional weight of this work. 9. My Chemical Romance “Welcome to the Black Parade” – Spilling the ink of Dr. Caligari and Persona all over sheets of Queen-like epic posing, what emerges is one pitch-black rebellious mess of haunting imagery, high-strung emotional impact and pop video at it’s best. The social critique is evident but the artistic touches are perhaps more subtle, from shot to shot there is so much going on in this video, and one can’t help but applaud the sheer depth with which it attacks its’ subject matter. 8. OK Go “Here It Goes Again” – This video will never be as cool as it was the first time you stumbled upon it through YouTube, but it remains one of the more creative and simple applications of the music video form in years. What other video this year inspired thousands of highly-uncoordinated indie-rock fans to actually try and dance to music, even if it was on crazy dangerous treadmills? For that alone it deserves some recognition, the subsequent Internet revolution that it seemed to spark is just gravy. 7. Arctic Monkeys “Leave Before the Lights Come On” – When the lights do come on the seemingly suicidal jumper that Paddy Constantine heroically rescues is in fact a desperately lonely woman looking for love in all the wrong places and ways. But his violent reactions to her annoying pursuit are almost equally disturbing, and so director John Hardwick paints a humorous yet thought-provoking portrait of the distance, fear and miscommunication that exists between people today.6. The Streets “Prangin’ Out” –Mike Skinner is engulfed in nightmares of addiction and vice represented through the vibrant horror of a red-rum hotel a la The Shining in this trance-inducing video. The camera only stops briefly as it cascades and floats around corners and through doorways, creating an ominous sense of presence and mystery that leaves one guessing right up until the final disturbing scene. 5. Justin Timberlake “My Love” – For the most infectious beat of the year the directors create one of the more addictive videos of 2006 and among the best mainstream dance videos in years. Not since Michael Jackson’s heyday have I spent so many hours in front of the screen trying to meticulously copy an artist’s particular dance (I’m only slightly ashamed to admit that), but thus is the power of this black and white minimalist video. Yet more than JT and his back-up dancers it’s the flying love-notes, the wonderfully spinning final shot and the constant juxtaposition of lust and love throughout - between serenade and seduction, dance and sex, flying rubber bands and cellos – that captures the hypnotic dualism of this street-ready ballad so perfectly. 4. Emily Haines “Dr. Blind” – It’s one of the more frightening scenes imaginable; being stuck all alone in a supermarket under the shadows of sale aisles and greed-inducing consumerism. It’s the type of thing that could lead one to a medicated drug-addiction - and that’s precisely what’s being battled in this dark, brooding and elegiac work. The human dominoes are sublime.3. Juvenile “Get Ya Hustle On” – Juvenile wants us to forcefully see what the mishandling of Katrina really means for the people still living in the city. Beginning with high-pitched strings and an angelic porcelain statue, in the next minute it becomes immediately clear that there are no saints marching in the streets of New Orleans. Instead there is a desperate scavenger-like mentality that permeates the air left in the wake of America’s hyper-capitalist dreams. 2. I Love You But I’ve Chosen Darkness “The Owl” – This brilliant video subtly develops a complex world of jailed emotions and growing terror from the inside out. The animation is startling, beautifully detailed and yet so simple in its use of colors and sharp lines. The focus on the crow’s dilated pupils is a masterstroke, emphasizing the emotion from the opening shots while echoing the horror-flick soundtrack of the song. Yet it’s clear that what we fear is not just the owl, but also the unknown – the external light towards which the crow is flying. And thus we have an existential crisis on our hands that makes for the most suspenseful video of the year.1. Mew “Special” - Though this video was originally released in 2005, Mew’s glorious new album was not available in the U.S. until 2006, so we’re keeping it right at the top of our list. This stunning treatise on the state of the modern romance is both transcendent and kitschy, reflecting the stirring power of Mew’s music itself. Beautifully shot and overzealously performed in black and white hues that recall Antonioni and B-grade horror in the same breathe – this is one of the most unforgettable collisions of love, fear, music and video, that you are likely to see this or any year. Music57234@blogcritics.org Mon, 18 Dec 2006 18:48:39 EST http://blogcritics.org/archives/2006/11/02/163723.php Imran SiddiqueeIn Antonioni’s L’Aventurra (1960), the seemingly perfect love of a couple is imposed upon by infidelity, lust, and distrust. While a love triangle forms and then falls apart, the rough and placid environment becomes a major player in this evolution. By the end of the film things have changed irrevocably for the lovers, but there is a sense of possible renewal that illuminates the final scenes in rural Italy.Directed by Martin De Thurah, this video lives in the same universe as L’Aventurra with its themes of black & white isolation and hypnotic use of water imagery (not to mention a beautiful lead actress whose looks are on par with Monica Vitti’s). It’s also decidedly new wave, film noir and post-modern, referencing everything from Crouching Tiger Hidden Dragon to Eternal Sunshine of the Spotless Mind. And it moves fluidly through all these places precisely because it deals with subject matter that is both universal and timeless. The first image is a staggering one, a visually stunning shot of a woman bursting out of and then hovering above the dark water that surrounds her. Water is typically associated with re-birth, but here the director plays with that concept. The beginning of new love is the birth of an entirely new consciousness, new feelings and new heights of emotion. But as the couple embrace amidst the water, it serves as a sexual metaphor as much an emotional or spiritual one. The original feelings of attraction and seduction are further represented in the “dance” that takes place between the woman and her man. While at first flamboyantly opposed to the beat of the tune, the movements become more precise as the relationship progresses. At the climax of this mating tango the woman is sent literally floating through the air, on a high of pure joy (a truly brilliant shot).Everything is over-the-top, from the extreme symbolism to the ridiculously dramatic dancing of the lovers. Yet it is intentionally so, and representative of both the idealization of love and the way in which it can blind and overtake our senses. The bearded man jumps across tables to be nearer to his love, when he could have simply run around them. But notice as the woman soars ecstatically. She has her eyes closed, as if she is already dreaming of the present moment as it is happening. Love is the subject of many dreams, and for that reason we may often assume we are in it when we are not, or also fail to grasp it when we truly are.As the couple moves further and further out of the water they were once immersed in, they begin to lose the innocence and naivety of those first moments. We see the woman stare longingly out her window at the passing rapids, wishing for the rush of feeling she once had. The couple has moved from the silly bliss of their courting dance to the more stagnant embrace of the living room. They have moved from the freedom of the outside to the domestication of home-living love, they are now officially together. But in that precise moment the entire process seems to lose its shine and faults begin to creep up. We notice the annoying things we had ignored before and for the first time; we feel the disgust and fear of banality. She slaps him hard across the face but he seems almost resigned to that fact, almost expecting it. Yet perhaps what we don’t expect, and what she doesn’t either, is that he is willing to follow her back into the water – they are both ready to take the “plunge” again. Much like the aforementioned Eternal Sunshine, Mew captures here a very vital strand of the modern relationship dynamic; the need for excitement, but also the ability to forgive and forget endlessly. The final lines of the song are “I saw the worst of you,” and even as the woman screams insults at her love, he doesn’t wilt in his dedication. There are both positive and negative connotations to this. Relationships never progress perfectly; we can almost never fully express what we really want to say to each other. At the same time, the overwhelming feeling of love can persist through even the most difficult of situations – as long as you are willing to take the risk it requires. And that risk is consistently drowning in the pool of innocence, rather than embracing the often-painful realities of your feelings.Watch Mew's "Special" below: Music55229@blogcritics.org Thu, 2 Nov 2006 16:37:23 EST http://blogcritics.org/archives/2006/10/24/125343.php Imran Siddiquee Much has been said about how the Internet has altered our conception of “truth,” at least in terms of newsworthy events. Twenty years ago if you wanted the facts about a war in the Middle East, all you had was the nightly news and whichever print publications chose to cover the event. Nowadays you have thousands of websites and blogs, multiple 24-hour news stations and the continued presence of print journalism searching for that same “truth.” On some level Thom Yorke’s video for “Harrowdown Hill” is in support of this Internet phenomenon. The bird’s eye-view that most major news services attempt to give, meaning the general impression of an event, is almost always far too narrow and biased. Yorke and his director celebrate the individual voice amongst the crowd; every hand, every incident that helps create that view. It’s important to realize that in every creative product, every political movement - every moment - there are multiple stories and multiple angles. Thus we get the blurred images from above the land, which at first almost seems like a miniature model world. But on closer inspection these landscapes are real, just seen through the lens of a generalized vision. The fear here is not that we miss the forest for the trees, but that we miss the dead body on a roof while admiring the vastness of a cityscape. But while that man lays alone on a rooftop, protestors march through the streets below. There is something to be said for mass movement, and the power of banding together for a cause. The images of struggle are perhaps the most affecting in the video, with large groups of the oppressed fighting the “system.” But even in these cases you can’t help but focus on the particulars of the images; for instance the trampled body under the hooves of armed police. There will always be a choice in what we hear, read, and see. It is perhaps impossible to ever truly both see the big picture and focus on the particular, but our vision of the general does directly influence the way in which we see the individual. I’m assuming when I see video of protesters, that the police are in the wrong, and thus the trampling of a body takes on certain significance for me. So if we take a closer look at that bird in the sky it looks a lot like a certain species of bird. Whether or not it is meant to be an eagle, and thus perhaps represent the United States, it is clear that Yorke and the director are commenting on the current war with the deluge of images of resisting authority. It is amongst this sea of violence that the individual voice and individual pain are lost, as Yorke struggles beneath the water to find some truth. The artist or anyone attempting to express uniqueness drowns amidst the colossal effects of war, and the collective nationalistic ideology behind it. Yorke laments, “I can’t take the pressure/ no one cares if you live or die,” and it’s a sentiment that seems to become especially true in times of war. But the final images of the vastness of our world also draw that conclusion out of its limited context. Because in a sense, amidst the sea of humanity and the sea of natural beauty, won’t the individual voice always drown? It’s thus the responsibility of the artist to resist that, and the responsibility of all people to search for those unique, individual perspectives on life. The “truth” remains elusive, but the more voices we hear the closer we get. Thom Yorke's video for the song 'Harrowdown Hill," which was directed by directed by Chel White, can be seen below. Music54785@blogcritics.org Tue, 24 Oct 2006 12:53:43 EDT