The Reasons Basketball is the Way It Is
Hace 6 horas
Vini, vidi, video
When Ryan [Ohm, director], Jackson [James, director of photography], and I began to tackle coming up with a concept for the video, we started with a few simple ideas (moving feet, odd settings), playing with the idea of overlapping them. As we continued to flesh it out, we realized we could unite them fluidly while also challenging ourselves to do something new for us (both the artist and the filmmakers) by doing a one-shot video with feet leading you between these different scenes. Ryan and Jackson did some scouting and we landed on a stretch of Ravenswood St. here at home in Chicago where there would be enough variation in setting to keep a one shot video visually grabbing; abandoned house, sidewalk, viaduct, stretch of fence, an alley underneath the elevated train. It was fun casting a video with friends and doing a video where the band wasn’t the center of attention, it felt more like a making a piece of art from our end of things. We made it in an afternoon, everyone pulling their weight and executing well together. It was a lot of fun and a very gratifying experience!
The track is about a piano who wants to be played but is ignored in his own room, the previous owner was a radio enthusiast so this explains the radio sample. It’s one of the most electronic tracks on the album.
They are in strategy sessions, holding politicians accountable, and offering programmatic and proximate solutions to our insufferable and insoluble problems. Art not only prefigures possibility—it acts as a salve to a wounded people—transforming them into wounded healers.He then added:
As a front line activist in the Mike Brown movement the role of music has been one of our biggest inspirations, but over time our actions have influenced musicians and artists to speak out against injustice and inequality everywhere.
The video transformed into a display of gender fluidity. How we can all exist on this spectrum and be individuals outside of these labels while still being in the same room. This is how revolutions start. The Moment was always supposed to be about a revolution in the end.”
Last fall the image of a man walking around in a dinner jacket while holding a medical skull popped into my head. Why? Beats me! Your mind can take you to weird places. I’d wanted to take a stab at directing a music video for a while and thought “The Names” would be my chance.
I’ve lived in London for the past two and a half years and one thing I love about it is the green space. There’s so much of it. Crystal Palace Park in south London is the weirdest park I’ve ever been to with its huge dinosaur and gorilla statues. I thought it’d be the sort of place a man in a dinner jacket with a medical skull would hang out.
We also filmed in The George Tavern, a great pub in Shadwell. They told me Nick Cave’s performed there. I think that’s pretty cool!
On New Years Day, while I was nursing my hangover, I watched David Bowie’s Serious Moonlight tour film. In the performance of “Cracked Actor” he holds a skull that starts singing along. I had already finished editing this video but was really thrilled by the coincidence. In a roundabout way “The Names” is my tribute to David Bowie, my favorite artist of all time.