The one-take video. Gimmick? Sure, it’s a bit of a gimmick, but we’re talking about music videos here, folks. These are essentially ads made to sell records, so let’s appreciate that the artists and directors here made the effort. And an effort it must be to coordinate some of these more complicated shoots. Oh, you know what I learned? That Rube Goldberg machine video from OK Go was not one-shot. Cheaters! They make the list anyway for their Internet-burning treadmill video. Cheeky bastards.
10. Undone “ Weezer
The video that launched Weezer. It was years before fans stopped asking drummer Pat Wilson to do his little butt-shake dance.
Every great screen biography of a music superstar needs three key ingredients to really sing: 1) An icon with the greatest story never told. 2) A talented lead actor or actress gunning for an Oscar nomination”singing talent and striking resemblance optional (Angela Bassett didn’t sing a word in What’s Love Got to Do with It, and she looks nothing like the film’s subject, yet she was Tina Turner). 3) Kick-ass songs.
Fantasia Barrino as gospel great Mahalia Jackson is coming soon. The Elton John Story (aka Rocketman) is reportedly finally in the works (I’d cast Justin Timberlake over mentioned favorite James McAvoy and pray that he can nail a British accent), as is Aretha Franklin’s (with or without Halle Berry, the Queen of Soul’s No. 1 choice), Anne Hathaway as Judy Garland and Sacha Baron Cohen as Freddie Mercury.
Robert Pattinson was announced as a possible Kurt Cobain at one point last year, but it’s hard to imagine that we’d get the true story as long as Courtney Love is around to kill it or put her spin on it. Ryan Gosling has the chops to pull off Cobain, but he’s already in everything and he’s several years older than Cobain was when he committed suicide. Note to aspiring biopic producers: One doesn’t have to cast a “star” as the star. Some biopics (Amadeus, starring Tom Hulce as Mozart; La vie en rose, with Marion Cotillard as Edith Piaf) do just fine without huge names.
Now that she’s gone too soon, too, it’s probably only a matter of time before we get Amy Winehouse‘s “untold” story. Note to aspiring biopic producers: Tabloid-era stars are best left alone unless, as with Eminem’s 8 Mile, the focus is on life before they were famous. Otherwise, we’ve already seen the action play out in the pages of Us Weekly and People magazine.
But what about those biopics in various stages of development and non-development? Here are six that I’m dying to see.
1) David Bowie: The star. The spectacle. The songs… Iman. I can’t think of a rock icon whose story is more deserving of the screen treatment. It would be a shoo-in for the Best Costume Design Oscar, and with a star like Jonathan Rhys Meyers (who already played a Bowie-esque figure to perfection in the 1998 film Velvet Goldmine), an actor worthy of the material.
” Tom Petty, “Jammin’ Me” (1987)
“Fuck Tom Petty!””Eddie Murphy
Oh, those crazy stars! What will they say next? And will they ever learn? What a tangled web they weave when they start to take pot shots at each other.
Celebrity feuds have existed since before the dawn of the pop charts. Eminem owes much of his early notoriety to cutting down to size the likes of Britney Spears, Christina Aguilera, ‘N Sync and Moby in videos and on record. Meanwhile, off the record (though always totally for attribution), Katy Perry has never met a fellow chart-topper she wouldn’t slag off.
But lately, stars keep colliding and disturbing the peace in the music galaxy. Liam Gallagher just filed suit against his brother Noel over the latter’s claim that Liam pulled out of a high-profile Oasis gig in 2009 due to a hangover and over comments Noel made blaming Liam for the demise of the band. But then brothers in arms have engaged in verbal”and occasionally, physical” combat since the heyday of the Kinks, which featured the dueling Davies, Ray and Dave. Chris and Rich Robinson of the Black Crowes, William and Jim Reid of the Jesus and Mary Chain, and Kings of Leon‘s Followill brothers have the battle scars to prove it.
We all know how much the music industry is changing. Technology is evolving and most people have ditched their CD collection for an iTunes library full of illegally-downloaded music. And while file-sharing seems to be the most prominent headline these days, there’s other music news to report. Music licensing has fast become a crucial aspect of the music industry, especially when it comes to making money. When someone owns the copyright to a piece of work, others must obtain a license from the artist in order to use said work. For example, music supervisors must get a synchronization license to use someone’s song in a movie or TV show. Recently, there’s been a lot going on in the world of music licensing. Here are some of the important music licensing stories we think you should know about!
- YouTube settled in a lawsuit with the NMPA (National Music Publishers Association of America) by agreeing to pay publishers a portion of their ad revenue in order to keep their artists’ music up on the site (this includes fan made videos with artists’ songs in them). The important thing to know about music publishers is that they represent writers. Sometimes a performer of a song is also the writer, but that’s not always the case. So, only the writers and their publishers will benefit from this settlement.
- Back in the ’70s, copyright law was revised to allow artists to reclaim their work (termination rights) after thirty-five years, so long as they apply two years in advance. Right now, record labels own the master recordings of huge artists such as Bruce Springsteen, Billy Joel, Bob Dylan and Tom Petty. The first wave of recordings that this rule applies to is from 1978 and record labels are anxiously preparing to fight back. If they lose the rights to these recordings, they will lose a huge source of income.
- A judge found that MP3tunes, in a case against EMI, was not guilty of promoting infringement. The Web site is a music cloud service that allows users to access their own music as well as the songs found through a search engine, which is the main point of concern. The case started out based on the allegation that 33,000 of the songs were infringing on copyright but the case brought it down to only 350 tracks.
Of all of the crucial components in a presidential election strategy, the campaign song is key. It sets a positive tone for rallies, distills the campaign’s core message and immediately allies the candidate with a specific musical demographic.
Or, it totally backfires.
With the majority of musicians leaning left in the political spectrum, conservative candidates have historically had a difficult time securing songs for their campaigns. So, what’s a politician to do when faced with a likely rejection from a copyright lawyer? Just use the song and pay the price later. After all, isn’t asking forgiveness is easier than asking permission?
GOP presidential candidate Michele Bachmann has become the latest target of political ire from liberal musicians. After playing the Tom Petty song American Girl during her presidential bid announcement, Bachmann received a stern cease and desist order from Petty’s lawyers alleging that she had used the song without permission. Not a week later, Bachmann received a similar warning from Katrina Leskanich, the lead singer of ’80s new wave group Katrina & the Waves. Bachmann had used their song Walking on Sunshine during rallies in Iowa and South Carolina, also supposedly without permission.
Though she didn’t consult Petty or Leskanich’s lawyers, Bachmann at least chose songs appropriate to her central campaign message. Past politicians haven’t been nearly as shrewd. In his 1984 re-election campaign, Ronald Reagan famously used Bruce Springsteen’s Born in the U.S.A. without the Boss’ permission. Exactly why his staffers thought that a song about a shell-shocked, probably disabled, disillusioned Vietnam War veteran would bolster their patriotic campaign still remains a mystery.
Though some pundits have argued that monetary motives are fueling Petty and Leskanich’s cease and desist orders to Bachmann, money is clearly not the only factor. Petty was completely cool with Hillary rocking out to American Girl in her 2008 campaign, but he forbade George W. Bush from using I Won’t Back Down in 2000. So, ultimately it does seem to be politics that are at stake for these artists, even if they unwittingly aid the very politicians they want to defeat in the process. By openly denying conservative politicians the use of their songs, musicians only give those politicians more media attention and press exposure. What is supposed to represent a triumphant rejection of Republican principles merely shines the spotlight brighter on them. But Petty and Leskanich wouldn’t understand that. After all, they’re not politicians.