42

I thank all the passersby and everyone who expressed flattering appreciation. Many questions have been raised, but I see that, one way or another, the various comments have smoothed over most of what could be said. It's very nice, as usual, that something that is intense for many is merely trivial for others: that's just how things have to go. I want to say just two things: A) my review of a Cure video is coming. B) I would be dishonest to say that I don't care about the ratings (also because the "42" project was born as a personal investigation in which this variable has a, not fundamental, but still considerable weight). That said, I am interested in ratings in a broad sense, not a numerical one, so if someone wants to give me a 5, may the gods bless them; if they want to give me a 1, may they be blessed as well (and the same goes for the beautiful intermediate numbers). Of course, I would appreciate it if motivations were also provided (with any rating, although they are obviously more important in the case of a negative review because they would help me improve), and dear O__O brings those so no problem even if they are too personal for me to avoid repeating "the affront" again ;-). Hello everyone.

@UHUHPANICOUHUH: I don't want to say something stupid, but I think that ad also made it to the international market. @Thirdeye: I'll leave the decision to the (magnificent) editors who will surely choose the most sensible one for the good ( ;-D) of the site; anyway, mine are already in the optometry section, thank you for the appreciation. @Gustavotanz: I understood, don't worry ;-)

The fact is that the song has nothing to do with what the ad wants to communicate: the pain Cash spoke of (with the lyrics slightly modified from Reznor's original) is not at all what an athlete might feel. There are 2 issues: either the "creatives" didn't even listen to (and/or understand) the lyrics or it's just plain superficiality... Who knows.

@UHUHPANICOUHUH: the pleasure is mine! @47: indeed, it essentially depends on how the video is set up, but the fact that the music clip was created for "advertising" needs seems quite clear to me and it is still used that way by most artists who choose to use this medium (as there are many who forgo it, I remember) including many talented ones, not just those simplistically mainstream. Hundreds are produced each year and the quality is mostly low, but if the factors you mentioned come into play, like a healthy attempt at reinterpretation, this usually reaches interesting peaks: that's the aspect I would like to "emancipate" ;-). It's curious that the piece by NIN redone by Cash is brought up in this review, considering that both (this one and the one by Daft Punk "reviewed") belong to that category of songs poorly used by advertising, remember?

I hope it doesn't bother you if I raise the average of the video just a little bit.

I thank Appestato Mantrico for the appreciation (at this point, I would love to read your review of a Liars video!) and I'm back to say something I had forgotten: it's obvious that the distinguishing factor is related to the era, but in the sentence "I want to highlight those who can reach as broad an audience as possible (the people) while maintaining high artistic levels," I also explain why I consider the videos (I'm only talking about that, I don't want to mix in the musical discussion now) of Daft Punk to be superior to those of Kraftwerk (setting aside the fact that saying, as I believe, that musically they are immense doesn’t take anything away from them).

@ALIA76: I apologize if I come off as brusque, but I'll get straight to the point: you're starting from a fundamentally flawed concept in my view. Music videos are not (or at least not only) "representations of musical art" but are simple and pure (in the most simplistic sense of the term) commercials, and as such they should be placed in a context that is different from the strictly musical one. Anyone who accepts the idea of making a music video must also accept the idea of entering a different world (everyone: from Pop to Black Metal). A world that often has purely commercial objectives. That said, amidst a universe dominated by suffocating miasmas like the Aguilera mentioned by Senzastile (with a comparison that seems quite forced to me), now and then a "music video person" emerges who has the ability to give a new meaning (often different but not misleading) to the single in question. I want to work in this context (I didn't use the term Pop Culture by chance): I want to exalt those who manage to reach the broadest possible audience (the people) while maintaining high artistic levels (which, and I may scandalize more than a few, is much more difficult than staying at artificially niche levels). I hope I have clarified.

Oh my God, on a conceptual level I wouldn't compare the videos of Kraftwerk with those of Daft Punk (although it's hard to believe they represent different worlds, even if the former definitely influenced the latter; but if we start looking for all the influences one has on the other, we would never stop). In terms of pure production technique (even for the time and the means available, mind you), I believe the Daft Punk videos are superior. Then, obviously, if one is desperately seeking the primal sparks, that's a different discussion which, honestly, is quite sterile: everyone is a child of their time, and I evaluate that. From a purely musical point of view, I might even agree, but here too there's a "but" related to the target: I wouldn't confuse Nicchia with Popolo (and to clarify, I always and forever root for the latter) simply because they respond to different rules. There would be more to say, but I risk boring you, so I'll stop here. Thank you for the comment.

I’ll finish and share my thoughts on the director/musician debate. As I’ve said, I side with the director because, while it’s true that without music there wouldn't be a video, it’s equally true that the conceptual work and realization by the director are absolutely crucial in making the short film interesting or not (since that's what we're talking about): how many great songs have we seen "ruined" by terrible videos (and vice versa: bad songs elevated by small visual masterpieces)? Many. It's obvious that for the purist of music, as pure expression, the video remains just an (unnecessary?) embellishment, and thus only the single aspect might be of interest, but from my perspective (as I mentioned to Alia76 above), the music video has over the years gained the dignity of a complex artistic expression in its own right, and this has happened thanks to the combination of the two elements (images and music) and the skill of many directors in marrying them well. Apologies for being long-winded, but it’s a topic I’m passionate about :-D

@ALIA76: I'll start from the end of your (appreciated nonetheless) comment: I do have Bjork on my schedule, but for me the rule stands: one artist = one video (I'll make an exception, and I think my friend Bartleboom knows what I'm talking about, but not just yet). Regarding the discussion about "trends" (thank you for calling a quirk that I currently nurture alone already a "trend" ;-) ), concerning reviewing videos, I don't know if you've noticed that I post a new review when I'm sure the previous one isn’t still in HP: this to avoid taking up space from other reviewers (even if, as dear Kosmogabri says, they aren't exactly overflowing as it is: I have noticed that the list in HP renews every 7-8-9 days, which doesn't seem too little to me). As for the opportunity to review music videos, it depends on individual sensibilities: I find this artistic form (allow me to call it that) one of those that has characterized the Pop Culture of our era the most, and combining that with the fact that it "touches" the most "beloved" art here on the Site (music), I've decided it deserved a deeper exploration, and so I chose to discuss it in the most personal and least intrusive way possible given my means. Honestly, if you consider all these things, I don't see what trauma it could cause DeB.