The video for Goldie Harvey’s new single “Don’t Touch,” opens in black and white, on a pair of bejeweled lips. A rapid sequence of images reveal a female dancing in a glow-in-the-dark corset and frilled mask; star-shaped glasses à la Elton John; barely-discernible spiderwebs twitching around the whites of crystal-rimmed eyes. Next we are looking into a padded room with illegible words scrawled on the glass in lipstick—the ravings of an insane woman—Goldie is shoved in, straightjacketed and dirty, with her hair teased into disarray. It’s not hard to see why some refer to the Nigerian pop star as the “African Lady Gaga.”
In the video, which was shot in Lagos and directed by Clarence Peters, Goldie chants “don’t touch my body” to a swift electric beat while moving through a collection of unpredictable scenes, each one stranger than the last. Goldie is an ancient Egyptian pharaoh, an angel, and a circus ringleader; she sports a red feather-and-sequined headdress and then plays assistant to a knife thrower. Several times in the video Goldie is shown wearing a leather corset and lace stockings, posing in front of what could easily have been a left-over set dressing from the last Tron film.
“Don’t Touch” is erratic and obscure but for a reason; the stream-of-consciousness style composition highlights an overarching element of insanity. Like Rihanna’s high-speed convulsing in “Disturbia,” or Lady Gaga’s rigid fingers and white-tiled walls in “Bad Romance,” Goldie’s allusions to madness typify a common theme present in the music of many of today’s successful female artists.
In the age of the viral video, where everyone is competing for hits and shameless poise is the ultimate goal, female empowerment still comes with the caveat that the woman must be at least a little bit crazy. Not necessarily bad nor incontrovertibly good, artists like Gaga and Rihanna have helped popularize the hot, edgy, slightly unstable female persona (“gaga” is literally a synonym of “insane”). Goldie embodies the role with relish, enticing unseen males under the guise of seduction, she breathes “come on boy,” just before pumping the breaks.
Like “Disturbia” and “Bad Romance,” Goldie’s track is lyrically simple but visually complex, and equally fun to listen to. Just remember, no touching.
Originally posted on Africa is a County.
GOP candidate Tim Pawlenty loves Bruce Springsteen, Kenny Chesney, Toby Keith… this is not surprising. But when the former Minnesota governor turns the tables on his interviewers, the ladies of the D.C.-based pop culture blog Glittarazzi, by asking them to name their favorite Lady Gaga song… well, now I’m surprised—for a minute any way. Once I recover from the original shock, reality sets in.
Is this Pawlenty’s best effort at becoming relevant? It kind of seems like someone on his staff thought they could make the incredibly dull Republican seem “edgy,” by going against the stereotype and having him divulge his secret love for the bisexual, outspokenly-liberal pop star.
Oh, T-Paw, try harder. Or better yet, don’t try, just stay boring, it’s much less awkward that way.
What do Lady Gaga and Bon Iver have in common? Well, um, give me a minute…
Okay, they’re both musicians, have released albums in the last month or so, and are both very talented in very different aspects. And both of them apparently enjoy a nice saxophone solo.
The two artists are on completely opposite ends of the genre spectrum; one wears dresses made of meat, rides into the Grammy’s in a giant silicone egg, and writes lyrics that express her views on immigration reform and LGBT issues, while the other records his albums in a converted swimming pool attached to a veterinarians office in Wisconsin, wears plaid button-ups, polo’s and khaki pants, and surprises his fans by popping up on a Kanye West track. But on both of their new albums, one can hear striking similarities in heavy saxophone solos and synthetic keyboard instrumentals that would play nicely on a mixed tape between Phil Collins’ “One More Night” and Madonna’s “Open Your Heart.”
Lady Gaga’s Born This Way features several 80’s inspired tomes; the track titled “Black Jesus + Amen Fashion” calls to mind Madonna’s interpretation of the black saint in “Like a Virgin,” while its instrumentals might encourage a cameo by Paula Abdul’s MC Skat Kat. The single “The Edge of Glory,” features a fantastic saxophone solo by the late Clarence Clemons of the E-Street Band. The video, which you can watch below, is simple by Lady Gaga’s standards, and seems to be inspired by basically every Michael Jackson video made in the 1980’s.
Bon Iver’s self-titled sophomore album is considerably more complex than Born This Way. The alt-indie group led by Justin Vernon has touches of 80’s noir, blended with the strong folksy sounds we’re accustomed to hearing from the band. In a surprising mix, Vernon fuses the decidedly 80’s sounds of the keyboard, electric guitar and saxophone with the twang of a country-esque slow jam on the albums closing song “Beth/Rest.” You can watch the official video for Bon Iver’s first single “Calgary” below.
So this is 2011, what’s with the flashback?
1980’s music rode heavily on the revolution of the industry with the premiere MTV; heavily digitized and highly visual, the most successful artists of the era left their mark by making loud statements and challenging the mainstream (See: “Like a Virgin”).
Collectively, the US spent much of the 1980’s recovering from a global recession, conservatives idealized American Exceptualism and President Ronald Reagan, technology was rapidly evolving with the creation of portable devices such as the mobile phones and the Sony Walkman, there was ongoing war in Iraq and the US military bombed Libya.
Pop culture is often at its best when it accurately reflects reality, so it’s no surprise that our music, like our history, is repeating itself. Additionally, many of those who make up pop musics core demographic were born in the 1980’s — like myself — and while obviously well aware of Madonna and Phil Collins, our experience of the decade is limited to second-hand knowledge. This 80’s sound, the political outcry, the visual/metaphorical messages people once saw only when they tuned into MTV are now disseminated rapidly through the internet.
To many engaged listeners this music isn’t a revival, but revolutionary.