Space Jam: Jack White’s “Connected by Love”

The musician, Jack White recently released the powerful single and video for “Connected by Love.” Haunting synth evokes a sci-fi Kubrick film, or a Blade Runner score that would make Vangelis proud. Quick to follow are hints of the Stones in the ‘60s: the gospel feel of “You Can’t Always Get What You Want”; soulful backing vocals reminiscent of Merry Clayton’s on “Sympathy for the Devil.” The experimental sound of the ’70s courses through too (passionate rock-opera-inspired vocals by Mercury and Daltrey come to mind). As already noted, “Connected” feels sci-fi cinematic; its accompanying video similar in part to the 2011 Lars Von Trier film, Melancholia, about the complex relationship between two sisters, as a planet sets out on a collision course with Earth.

With White threading together various musical styles, he blends the past with the present, and the (futuristic) video highlighting the unconditional bond between parents and children from all walks of life, while White’s character sits alone in a hotel room with his regrets (”What have I done?/I have pushed away everyone”), the importance of connection, plays a starring role.

The Weeknd: “Secrets”: Lies, Eyes and ‘80s Samples

To anyone who remembers the ‘80s, the latest from The Weeknd, entitled “Secrets,” is a trip down memory lane. Lyrics in its chorus are pulled from The Romantics’ 1983 hit, “Talking in Your Sleep”; the transition from chorus to verse includes a direct pickup from Tears for Fears’ 1983 song, “Pale Shelter,” more specifically Curt Smith’s high-vocal climb of the lyric, “completely in command.”

The video, filmed in part at the Toronto Reference Library, sets a cold, barren tone to match the lyrical content that tells of a relationship full of lies, revealed “every time you close your eyes.” Ominous male figures in capes, which the female lead later runs away from, are perhaps indicative of her past catching up to her. Low-angle camera shots of these suitors, peering over balconies are reminiscent, in part, of the masquerade-ball scene in Stanley Kubrick’s 1999 film, Eyes Wide Shut. Use of deep red and the blossoming white bed that creates various geometric shapes also evoke other Kubrickian imagery.

Kubrick in Color

This montage highlights some of the director, Stanley Kubrick’s boldest, most iconic movie shots, color by color. Needless to say, it’s an absolutely brilliant look at his distinctive style and his fearless use of hue as visual cue, for example, to convey emotional tone or plot foreshadowing.

“What Kind of Fool” a.k.a. Life After “Better The Devil You Know”

The catchy 1992 song by Kylie Minogue could be theorized as having its origins in 1990. Think “Better The Devil You Know” (“BTDYK”), a song whose lyrics reluctantly embrace blind forgiveness of a (devilish) partner. Yet “What Kind of Fool (Heard All That Before)” could be seen as a sequel. In “BTDYK”: “I’ll forgive and forget/If you say you’ll never go.” In “Fool”: “You can say you’ll be true/I can trust in you/But I heard all that before.” Kylie is done forgiving, and ready to forget, the devil she knows.

The video for “Fool” features scenes inspired by the film, And God Created Woman, starring Brigitte Bardot, a woman to which Kylie has long paid homage, most notably the artwork for her 2003 CD, Body Language and the styling for the subsequent one-off concert at the London Apollo. The And God references include: the silhouette of Kylie lounging behind a sheet hanging on the line; Kylie dancing in a red skirt on a kitchen table. And for another film reference: the heart-shaped glasses, unmistakably from the poster for the 1962 Stanley Kubrick film, Lolita. Kylie as Lolita-type girl at the beginning of “Fool” is not the same person at the end; in the dark no longer, she’s a stronger woman slamming the kitchen door, committing to the lyric: “Don’t wanna see your face no more.”