A college acquaintance of mine who falls into the social category of “I don’t know him extraordinarily well but it’s okay to comment on his fb posts if you can reasonably assume that he is posting something outrageous for the explicit reason that he wants people to comment ” (laugh, but I know you know what I mean) recently shared a link to a very strange music video. And for this … thing (I’m not sure I’m comfortable calling it music again — the first time was iffy enough), outrageous might not be a strong enough adjective.
Take a watch. And unless you can by some incredible feat of mental strength survive 4 minutes of inanity — in which case, my wide-brimmed Palm Springs summer hat is off to you, sir or madam, because I am not one of those people — I imagine that 30 seconds is about enough.
This is Blood on the Dance Floor’s “Bewitched.”
I think this merits our friend Liz Lemon saying, for all of us:
The strangest thing about this video (how do you disturb me? let me count the ways…) may be that these Blood on the Dance Floor, Lady Nogrady (no comment), and director Patrick Fogarty really tried. I mean, they really tried. They just threw in so many clichéd lyrics and such overwhelmingly hackneyed special effects that the end result was anything but bewitching. More like a curse.
Unconnected as this may seem at first, the “Bewitched” video reminds me of nothing less than some of the academic articles I’ve been reading this summer to prepare for grad school in T-minus 8 days. These authors (oh Saint Cassion of Imola! pray that I become not one of them in future days!), like Blood on the Dance Floor, are too concerned with being a part of “the scene” than producing quality work (the buzzwords, oh gods, the buzzwords!)
Which leads me to my latest project — Operation: Make Everything Pretentious!
What would happen if some scenester academic wrote a review of “Bewitched”? Let’s take a whack at it!
From the Journal of New Media Academese
Beyond Heaven and Hormones: Romantic Attraction Reconsidered as Diabolical Eroticism
… thus, clearly, [the singer’s] repeated allusions to the supernatural are a challenge to modern scientific understandings of “love” as, in part, biologically determined, as well as rejecting the current culturally euphoric attitude surrounding romance by appealing to the more ambivalent connotations of sex in relation to the occult.
Notably, the female sex partner–described by the male singer as a “witch” holding him in thrall–holds the dominant position of power within the relationship, by means of her (albeit allegorical) allegorical theurgy, a descriptive characterization that serves to engender (pardon the pun) an incisive challenge to societal assumptions of heteronormativity, a not uncommon theme within the hermeneutics of artistic discourse. And so in summation–
It’s totes obv.
Save this video for Valentine’s Day, folks. Or maybe Halloween.