Happy Birthday, Gwen!

Gwen Stefani turns 44 today. In honor of this Pop/Rock/Fashion star—and expectant mom for the third time—I’m posting 4 in the Morning, which features my favorite scene of Stefani style at the 2:25 mark, as she leaves her apartment, rockin’ a high ponytail in academy-prep-school attire, with her big bag draped over her right forearm.



But then, I remembered Cool and The Sweet Escape, two more videos that I’m always amazed by. Quite literally, every shot of Gwen is framed beautifully. From “Marilyn” in a blue sweater, to sipping tea with an ex and his new girlfriend, to sitting in a gold-plated jail, Stefani balances natural beauty and tailored chic. BSo

Paris Is Still Burning: Ballroom Voguing Prevalent in Icona Pop’s Current Video and Gaultier’s Latest Show

The Swedish Pop duo, Icona Pop has followed up their massive hit, I Love It with their equally catchy single, All Night. The inspiring video features the duo performing at a drag ball, where two “houses” are observed by a table of judges to see which “family members” strike the fiercest fashion poses, otherwise and obviously known as Voguing.

This fashionable duel was best captured in the fascinating 1990 documentary, Paris Is Burning, which takes viewers way, way underground into the cutthroat world of the New York drag-ball culture. Although the film and Madonna’s Vogue, which made “strike a pose” mainstream, are both 23 years old, the overly presentational dance style has been making a bit of a referential comeback as of late.

A clip from Paris Is Burning:



Icona Pop’s All Night (with corporate sponsorship made evident)



Jean-Paul Gaultier’s Spring/Summer 2014 fashion show was held recently, where the catwalk sported a table of three judges, one of whom is the Spanish actress and model, Rossy de Palma, seen in the black bob and striped shirt. (De Palma was best known for appearing in six of Pedro Almodovar’s films and is a muse for the French fashion designer.) Models paraded in front of the judges, before they headed down the runway. The judges, as expected, held up cards to visually express their critique. One fashion model in particular, Karlie Kloss, was serving silhouette realness, as she literally struck several poses before heading down the runway, much to the ecstatic satisfaction of the judges. Kloss posed to the Scissor Sisters’ Let’s Have a Kiki. As some would say in the ball culture, Kloss “turnt it out.” BSo

Karlie Kloss:

Target is the Drug For Me: New Commercial Spots Trends, Evokes Classic Roxy Music

I’m sure you’ve been seeing the latest Target (Style) commercials, which use a fashion show as a way to highlight the latest trends, everything from embellishments and a tailored silhouette, to bold lips and wavy hair. This new campaign showcases Target’s consistently sleek and accessible brand, yet it’s the soundtrack that always reminds me of Roxy Music’s 1975 song, Love is the Drug. (The band was led by the singer, Bryan Ferry, who was partly known for his fashion sense, particularly his ties and tailored suits.) For the record, the song in the ad is entitled, Pussyfooter (Ju.Do Remix) by Coco Electrik, an Australian Pop duo, consisting of the singer, Anne Booty and the producer, Paul Harrison. BSo

Oh, Lorde! Singer Reflects on Suburban Reality Vs. Unattainable Riches on “Royals”

The brilliant song, Royals, by the New-Zealand singer, Lorde, has been in heavy rotation on VH-1, and on KFOG here in San Francisco. VH-1 has honored her as their “You Oughta Know Artist” for September.

Lorde, born Ella Yelich-O’Connor, sports a mature-sounding voice, well beyond her 16 years. On Royals, she sings about the reality of a suburban lower-middle-class existence, compared in stark contrast to the excessive (entitled) lifestyles of the rich and bling-worthy, often presented in Pop, Rap, Hip-Hop, and Sports cultures.

“In a torn-up town, no postcode envy

But every song’s like:
Gold teeth
Grey Goose
Trippin’ in the bathroom
Bloodstains
Ball gowns
Trashin’ the hotel room … we don’t care
We’re driving cadillacs in our dreams

But everybody’s like:
Cristal
Maybach
Diamonds on your timepiece
Jet planes
Islands
Tigers on a gold leash … we don’t care
We aren’t caught up in your love affair

And we’ll never be royals (royals)”. She simply states, with self-assured self-acceptance, “That kind of luxe just ain’t for us.”

The slightly eerie video pulls you into the suburbs, capturing the stagnant life of two teenage boys in the townhouse jungle, passing time either sitting around, shaving their heads, or sparring in the living room, a far cry from Justin Bieber, racing his Ferrari through his gated community. The mostly vacant faces convey a longing for something more, indicating that maybe, just maybe, that luxe is something they want badly.

Royals, as a Pop song, is fantastic. It’s smooth with a head-bobbin’ beat, tribal-inspired harmonies, a touch of electro-synth, and an addicting syncopated hook you want to memorize and spout off without stumbling. With Royals, Lorde is ruling the airwaves. BSo

Put Your Hands Up, Make ‘Em Touch: Lady Gaga’s “Applause” Deserves Nothing But

Lady Gaga opening this year’s MTV VMAs was definitely a highlight. Full of fearless abandon, she took the stage and performed her latest infectious single, Applause. She donned four costumes and one barely-there costume during her set. It was inspiring to see art and Pop on the same stage once again, in the form of Gaga.

Applause, the lead single off her forthcoming release, ARTPOP, is signature Gaga, as she layers in several hooks throughout. If the slight pause before the explosive chorus doesn’t get you, the one-two-one-two handclaps will, or the synthesized spelling of A-R-T-P-O-P at the end is sure to do it.

The energetic video is a moving canvas, with Gaga as painter and sometimes the canvas itself, smudging colors all over her mime-inspired face. It’s also modern performance art, with Gaga as the lead, decked out in several different outfits (or not much at all) in various scenarios. Just two of the many striking images: The surprising final reveal, after she ascends from a large top hat; Gaga as an ostrich in an egg, where she sings:

“Pop culture was in art
Now art’s in pop culture in me”

Gaga begins the chorus with, “Give me that thing that I love…” She certainly has.



Gaga’s vocal delivery in the verses can’t help but remind me of her doppelganger, Dale Bozzio of the ‘80s Pop group, Missing Persons, singing, Words. BSo

Miley’s “We Can’t Stop”: A Good Pop Song Gets Even Better as a Doo-Wop Cover

Excluding Miley Cyrus’ disturbing video for We Can’t Stop, and certainly that desperate “performance” on the MTV VMAs, I’ve found the single itself to be quite good, meaning catchy. Granted this isn’t Lennon-McCartney, the construction of this Pop song is smart, as it’s full of starts and, ironically, stops. Lyrically, not a fan of the many (club) drug references: “Dancing with Molly” and “… trying to get a line in the bathroom…” There is the deeply synthesized voice, singing one of the many hooks, which adds a welcome dose of funk.

The Original (Audio Only):



Postmodern Jukebox’s Doo-Wop Cover, featuring The Tee-Tones, sans “Molly” lyric. Isn’t it convenient how Molly sounds like Miley? BSo

Kid Learns Life Can Be Sour, But One Thing Makes It Delicious

Many life lessons can be learned while sitting around the kitchen table. The new commercial for JELL-O proves this to be true, as a father teaches his son why pudding cups can soothe and comfort life’s big stings. In the end, the son’s empathetic takeaway proves another lesson: sharing is caring.



(Note: The boss in this commercial reminds me of Gary Cole’s Bill Lumbergh from the spot-on film, Office Space.) BSo

Kiss Me Hard Before You Go: Lana Del Rey Vs. Cedric Gervais: “Summertime Sadness” Remix

Summertime Sadness, a song by the singer, Lana Del Rey, has recently received an unusual shot of happy sunshine, in the form of a remix, created by the French DJ, Cedric Gervais. Del Rey’s torch-style delivery is now surrounded by an electronic-dance-music beat, creating an intriguing contradiction that works hauntingly well.

Del Rey, who tends to remind me of the late actress, Karen Black in the ‘60s and ‘70s, delivers her vocals with girlie innocence, only to quickly drop them into the lower register, for a raspy, bourbon-soaked quality (“… cruisin’ down the coast, goin’ ‘bout 99 …”). Del Rey, garnering more mainstream popularity in the U.K., could have a hit on her hands in the U.S. The video, which features the actress, Jamie King, is #20 on the "VH-1 Top 20 Video Countdown." BSo

Dose of Minogue: “In Denial”: Pet Shop Boys Collaborates with Kylie

Continuing the male-gigolo theme (that’s a phrase that doesn’t come up very often), Pet Shop Boys’ 1999 duet with Kylie on In Denial tells the story of a gay “rough-trade boyfriend” (and father of a daughter), second-guessing his profession. Kylie and Neil Tennant trade verses, describing the exhausting “fantasy world” of a “vampire working at night, sleeping all day.” This live performance of In Denial comes from Kylie’s 2005 Showgirl: The Greatest Hits Tour. Tennant’s vocal is added in; Kylie sings her part live (as the daughter), suggesting advice to the protagonist, played by the amazingly limber dancer, Jason Beitel. BSo

Retro Respect: Blondie’s “Call Me” During Opening Credits to “American Gigolo”

Opening credits to a film can set the tone for the audience. In two minutes, the audience can learn a lot about the main character and the world in which he lives. Setting and time period, yes, but the world within the world is revealed. The opening credits to Paul Schrader’s American Gigolo is one of the best examples of this setup. Blondie’s Call Me is played over our introduction to Julian Kaye, a Los Angeles/Palm Springs male escort. Richard Gere, in a fearless, star-making performance, plays the confident Kaye, dripping in Giorgio Armani, driving out to the beach to see his (female) manager. But first, we see an afternoon in the life of Kaye, barely participating in a “sponsored” shopping spree, aloof as his client signs the big check. BSo

Comedy Central’s “Drunk History”: A Slurred, Not-Exactly-Accurate Account of the Patty Hearst Kidnapping

The series, “Drunk History” features “intoxicated” comedians providing their accounts of historical events, which are acted out by some pretty famous people playing the prominent figures in those events. What’s more, the comedian’s voice, slurred cadence and all, replaces all of the actors’ voices.

I recently saw an episode dedicated to San Francisco history. One of the accounts was the infamous Patty Hearst kidnapping in the ‘70s. The comedienne, Natasha Leggero is the inebriated scholar. (BTW, her dog, Cutie is aptly named.) Plus, take a look at who plays the heiress. Brilliant! Here’s a brief clip:

Best Video of the Year: Macklemore & Ryan Lewis with Mary Lambert: “Same Love”

Although the video was released late last year, Same Love — a song by the rapper, Macklemore (a.k.a. Ben Haggerty) and the producer, Ryan Lewis — is still in heavy rotation on the music-video channels… and rightly so. Nominated for an MTV VMA for “Best Song with a Social Message,” Same Love is a rap about (gay) equality, the legalization of same-sex marriage, as well as Haggerty’s commentary on the rap- and hip-hop-community’s outlook toward homosexuality. Haggerty also pulls from his own life: He briefly mentions his (gay) uncle in the poem. The singer, Mary Lambert comes in on the chorus and her vocal is nothing short of a soothing lullaby, full of honest declaration. Haggerty only makes a brief cameo in the video: He's holding a fireworks sparkler toward the end of the video. 

Yes, “Best Song with a Social Message,” for which it should (will) win, but the video for Same Love is hands down the best video of the year… period. (Darn those Blurred Lines.) It traces the life of a gay male, capturing in part the awkwardness of adolescence, especially at the iconic high-school dance, when, for some, self-discovery starts to contradict the commonplace; when you’re liked and loved and surrounded by friends, yet it only takes a second to shift into feeling disconnected and isolated. But there’s hope…

Macklemore and Ryan Lewis’ Same Love serves as a great way to balance out the catchy, silly hit that was Thrift Shop, with something substantive, confirming Haggerty is certainly more than a leopard mink and “… $20 in my pocket.” The MTV VMA show is Sunday, August 25. BSo

Dose of Minogue: Kylie Covers “The Crying Game”

During her 2002 Fever tour, Kylie included a medley of her ballads, which featured a cover of The Crying Game, a song made famous by Boy George for the film of the same title. Kylie starts the medley with a bit from The Crying Game, then proceeds to a section of Put Yourself in My Place. Next, she slides into the chorus of Finer Feelings, then to lyrics from Dangerous Game, and finally returning back to The Crying Game for a beautifully dramatic ending, complete with Kylie bathed in red-rose lighting. It’s another classic example of how her live shows give her the opportunity to belt it out vocally (5:30 – 6:10 is still impressive to this day), all while surrounded by simple, yet stunning visuals. BSo



Bonus: Boy George's The Crying Game:

‘Flix Flick: “This Is 40”: A Funny Look at the Milestone… But Then It Turns

In this spin-off to 2007’s Knocked Up, supporting characters, Debbie (Leslie Mann) and Pete (Paul Rudd) are now the main focus of Judd Apatow’s This Is 40. It’s a look at the married couple’s resistance to the realization that they’re turning 40.

The film’s first hour is light and certainly humorous, with several “rewind moments” thanks to Mann and Rudd’s believable chemistry and brilliantly goofy comedic timing. (Mann in particular shines, proving she’s one of the best comedic actresses working today.) A montage of Debbie and Pete getting their medical check-ups (Debbie in the dentist chair: “Turn it up! Turn it up!”) and their weekend getaway sans daughters (Debbie and Pete driving to their coastal hotel, gossiping about their kids; the couple having a morbidly droll conversation in their hotel bed) are definitely worth the rental.

Yet it’s in the second hour where the film starts to turn, becoming a darker story about secrecy in marriage, living beyond economic means (paycheck vs. passion), Debbie and Pete’s unresolved “Daddy issues,” and the destructive chaos all of that creates in one loud household, where “STOP IT!” and “SHUT UP!” are commonplace.

Debbie and Pete are basically fun, likable characters, yet they’re awful and flawed. They unfortunately slide into whiny territory, which explains the entitled behavior their teenage daughter, Sadie spews all over their house. And then there’s poor Charlotte, their youngest daughter, silenced amidst all the “f-bombs.” (Real-life married couple, Judd Apatow and Leslie Mann have once again cast their daughters, Maude and Iris Apatow to play Debbie and Pete’s offspring.) Supporting actors, Megan Fox, Charlyne Yi, Lena Dunham and Jason Segel really don’t need to be in this film at all, and Albert Brooks, as Pete’s Dad, and John Lithgow, as Debbie’s Dad are great actors, but contribute to the film’s decline into the somber. There is one exception: Melissa McCarthy. She plays a brutally angry parent of a boy named Joseph who is harassing Sadie via her Facebook page. (The blooper reel during the end credits showing McCarthy improvising lines during the filming of the parent-principal conference is a scream. McCarthy can do no wrong and watching Mann and Rudd try to hold it together is a joy.)

I commend This Is 40 for showing how turning 40 can become a desperate catatonic-inducing realization; a period when the bucket list is longer than the grocery list; a time when eating a cupcake out back over a garbage can or secretly smoking a cigarette next to an open window induces calm, if only for a minute. This Is 40, however, goes on 40 minutes too long in its attempt to become a darker look at marriage. Leave that to War of the Roses. BSo

AXS TV Breaks Down the Construction of Madonna’s MDNA Stage

AXS TV recently launched a new series entitled, “Tait Stages.” Profiling the company, Tait Towers, each episode in the series documents the company’s painstaking process to develop—and execute—concert-stage setups for some of the music industry’s biggest artists. In the premiere episode, “Madonna—The Matrix,” viewers have the opportunity to see the load-in for Madonna’s MDNA tour stop in Washington, D.C. The members of the production team down on the arena floor provide insight into everything from the meticulous calculations needed to hoist lighting rigs, to the 36 LED pylons (a.k.a. “the matrix”) that ascend from and descend into the main stage with spectacular jaw-dropping effect. The episode is a fascinating, eye-opening look at the unsung talent who work above, on and below the stage, all coming together so a consummate performer such as Madonna can bring the visual representation of her music to life. BSo



Madonna MDNA in San Jose, CA. Opening number: Girl Gone Wild. Great footage of the pylons from a vantage point that probably cost a pretty penny. This number was well worth the wait (for her).

Now That’s a Trailer: “20 Feet From Stardom”

The new documentary, 20 Feet From Stardom profiles some of the most famous backup vocalists the music industry has heard. Singers such as Darlene Love (her work with the producer, Phil Spector), Merry Clayton (The Rolling Stones song, Gimme Shelter), Claudia Lennear (an Ikette with the Ike & Tina Turner Revue), Lisa Fischer (tour outings with The Rolling Stones; Sting; Tina Turner), and Judith Hill (Michael Jackson’s This Is It; NBC’s “The Voice”) are allowed to take center stage to tell their stories. However, during this show, Mick Jagger, Sting, Bruce Springsteen and more provide backup, as they offer insight into the beautiful voices that have accentuated theirs. BSo

Dose of Minogue: “Skirt” Gets a New Cut

As I referenced in a post last month on Kylie’s birthday, her new single, Skirt is “… heavy on the stuttering synth, unfortunately drowning out Kylie’s vocal…” On Monday, Kylie released six Skirt remixes. This particular Switch remix slows the original down, creating a groovier experience on the ears, thanks in part to the predominance of the synth-bass notes heard immediately at the start of the remix (and wonderfully isolated during the last 20 seconds to finish out the funky, head-bobbing experience). There are also bubbly keyboard bits that allow the remix to take on a thankfully calmer, more ethereal feel. In addition, Kylie’s vocal (still intentionally manipulated in a few areas throughout the song) has come a little further up to the front, more of feature compared to the overuse of production in the original that, again, unfortunately drowned her out. Slip on this Skirt—this one fits a lot better. BSo

Big “Aha Moment” on “Super Soul Sunday”: Oprah Talks to the Author Marianne Williamson

This morning’s episode of “Super Soul Sunday” featured the author Marianne Williamson (A Return to Love). A spiritual friend and counselor to Oprah, Williamson talks about the practice of forgiveness and the principle of divine compensation. (In addition, you'll hear Williamson often referring to the book, A Course in Miracles.) This four-minute clip in particular showcases Williamson’s thought-provoking reflections on the Universe (“as the handwriting of God”; “the blueprint”) and how our lives have already been “programmed… to the highest creative possibility.”

Williamson communicates and teaches in a wonderfully calm and soothing manner, using simple analogies to convey principles and lessons that could otherwise be too hard to decipher and follow. Watch as Williamson talks about living with an open heart to “download the possibility”; the explanation and subsequent realization leave Oprah—and this viewer—experiencing one of the best “aha moments.” You can see it on Oprah’s face—everything just clicks into place. This is really good. BSo



OWN Original Short: The Way of the Lamb

Three minutes of the most adorable lamb, plus reflections on instinct and action.

Dose of Minogue: Kylie “Talks Shop” with The New York Times

Just a few days ago, I had the pleasure of perusing the new coffee-table book, “Kylie: Fashion” (Running Press, $40.00)—a beautifully assembled photographic timeline of some of the singer’s most memorable and influential moments in fashion over her 25-year career. This spectacular collection also features Minogue’s retrospective notes on the outfits and the creative context in which they were presented. “Kylie: Fashion” also incorporates brief write-ups by fashion designers, photographers, and her creative director, William Baker, providing insight into their professional relationships with the dynamic performer.

The New York Times recently went “Shopping with Kylie Minogue." Here, in this three-minute segment, the singer surrounds herself with bold prints, “hovers” over to a wall of heels, and speaks to her longstanding collaboration with Dolce & Gabbana. BSo



Double Dose: Kylie in a fitting with Dolce & Gabbana for her Aphrodite Les Folies 2011 tour:

Collabo Pharaoh Pharrell Teams Up with Nile Rodgers on Daft Punk's “Get Lucky”

As established in the previous post, mega-producer Pharrell Williams loves a good collaboration. Throw in a bit of the ‘70s and '80s in the form of the guitarist and (Madonna's Like A Virgin) producer, Nile Rodgers, plus two heaping handfuls of Electro-Robo-Pop in the form of Daft Punk, and you have Get Lucky. Does Get Lucky sound a little like Sister Sledge’s He’s the Greatest Dancer? If you think so, you’re on to something. Rodgers, of course, from the legendary ‘70s Soul-Disco-Pop band, Chic (Good Times; Le Freak; I Want Your Love) produced He’s the Greatest Dancer for the sisters Sledge.

Here’s a one-minute video preview of Get Lucky, featuring Pharrell on lead vocal, channeling Michael, left hand in pants pocket a la Billie Jean; Rodgers scratching signature style on guitar; Daft Punk on bass and drums. Just listen to those soulful transitions! Daft Punk’s latest release, Random Access Memories is out now. BSo