Showing posts with label Coincidencias. Show all posts
Showing posts with label Coincidencias. Show all posts

Friday, January 23, 2015

Motorcycle Mama (Or Girls on bikes in videos)

Let me start this year by saying how much I love "Black Widow" by Iggy Azalea featuring Rita Ora. I know, I know: a lame, derivative "Dark Horse" if ever was one. But you have to admit the build-up to the non-chorus is pretty fantastic, considering that is sung by an almost anonymous voice -Rita is not well known by her vocal skills, anyway-, and Iggy is more powerful on "Fancy" or "Work". But you get the idea.



Now, the video is something else altogether. In her grand tradition of making videos that seems like a tribute to famous movies, now it is the turn to "Kill Bill", including the one and only Michael Madsen, best known as Budd from said movie. It is such a travesty badly done, but nonetheless fun and it raises the song to more than a clone of some other tune and give it a life of its own. In a word: bonkers.



Which got me thinking: there should be a number of videos that features amazon-like women riding a motorcycle on some CGI universe looking to avenge mishaps committed towards them, right? Why, yes, there are, and plenty of them. This trope is very common in female empowerment video and our life is so, so much better for that. Let's take a look, shall we?

Britney Spears - "Toxic"

Before all the umbrella incidents and general craziness, Brit released this gem that surely got us talking with a sexy vibe and general greatness. But the trope was certainly improved by a handsome Tyson Beckford, driving such vehicle. All in all, an epic video.

She is riding a... Ducatti 999, and Tyson, let us not forget.




Paulina Rubio - "Don't Say Goodbye"

In her first incursion to American music landscape, Paulina shoot this expensive video almost on a green panel, it seems. Cool video, although it did little to get her on the mainstream pop of the beginning of 2000's. Well, you cannot have everything, right?

She is riding a... Replica of Kaneda's motorcycle, a character in the famous Akira manga and movie, which this video is heavily influenced from. Who would have known?




Shania Twain - "I'm Gonna Getcha Good!"

Following a success like Come On Over was not an easy feat, but Shania made it through this fun, sing-along song that made one hell of a video, as silly and clueless as the song itself. More like a TRON throwaway than the dystopian future they tried to convey. But yeah, great song.

She is riding a... Non-identified model of motorcycle, but reminiscing of the ones featured on TRON. You should check that movie.




Nicole Scherzinger - "Poison"

Certainly Nicole had a rough time convincing people that she was more than the prettiest girl on The Pussycat Dolls, or the more talented. Sadly, in this redux "Toxic"-like video, she didn't support that idea and seemed desperate to be a star in her own right. Sadly, it's not working for her, is it?

She is riding a... BMW R1200, which is a nice thing, I guess.




What we learned from all this?
- Girls love motorbikes...
- But they are afraid to ride them properly, so they need special effects and a green screen to achieve the desired effect.
- But they look fucking good while doing it.

An aside? Interestingly, all this videos are inspired from movies, and at least two of them (Britney's and Paulina's) are among the most expensive in the history of video.

So riding a motorcycle certainly has its perks, right?

Do you happen to know any other video featuring this trope? Sound off in the comments!

Wednesday, August 6, 2014

With Gaga giving a tribute or ripping off some styles..... You decide.


How about a musical math? It is not boring, I assure you:

Chaka Khan's hair and sass


+
Amy Winehouse's expression and fashion


=

Lady Gaga's new image



In my heart I believe she is only paying tribute to these great legends by spoofing a very late 80's image in this one. Chaka Khan, who I'm not very familiar to begin with, is one of the greatest soul and R&B exponents of that era, and well, what can we say about Amy Winehouse, with her untimely death that still feels like something unbearable. But to be honest, Gaga has looked better before, so I'm not sure if this is a right image now that she has decided to throw a jazz album along Mr. Tony Bennett. Maybe it's all part of the plan.

What do you think of that?

Monday, November 18, 2013

Album Review: Katy Perry, "PRISM"



One of the most anticipated albums of this fall must have been this one. Katy Perry has been omnipresent on pop since "One of The Boys", circa 2007, and we have never looked back. This is the case of the church-girl-going-to-superstar we have witnessed several times (Whitney, Beyoncé, et al), but in this case, she decided to strip away of that persona (sometimes, on a literal way), and embrace her pop roots and become the brand that we all now love.

And then, "Teenage Dream" came, and boy we never saw that one coming. Five number one songs, more than 5 million copies sold worldwide, and a great great world tour (which I've attended, luckily), the stakes were so high that she needed to deliver. Did she do it?

via


Well, first off: this is no "Teenage Dream" 2.0. While that album was goofy, unpretentious and straight-to-the-head pop, this album actually conveys a lot of styles and genres, all well crafted and bottled into tiny pieces, especially designed to stuck in the mind of the listeners and oblige them to stuck on repeat, until the lyrics acquire some meaning and you're able to sing along on your house, your car or whatever place you are listening to them.

But then, was that Katy's intention? She said about this album that she wanted to go to a "darker place", definitely inspired by the failed marriage she had with Rusell Brand. But then, love struck again in the form of Mr. John Mayer, and clearly influence part of this record.

Songs like "Legendary Lovers", with its bhangra style, or "Double Rainbow", a Sia-assisted collaboration, approaches the subject of her new found happiness, while adding some elements of new age and introspection into its lyrics. Meanwhile, "Ghost" recalls the infamous breakup with Rusell, turning this song into some cathartic experience for her, in a mid-tempo ballad that sounds both haunting and reassuring.

I have to say, "Roar" as a first single, as much derided that has been because the similarity with Sara Bareilles' "Brave", and its really, really goofy video, disappointed me at first. But then, as formulaic as it seems, it grown on me until it became my personal anthem for empowerment and self-assurance. Which I believe it was the smartest plan, because Katy seems to be aware, more than anyone, what kind of artist she is and her limitations, but most of all, her strenghts.



This album could be viewed as a double feature: for the first part, a string of sure-to-be hits, including two promotional singles that have my heart (and my replay button) stuck on repeat: the 90's Ce-Ce Peniston-like throwback "Walking on Air" (please, view the iTunes Festival presentation for maximum effect) and the trappy, strip-club-ready "Dark Horse" that is indeed the dark horse of the album, and I think it would be a potential hit, a-la "E.T." of "Teenage...", despite the atrocious rap of Juicy J. Minus that, this song is  a pop tiny masterpiece.

The second part is more ballad-oriented, with the themes of breaking up and empowerment hinted in the first part, going full in this second one. Katy is not very proficient delivering heartfelt ballads, but "Love Me" and "This Moment" feel more on her wheel, and definitely made a case for her, being this stablishing her as a more mature artist.

There are hints of the bubbly persona of "Teenage..." era, like "Birthday" with its anthemic vibe, and "International Smile", which it could very well have fit into "Teenage..." tracklist. And then, you got "This is How We Do", another 90's revival that flirts with lite hip-hop and have the goofiest and most certainly truest line of all: "Mariah Karaoke-y". Because, you know, Mariah and karaoke are certainly a match made in heaven. And props to "International Smile", an ode to all traveling people and the one that mentions Mexico, of all places. (Thanks for that, Katy). And of course, the Daft-Punk-y bridge that it certainly made me smile.



While "PRISM" IS a great pop album, it certainly falls short to live up to Katy standards. Now she is a pop tour-de-forcé, and we certainly expected more from her. But then again, she has always been very humble and clear of what to expect of her. She is very aware of her pop persona, and she has never intended to find the Holy Grail of pop, whatever that is. And we appreciate that: that despite all of her flaws and misconceptions, Katy is very down to earth and relatable. And that's why we are very happy for her success.

My rate: 8 out of 10. What's yours?

Saturday, July 20, 2013

Justin vs Robin: Crooners of the decade, but who is the best?

So definitely you have heard that song that is so good, well produced and with an excellent collaboration, with this white guy singing smooth R&B over an infectious beat. And of course, a controversial video, with nude supermodels dancing arond and the fully clothed singer strutting around like he just doesn't care, with innuendos and lyrics deemed "rapey" by some hardcore feminists.

Now, make a guess: which artist I'm talking about?

 
 
It is so common on pop music, and for that matter in any musical style, that comparisons between two seemingly similar artists arise, especially if those artists are almost indistinguishable one from the other. And no, I'm not saying this is the exact case between Justin Timberlake and Robin Thicke, but oh boy it has been a fun summer trying to spot the differences (if there's any).


 
 
Of course, credit goes where credit is due. Robin was the first one back in 1999 to start experimenting with this suave R&B formula that ultimately became his signature style. First as a producer of several songs for mainly pop acts (including one of my faves from Christina Aguilera's debut album, "When You Put Your Hands on Me"), and then started a solo career that took off with the release of "When I Get You Alone", a fine and excellent mash up of R&B and classical music courtesy of Beethoven. If you haven't listened it, please be my guest. It's just amazing.







Meanwhile, Justin was on the top of the world with 'NSync and the whole boy band hysteria of the 2000's. But somehow, it was very clear that his fate was not meant to be attached to those guys for long (pun totally intended). So in 2002 he embarked in a solo adventure, with a huge pay-off. "Like I Love You", his frist single and a clear homage to Michael Jackson, both musically and stylishly, met his ready-for-stadiums appeal and his R&B influences, and get a positive response. However, "Cry Me a River" was THE song, after a much publicized breakup with then beau Britney Spears, that launched him on superstar-level.






It is clear that the most successful of those two has been Justin, but clearly this is no Robin's fault. Each album he has done have been consistently good and improving on every aspect. But no doubt about Justin power on music, and he has developed a certain charisma that only superstars can achieve.










(I deliberately put songs similar in style so you can spot very well how these artists have been doing for the past years, and how a person with no knowledge of music and celebrities can easily confound them).

Frankly, I always thought Robin deserved much more attention and recognition. Fortunately, that pretty much changed this year when "Blurred Lines" hit the airwaves, and of course, that infamous video came out. How exactly the video has been helpful to the success of this song? I would dare to say that on a great scale. The song itself is excellent. With the help of Pharrell (who seems ubiquitous this season, don't you think?) and T.I. and a kick ass rhythm, this is the quintaessential summer tune. But the video, with three topless supermodels, certainly made his own indelible mark on pop culture and certainly put Thicke on the A-List of pop music, a place that I'm sure he won't let go for a while. I'm not going to discuss if the video is anti-feminist or derogatory to women; if you take a look on his work pre-Blurred Lines, you will know he's the crooner by excellence, always singing love songs with a smoothness that shows us how devoted he is to the feminine figure, so in my mind, this is just an attempt to reach a wider audience through controversy and of course, talent. Which he certainly achieved.



And then, Justin, which was on a hiatus on music trying to achieve a decent film career, came with the glorious and mature album "The 20/20 Experience", a concept album with sound going from pop, R&B, soul, and many influences, and instantly became a hit. Many people realised that this more stylish approach was very Thicke-influenced, but then the third single "Tunnel Vision" came out and well, we are talking some major blurred lines over here. A state-of-the-art video featuring (just wait) naked woman, over an infectious beat, summer-ready and definitely, the comparisons over the years became so much clear. To be honest, the Tunnel Vision concept is more stylized, and really a great video, but it's clear that whatever muse has inspired these two, is clearly giving them pretty much the same advice.



Let's just list the similarities:

1. Both songs refers to a very serious eye-related conditions.
2. Both songs are very R&B influenced.
3. Both songs are produced by very-recognised hip hop and  R&B producers, who also happen to made a cameo in the corresponding video and sang certain lines in it.
4. Each video has been censored by You Tube for "sexual content", and later reinstated "because of the art" (?).
5. On both videos, all women appear nude, meanwhile men are fully clothed and stylish.
6. Both songs mention on their lyrics stuff that has infuriated feminists, accusing them of being "misogynists" and "disrespectful towards women". The lines? "I know you want it" (Robin) and "I know you like it" (Justin).
7. Both song are really great.

So, who's to blame for all of this? Have they realized about this whirlwind that they created? Are they comfortable with this situation? And ultimately, who cares? There's plenty of room for every other artist, and if they decided to improve musical scenery by making excellent pop music, so let them. Maybe they will provide inspiration for many other male acts and that will be great, since it has been rough times for a male pop act to really stand out on the pop scene in a while.




But on the meantime, you have to decide which one is the best for you. For me? I guess I can easily spend some quality time with both of them and enjoy making music together. Oops... I guess that didn't come out as expected. (Again, pun totally intended).

So shut up and enjoy their music. With the lights off, please.

Saturday, June 8, 2013

Who is Paulina Rubio and why is she a new judge on The X-Factor USA?

 
 
Recently the line-up of new judges on that disaster called The X-Factor US has been known, and among past judges Simon Cowell and Demi Lovato, two new stars has been announced as a regular on the series: Kelly Rowland, former Destiny's Child member and judge on the UK version of Factor, and Paulina Rubio.
 
Many american people -and possibly around the world - were like: who the heck is Paulina Rubio? Me, being Mexican, I'm very familiar with her and I think is my duty to explain why an otherwise obscure artist to most English-speaking world has been granted such a role on this program, supposedly replacing the likes of Britney Spears, nonetheless.
 
 
At least in Mexico, Paulina has been a star since she was a child. Member of the 80's group Timbiriche, she has always been a household name but not always on a good way. Being regarded as obnoxious and diva-ish, Paulina is either loved or hated; no middle ground about her.
 
After Timbiriche she became a soloist and release several mediocre albums, with two or three good songs and starred on several telenovelas, all forgettable (maybe you should check Baila Conmigo on You Tube, to see a mexican take of the 50's and 60's era. Be warned). After that, she decided to expand her horizons and contracted several composers and producers to record a great album called Paulina, circa 2000.
  





Of course it was a hit. The best album she has come up with. For 2000's standards, this was such a breath of fresh air, on Mexico and all Latin America. Always syrupy ballads, midtempo numbers and then some girl defy the chances and made an album into dance-meets-latin pop and we all go nuts. even a ranchera-hip hop hybrid was on point.

Then, the crossover was inevitable. And indeed, with the latin boom on the US, this was a no brainer. Then Border Girl came, and although it wasn't a real success on America, at least established her as a real power on latin music and a force to be reckoned with. And if you check the video of "Don't Say Goodbye", you will realize it served as an inspiration of various pop divas on their own videos (looking at you, Shania Twain and Britney Spears, of all people).





After nothing happened on the US, she continued to amaze us with incredible music and videos. Pau-latina, her next effort, was a consistent album well ahead of the Latin Pop market at that time, and rightly so. Excellenet music and videos, like the ones above, made her a well-established name in Mexico and Spain, where she had made a good career pretending to have an Spanish accent and marrying washed up wannabes from that country.





An aside: Do you find something oddly familiar in the Algo Tienes video?


Yep, Lady Gaga took inspiration from her for the "Telephone" video. Now, people would say: "Lady Gaga doesnt even know who Paulina is" and I will say for Gaga, that is a great advantage. Taking fashion and inspiration for obscure artists is something Gaga knows what to do very well, right? Besides, who look better on that outfit? End of aside.

So, it's safe to say that even if Paulina is certainly not that talented and great singer as many other latin artists, she has a certain je ne sais quois to her advantage. It doesn't hurt that she always chooses songs very infectious and fun, and made them her own.







Besides, she has an experience being a coach on musical talent shows. Before the X-Factor gig, she was a coach during the second season of The Voice Mexico version, and on "The Voice Kids" on the US. So she had a minimal experience in these kind of shows, something that can work on her advantage (not that she was the best coach, either, but definitley one of her alumni is right now the most happy person in the world. Just saying).


 
 
So, I'm gonna say: Simon Cowell could be as egotistical and maniac as he is, but sure he knows what he's doing. Bringing something as big as Britney, but equally lifeless and boring didn't work on the long term, so maybe it's better to bring some sort of D-listers (as much as he was back on the day on American Idol), and turn the show into something tolerable and fun. Hopefully, he will get it.
 
 
So, for the record: Yay for Paulina for getting this big opportunity on the US. As a mexican, I'm proud of that. But she better does a great job, or else I'm going to deny everything I said in this post!
 
 
And finally, a photo so you can get to know all of Paulina Rubio (including her camel toe):
 
 
You're welcome.
 


Saturday, June 30, 2012

¿Qué relación hay entre Avril Lavigne y Dulce María? (Ninguna, diría yo...)

Pero sí la hay... Extraña, por cierto.

Primero no hay comparación. Ambas son artistas muy diferentes. Avril Lavigne es canadiense, ha sido solista desde sus inicios y compone desde que era una niña. Además ha vendido millones de discos. Y pues Dulce María... digo, no quiero sonar malinchista, pero sí es menos talentosa que Avril, aunque es mediana actriz y estuvo en el grupo RBD, donde alcanzó fama internacional y de ahí se hizo solista. Por cierto, ¿alguien me puede decir algún sencillo exitoso que haya sacado? Gracias, me imaginaba.

Nada en contra de ninguna de las dos. Es admirable hasta donde ha llegado cada una de ellas, en su estilo y en su mercado. Me inclino más por Avril, que siempre ha compuesto su música y nunca ha tratado de darse de aires de poetisa incomprendida en un mundo rodeado de hombres sin razón (muy a la Sor Juana Inés de la Cruz), cosa que Dulce María sí ha hecho (¿recuerdan aquél infame tweet en alusión al terremoto de Japón? Me dio las 3 horas más graciosas de mi vida, vía las respuestas que tuvo en Twitter).

El caso es que Avril tiene una canción que es mi favorita, "Hot". Por supuesto, en alta rotación en mi iPod. También, tengo el video, el cual les pido lo vean y observen bien:



Ahora, díganme, les suena este rostro? Aparece en el video en varias ocasiones, la primera en el minuto 1:53, 2:06 y 3:08 (éste último muy rápidamente). ¿A quién les recuerda?


Quizá son mis nervios, pero yo diría que se parece mucho a este rostro...


????

Por supuesto, no es Dulce María. Es un hombre. Busqué los créditos del video pero no aparecen, para saber cómo se llama el extra, o en una de esas, Dulce María en drag hombre para darse a conocer en el mercado anglo. No lo encontré. ¿Quién hace créditos de un video en estos días? Pero sin duda, el parecido es impresionante, y lo extraño es que es al único del público que le hacen un close-up, y nunca cambia su expresión para nada, por lo que asumo debe ser la única toma que le hicieron...

Comenten: ¿de verdad soy el único que vio este parecido? Por qué nadie comentó algo? Y lo más importante, ¿será un gemelo perdido de Dulce María, del que no sabemos nada, quizá ni ella?

Creo que ya debo ir a dormir...