 |
| The Indie Band Hold Your Horses! web link |
70 Million by Hold Your Horses ! (official music video)
Matching the Art with the Scenes
What the Master Pieces Meant
Matching the Art with the Scenes
70 Million Lyrics
Hold Your Horses!
And it hardly looked like a novel at all,
I hardly look like a hero at all
And I'm sorry, you didn't publish this
And you were white as snow; I was white as a sheet
When you came down in this black dress
In your mom's black maternity dress
And so,
Though it hardly looked like a novel at all,
And the city treats me, it treats me to you
And a cup of coffee for you
I should learn it's language and speak it to you
And 70 million should be in the know
And 70 million don't go out at all
And 70 million wouldn't walk this street
And 70 million would run to a hole
And 70 million would be wrong wrong wrong
And 70 million never see it at all
And 70 million haven't tasted snow
And we dance dance dance like the children dance
Imply thought are we taking the chance?
With the light still on, and will we ever reach the tower
And after you came down in this black dress
I don't know what took so very long
And this,
And this isn't a war, we don't have to ration
Now wave white flag, and you kept it at home
And words I wrote from a foreign land
You're holding my no longer foreign hand
And 70 million should be in the know
And 70 million don't go out at all
And 70 million wouldn't walk this street
And 70 million would run to a hole
And 70 million would be wrong wrong wrong
And 70 million never see it at all
And 70 million haven't tasted snow
Hold Your Horses!
And it hardly looked like a novel at all,
I hardly look like a hero at allAnd I'm sorry, you didn't publish this
And you were white as snow; I was white as a sheet
When you came down in this black dress
In your mom's black maternity dress
And so,
Though it hardly looked like a novel at all,
And the city treats me, it treats me to you
And a cup of coffee for you
I should learn it's language and speak it to you
And 70 million should be in the know
And 70 million don't go out at all
And 70 million wouldn't walk this street
And 70 million would run to a hole
And 70 million would be wrong wrong wrong
And 70 million never see it at all
And 70 million haven't tasted snow
And we dance dance dance like the children dance
Imply thought are we taking the chance?
With the light still on, and will we ever reach the tower
And after you came down in this black dress
I don't know what took so very long
And this,
And this isn't a war, we don't have to ration
Now wave white flag, and you kept it at home
And words I wrote from a foreign land
You're holding my no longer foreign hand
And 70 million should be in the know
And 70 million don't go out at all
And 70 million wouldn't walk this street
And 70 million would run to a hole
And 70 million would be wrong wrong wrong
And 70 million never see it at all
And 70 million haven't tasted snow
* * * * * * * * * *
 |
| In the music video for the song "70 Million," indie pop band Hold Your Horses! interprets 25 paintings, including Magritte's The Son of Man. | L'Ogre |
PLAYING GOD, JESUS, AND LIBERTY
http://www.artnews.com/2010/05/01/playing-god-jesus-and-liberty/
May 1, 2010
How a rock band restaged art-history classics for a music video that went viral.
As Salome carries his head on a silver platter, John the Baptist opens his eyes and sings a merry little melody to the camera.
That scene -- enacted by members of the French-American indie pop band Hold Your Horses! -- helped turn the music video for their song “70 Million” into a viral hit on the Internet, viewed nearly 300,000 times within two weeks of its being posted on the Web site Vimeo.
But it wasn’t this live-action re-staging of Caravaggio‘s Salome with the Head of Saint John the Baptist alone that did it. The three-minute video, created by the small production house L’Ogre, careens through 25 tableaux vivants of iconic works, ranging from Velázquez‘s Las Meninas to Munch‘s The Scream, from Manet‘s Olympia to Klimt‘s The Kiss.
All this art history was filmed over two weekends in a parking garage in Paris, using chalk drawings as backdrops and a smoke machine for fog. To re-create the cloudy sky in Michelangelo‘s Sistine Chapel ceiling, the production team ripped out the stuffing from 200 pillows. “The idea was to make the paintings youthful and funny and rock-and-roll,” the video’s director, David Freymond, says. “We were not trying to be too academic.”
The video begins with Jesus, from Leonardo‘s The Last Supper, drumming on a pot with a pair of wooden spoons. Frida Kahlo (from her self-portraits), van Gogh (from his Self-Portrait with Bandaged Ear), and Picasso‘s muse Dora Maar (from his Portrait of Dora Maar) are among the recognizable characters taking subsequent turns with the upbeat tune. One band member sings while smoking a cigarette, interpreting Otto Dix‘s Portrait of the Journalist Sylvia von Harden.
The music video “breaks with the image of a rock band,” Freymond says. “This poor band has to get naked—to re-create Renaissance paintings.” Well, not entirely naked: the Venus of Botticelli‘s The Birth of Venus wears a guitar as a cover-up.
The irreverent effort—for an enigmatic song the band claims is about the shifting feelings in a romantic relationship—required feats of costuming. A head covering and the perfect piece of jewelry turned guitarist Charles van den Boogaerde into Vermeer‘s Girl with a Pearl Earring. A bowler hat transformed bassist Robin Montmusson into Magritte‘s Son of Man. The same hat, adorned with a feather, appears in a staging of Holbein the Younger‘s Henry VIII.
To become Van Gogh’s sunflowers, band members covered their arms in green paint. Cellist Simon Tordjman had his face painted white, blue, red, yellow, and black to approximate a Mondrian painting. And six of the band’s seven members got to play the part of Warhol‘s Marilyn Monroe. They all wore the same wig, spray-painted a different color for each shot.
Part of the fun is watching unlikely subjects bang out the tune. The cadaver in Rembrandt‘s The Anatomy Lesson of Doctor Nicolaes Tulp reaches over to play a few notes on a melodica, for example. In an evocation of Gabrielle d’Estrées and One of Her Sisters, by an unknown 16th-century painter, a shirtless musician sways his head to the beat as he pinches the nipple of a comrade strumming a guitar. In most cases instruments are not in the original artworks, with Chagall‘s The Bride a notable exception: as in the painting, in the music video a goat (or rather a man with a goat mask attached to his head) plays the cello.
Florence Villeminot, drummer and vocalist, has starring roles in the stagings of The Creation of Adam, from Michelangelo’s Sistine Chapel, Leonardo’s The Last Supper, and Eugène Delacroix‘s Liberty Leading the People. “I was happy because I got to be God, the Virgin Mary, Jesus, and Liberty. That was my goal when I joined the band,” Villeminot quips.
In order of “appearance” in the Hold Your Horses! music video for “70 Million”:
- Leonardo, The Last Supper (1492–98)
- Botticelli, The Birth of Venus (ca. 1485)
- Rembrandt, The Anatomy Lesson of Doctor Nicolaes Tulp (1632)
- Holbein the Younger, Henry VIII (ca. 1536)
- Vermeer, Girl with a Pearl Earring (ca. 1665–66)
- Théodore Géricault, The Raft of the Medusa (1818–19)
- Jacques-Louis David, The Death of Marat (1793)
- Michelangelo, The Creation of Adam (ca. 1511)
- Magritte, The Son of Man (1964)
- Mondrian, after various compositions
- Frida Kahlo, after several self-portraits
- Picasso, Portrait of Dora Maar (1937)
- Munch, The Scream (1893)
- Van Gogh, Self-Portrait with Bandaged Ear (1889)
- Warhol, after various Marilyns
- Unknown artist, Gabrielle d’Estrées and One of Her Sisters (ca. 1594)
- Cenni di Pepo, Madonna and Child Enthroned with Six Angels (ca. 1280)
- Caravaggio, Salome with the Head of Saint John the Baptist (1606–7)
- Manet, Olympia (1863)
- Delacroix, Liberty Leading the People (1830)
- Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
- Klimt, The Kiss (1907–8)
- Chagall, The Bride (1950)
- Velázquez, Las Meninas (ca. 1656)
- Van Gogh, Vase with 12 Sunflowers (1888)
Copyright 2015, ARTnews LLC, 40 W 25th Street, 6th Floor, New York, N.Y. 10010. All rights reserved.
* * * * * * * * * *
70 million
by whart
This isn’t about an art event/exhibition (I have something else from that I’m still trying to edit) but I found an interesting video – interesting, humorous and pretty creative. It’s a music video for the band Hold Your Horses.
[First question]... How many paintings did you recognize? :)
Anyway, I guess this is a highly relevant video considering that we were discussing how advertising appropriates art in the last lesson. This is a pretty literal example of it, and it is also an example of parody. I think there are two possible implications.
1) The humour is disrespectful to the artworks as it violates their sanctity and doesn’t bring out their original meaning or context context e.g. if you think about how serious and emotional a Van Gogh painting is and how it has been turned into a funny singing man.
Also, the use of art for advertising [music] is objectionable…turning a priceless creation into low entertainment and a way to earn money.
The second one is the one most people will have and the one that I personally had.
2) It is humorous, but not in a malicious way. Seeing old and familiar artworks portrayed in a new way that is not mocking of them, but took creativity to plan and execute, is pleasant and inspiring. It is a lighthearted take on paintings that might otherwise be regarded as serious or boring by most people, and an expression of the band and director’s own creativity.
That is the view I lean more towards, although I won’t deny that the video doesn’t do justice to many of the original artworks’ emotional content and sense of pathos. In that sense I think I am quite pragmatic about art and reproductions…
I would rather a piece of artwork be reproduced, reused, given new meaning and made
relevant to a new audience rather than remain a sacred object that only a few people
are motivated to try and understand on a deeper level. (As long as the meaning is not
in conflict with the old one, and as long as it is not used for banal/unrelated/really
disrespectful like my toilet paper holder.)
It was the same thing when we were having the show and tell with all the appropriated/reproduced art we found and I said about my Coldplay album that I felt it was an acceptable use of art.
I guess you could say that both the video and the album cover do this. They are appropriating the artwork’s of the Old Masters, and on one hand it is a form of advertising (advertising to get people to buy the music) but on the other hand I feel they are creative endeavours in their own right.
The Coldplay album is part of a whole musical concept and idea the band is trying to evoke, while the direction and production of a video is a difficult and creative process. The paintings are the creative works of the past, but these are the creative works of the present, and we can’t deny that they have a broader appeal in today’s world.
Thus, I think it is a mistake to dismiss all reproduction as harmful and disrespectful to art. It isn’t something that can be stamped out or ignored, and like everything else, it has ambiguous and double-edged impacts, and some of these impacts can be positive, inspiring and creative. I feel that if we take all paintings so seriously and deny any kind of perspective or commentary on them other than the serious, classical, respectful one, we are not doing justice to their complexity and the way people relate to them.
-- Grace
No comments:
Post a Comment