Top 10 Youtubes, Jan 2011

Pop minstrels, corporate domination, and teenage puppets:
A quick look at the top 10 youtube hits of all time (as of Jan 1, 2011)

I just watched the top ten youtubes of all time so that you wouldn't have to. There's still DIY content available on youtube but the top ten is mostly a story of domination by pop cult machinery constructing and exploiting nearly every teenage click of global computer access.

Here's the link if you want to watch while you read:
http://www.readwriteweb.com/archives/top_10_youtube_videos_of_all_time.php

1. Justin Bieber – Baby featuring Ludacris

Over 400 million hits for this pop puppet’s banal reproductions of heteronormative corn syrup (of course from GMO corn). Who teaches kids to repeat such ludicrous crap as, I thought you’d be forever mine? And isn’t it embarrassing each time a white pop star gets so famous that they can ask almost any (of course not Prince or Mary…) black artist to appear in their videos? And what about the pushing between baby J and his love interest, the lightly mixed race yet still exotic (of course!) rising teen star Jasmine V? The dance battle of the sexes is both banal and archetypal and though it’s a non-representative moment I really appreciated the one b-girl’s throw down. But the pushing is totally unnecessary, annoying really, in its implications that a little physical struggle is all cool in this new rainbow world where all the colors go bowling together and dance hip hop together. And where sexual difference is both erased (boys and girls are equal and not that different really) while structurally reinforced (girls are still really not equal and very very different from boys). A similar dynamic of hegemony/erasure (where we can’t recognize the power inequity because everyone seems so nice and friendly) explains the simultaneous racial unity and white supremacy encoded in almost each moment of the video. Why anyone puts up with Bieber’s bad dancing is kinda stupefying. Oh yeah it makes his cuteness seem even cuter cuz he’s like fragile and sensitive and white and shit. Bieber’s best friend status goes of course to a young black man, which is then reinforced by the big brother carnival of domination by Ludacris (who’s got whom in a headlock?). The closing images of hip street handshakes with Ludacris and exit-stage-left-arm-in-arm with the suddenly forgiving and giving Jasmine V complete the poor little straight white boy fantasia.

Question: Are Bieber’s minstrelsy and wannabe black(face) appropriations any worse than early Beatles? If not, is there any chance he’ll take acid, spend time in India, and come up with something like Revolution #9 or John’s Working Class Hero?

(Like Justin, I’m Canadian and we’re not supposed to crit our own people in front of Americans. It’s a Canadian thing, you wouldn’t…)

2. Lady Gaga – Bad Romance

Over 300 million views. This video is a lot harder to hate than the machinery disguised by the mask of Justin Bieber, although it’s no less formulaic. Gaga enjoys playing with her social construction and even occasionally enjoys fighting against it; either way she lets us know that she’s in on it. Lady G does everything Madonna took 10 years to do in about 2 minutes, shamelessly pilfering and referencing at a dizzying speed. During the 5-minute spectacle I was reminded of Julia Kristeva (woman as monster), Leigh Bowery (the shoes and some of the masked head pieces), Madonna, ball culture (bath haus of gaga), Marilyn Manson, Michael Jackson (Thriller’s zombies emerge from the tanning beds/graves), UK latex/rubber SM fashion, Damian Hirst (excess of diamonds), RuPaul (walk walk baby – repeat)

Points off for all the synchronized frontal dancing which really locates the dancing in a reactionary pop aesthetic, anachronistic when situated in context with her more contemporary visual and fashion arts. And further points off for the Nemiroff & other product placements, although the sheer cynicism of this promotional crap is a kind of radical hubris that might delight some pomo perspectives.

3. Shakira – Waka Waka (This Time for Africa)

Over 270 million hits for the official song of the 2010 World Cup – the most popular sports event in the world. Another embarrassing white-looking person dancing themselves into an Africanist context. Stuart Derdeyn from The Province referred to Waka Waka as “sonic vomit” (which could also describe Bieber’s upchucked purging of music capitalism’s relentless over-consumption.)

Born in Columbia, of Euro and Lebanese descent, Shakira performs the universal (white-ish) citizen in a peaceful harmonious world that somehow respects and reflects an Africa that the spectacles of world economics have long dismissed as a toilet for their toxic shit.

"People are raising their expectations. Today’s your day, I feel it. You paved the way, believe it. If you get down, get up."

Waka Waka, based on a Cameroonian song, includes elements of Columbian and Afro-Caribbean music, supported by a South African band in a big happy pablum of liberal humanist world music. The title means ‘do it’ and has all the empty meaning of a Nike slogan. This video/song/advertisement is banal, cheap, and repetitive, demonstrating less than half the effort of Paul Simon’s problematic projects in South Africa. It’s fitting that the last line is delivered with the volume fading to nothing: We’re all Africa. We’re all Africa…

4. Charlie bit my finger – again!

Watching this video gives me hope that some kind of revolutionary values and inspiration are possible with youtube and the mass marketing of free (alienated, exploited) consumer-provided content. Truly. Watch the underdog delight in biting the hand that feeds. Watch the lion tamer reveal that he doesn’t actually control the jaws of the lion in which he has placed his stupid head. Charlie bit his finger and he will do it again. Dumb by the standards of the ruling class, Charlie’s grunts and giggles articulately expose the monster behind his infantilized façade. A one-minute parable of the British Empire, still trying to hold on to decorum while the savages are sitting in their lap.

5. Eminem Love the Way You Lie featuring Rihanna

This is Bieber’s adolescent pushing match all grown up. The pushing enhanced to frustrated violence complete with the woman spitting into the man’s face, of course followed by lusty macking, and peace keeping offers of cute stuffed animals.

Now I know we said things / Did things / That we didn't mean
And we fall back / Into the same patterns / Same routine
But your temper's just as bad / As mine is / You're the same as me

Eminem has written this story before. I love you. I hate you. If you try to leave I’ll tie you to the bed and set the house on fire. I know I’m prone to violence and will always end up lying. But it seems like he’s on automatic pilot here, lacking the dangerous fragility he performed before he was so muscular in body and bank account.

It's worth praising that the characters in this video aren’t rich. They don’t live in an idealized world of rainbow children united. There is no reference to the ruling class fashion runway. And there’s no stupid dancing. Favorite performance moment is Eminem in the background of Rihanna as she sings the chorus, and Rihanna dancing alone behind Eminem as he raps.

I got a soft spot for this angry sensitive fucked up lower class boy-man. I do. I think it could work out between us. I’d calm his fist and still give him space to rage. And he knows it. That’s why he flirts with and defends faggotry/Elton/Bruno, just to show us that he can, that he’s man enough. There’s something dramatic, talented, and trashy about both Rihanna and Eminem and I think it’s hot that their PR people have them standing right next to each other without any effort to fake a relationship. That’s the most honest connection I’ve seen so far in these first 5 super-viewed videos.

6. Justin Bieber – One Time

Two little white boys playing video games interrupted when JB gets a call from Usher. What? Then some stupid sucky singing happens with images of a crowded tweener party and some silly-string. I jump ahead, a girl in shorty shorts kisses JB on the cheek. Usher shows up, surveys the scene like he’s a chaperone. The little rich boy looks at us, raises arms waist high to say yup, this shit is for real, that’s Usher and I’m on top of the world. This song and video might be syrupy treacle but it doesn’t offend like Baby.

7. Miley Cyrus – Party in the U.S.A.

Cowboy boots, American cars, a rainbow coalition of hot girls, a reference to a Jay-Z song. Yup it’s a party in the U.S.A. This is country pop music, once-removed, under the influence of Britney and formula pop. The massive stars and stripes unfurl to remind the red state homeboys that all’s OK despite the contagions of multiracial socializing and acrobatic b-boys. Miley Ray Cyrus was born Destiny Hope Cyrus in 1992. Somehow that says a lot.

8. Eminem – Not Afraid

170 million views for the newly remade face of Eminem. What the fuck? The same chin sculpture that MJ tragically tried to wear. I really miss his boyishly round face. He looks in mirrors and touches his face, and wonders what the hell is going on. Right. Then he crashes through the mirror but there is no Tommy liberation/transformation despite the CGI flying sequence that follows. Eminem is all alone here, no woman to blame or to be shamed by, no poverty or lack of power to flail against.

Sounding more like Bieber or Cyrus than Eminem the chorus spews nicely: “I’m not afraid to take a stand. Come take my hand. You’re not alone.” This bullshit pop insults the poem that once was a rage worth acknowledging.

9. The Evolution of Dance by Judson Laipply

And while I’m being nostalgic, I miss the days when the top viewed youtubes were almost all single-take vids of dancers. Laipply is an original youtube star and I’m glad to see him still in the top 10 with 160 million views. I’d bet that more people have seen The Evolution of Dance than have seen the previous vids, watched repeatedly by conformist tween consumers aware that every time they hit repeat they’re boosting the numbers.

Laipply’s dancing is a delight. We’re surprised by a balding white dude, just chunky enough to make us think that he won’t have loose hips, let alone a fab sense of humor and shameless style. He’s a white everyman approaching pop culture with an irony that is too lacking in the rest of the videos in this list. it’s important that he refuses to dance the Macarena but he lets the music play long enough to remind us that we were not immune to its contagion. In his playful embodiment, imitation is less minstrel and appropriation, and more of a lite critical citation. I mean it’s not incredible comedy or dancing, it’s just not bullshit and somehow that makes it great, contextually speaking.

10. Pitbull – I Know You Want Me (Calle Ocho)

Biggest boobs in the top 10. And probably the vid least viewed by white suburban US American girls. Calle Ocho is a bilingual and repetitive dance hit (chorus: I know you want me, you know I wancha) with gansta rap sylings (boobs, luxury bed, boobs, cool daddy). Mixing a few successful formulae and samples from various sources, the hook of this song is bouncy and fun. I’d dance to it at a party and I bet most of you would, also. Other than boobs and cool daddy, this video doesn’t have much happening. Occasionally a graphic of a Cuban flag passes across the screen.

Calle Ocho is a landmark street in Little Havana, Miami. Pitbull is an American rapper of Cuban parents who allegedly exposed the little 'bull (Armando) to the revolutionary poetry of José Martí. Pit’s non-middle class cred includes time in foster care and teen drug dealing. He says that a pit bull is too stupid to lose, and is outlawed in Dade County, just like he is.

I didn’t know this artist before going through this list. I had heard of Bieber, Cyrus and Shakira but had never heard/seen them. A little wiki goes a long way. It took me 3 hours to watch these videos and write these nearly 2000 words.

Keith Hennessy wins a Bessie!

2009 Bessie Award & Thank you speech
October 18, 2010
Symphony Space, NYC

After an intro by HT Chen and a short video of Crotch by Charles Dennis, Yvonne Rainer read this text written by Ishmael Houston-Jones:

For combining virtuosic improvisation, the history of Western art in seven minutes, and playful, sexy, shamanistic trickery that both enchanted and terrified at Dance Theater Workshop in 2009, a NY Dance and Performance Award goes to Keith Hennessy for his work Crotch (all the Joseph Beuys references in the world cannot heal the pain, confusion, regret, cruelty, betrayal or trauma…)

Keith:

(unscripted)
Thanks everybody. It’s a funny decision you make. I grew up in Canada, I wanted to be a dancer, so I thought I had to move to New York and I accidentally hitchhiked across the country to San Francisco and never left. That was the right place for me to be but you always want to be at least a little bit in the New York dance family and this is really important to be seen here, so thank you.

For all those people who have been turned down as many times as I have for funding, I want you to know that I made this piece for fifty dollars in seven days.

It takes a million people to make a solo so I want to thank
(reading)
Stephanie Maher and Uli Kaiser who run Ponderosa a dance research site and summer camp in rural Germany where a draft of this work was first presented.

I want to thank Georg Kindler, the resident beekeeper, philosopher and Joseph Beuys scholar at Ponderosa for his lecture on Joseph Beuys on which the central text of the piece is based.

I want to thank the people at L’Arsenic in Lausanne who supported a short residency and the premiere of Crotch.

In New York at DTW, I want to thank Carla Peterson for trusting me and for following through, also to the staff who were super great to me and the people who were the best there were actually the interns, who make so little, do all the work and then run the show.
Big thanks to Ryan Eggensperger, who was my NY stage manager and onstage assistant.
To Don Shewey, my brother whose NY apartment is my home.
To Trajal Harrell, Timothy Murray and everyone who worked to feature my work in Movement Research Journal.
To Jonah Bokaer for doing the early bookings of improvs that Carla saw.
To Ishmael HJ who just inspires me and keeps me coming to NY.

In SF, I want to thank to my fiscal sponsor CounterPULSE and my assistant Julie Phelps.

To Joseph Beuys – you are my Andy Warhol.

And finally thanks to Seth Eisen because if he hadn’t loved me and left me I wouldn’t have felt the intensity of sadness, despair and shame that inspired the making of this piece.


Video of the award and thank you speech, posted by Don Shewey:

http://www.youtube.com/watch?v=Ci4RZSvjSGw

To see a full list of 2009/2010 awardees:
http://www.dancenyc.org/dance-nyc/bessies/bessie-news.php?id=22