Fireworks for Myself: Drake's Toosie Slide Music Video and The Politics of Going Viral
Hip-hop superstar Drake’s 5 minute 12 second music video for Toosie Slide is a sad boy meditation on soulless rooms and lifeless splendour. Released on 3 April, it became one of the most provocative and controversial visual commentaries of the Covid-19 pandemic. In this essay, Jason King reflects on Drake’s promotion of his music through video virality at a time of global contagion, reaffirming problematic class distinctions and the tension between the black indoors and outdoors in the midst of an unprecedented health crisis and worldwide economic instability.
From TopPop to Fata Banana. Dutch music television in the 1970s
In the 1970s television shows, pop music programmes and musical theater provided fertile grounds for experiments with audiovisual language from which eventually the music video sprouted. To illustrate this, Liselotte Doeswijk discusses a number of underexposed or underestimated – and often lost – experiments from Dutch television history.
MTV: Domesticity, Family and the End of Programming
At the start of the 1980s, American pay television channel MTV began showing around-the-clock music videos to an avid young audience. Generating a non-stop sequence of clips targeting those aged 12 to 34, MTV infiltrated the domestic space, disrupting programming and the traditional family routine.
On Hallyu & Halimos; The Evolution of Somali K-pop Fandom
Momtaza Mehri discusses the participation of young Eastern African women in K-pop culture, and how it reveals the interconnectedness of digital subcultures from the mid-2000s to now, on the basis of iconic K-pop videos. This essay was part of For the Record: K-pop Fandoms and Digital Diasporas, held on 9 May 2019 in Het Nieuwe Instituut.
Dyke Camp is Not (Quite) Iconic Queer Gender: Madonna & Prince versus Hayley Kiyoko and Janelle Monáe
Screen Genealogies: From Optical Device to Environmental Media
Profs. Craig Buckley, Francesco Casetti, Rüdiger Campe, Yale University
This essay was presented by Craig Buckley (Assistant Professor, Department of the History of Art, Yale University) during Screen Spaces, a geography of moving image, a talks and exhibition program responding to the relationship between video and the construction of the public sphere in New York City on 1 December 2018.