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Now That's What I Call Music! The Best Videos of 2003

Tracklisting: 1.My Love Is Like Whoa- Mya 2.Beautiful- Snoop Dogg 3.Bump, Bump, Bump- B2K 4.In Those Jeans- Ginuwine 5.Sweetest Sin- Jessica Simpson 6.More To Life- Stacie Orrico 7.Big Yellow Taxi- Counting Crows/VC 8.Lights Out- Lisa Marie Presley 9.Going Under- Evanescence 10.When I'm Gone- 3 Doors Down 11.Just Because- Janes Addiction 12.Always- Saliva 13.Straight Out Of Line- Godsmack 14.Clocks- Coldplay 15.Calling All Angels- Train

Whether the 15 videos in this hourlong compilation really comprise the best that 2003 had to offer, as advertised, is arguable--but whatever it is that you call music, you'll likely find something appealing. The selection pretty well runs the gamut; it's actually quite a stretch from, say, the frivolous little pop hooks of Jessica Simpson's "Sweetest Sin" to the pounding rock riffage of Godsmack's "Straight Out of Line." About half of the videos are all about sex, with gorgeous young women either as performers (Mya's "My Love is Like... Wo," Lisa Marie Presley's "Lights Out") or props (Snoop Dogg's "Beautiful," Ginuwine's "In Those Jeans"); then come the rage, dread, and unsettling sounds and images of the likes of Evanescence's "Going Under," Jane's Addiction's "Just Because," and the Godsmack piece. All in all, the videos are hardly what you'd call genre-defining. But there's certainly an hour's worth of entertainment to be found here. --Sam Graham

Originally, I had this in mind as a photo assignment using a new perspective on something as mundane and often-photographed as my yard, but just populating it with ten Justins doesn't give it a new perspective, so instead... this is the troublesome on-location shooting of this band's music video. Not related to any assignments.
...Or if it could have any relation to any historical images, Henry Peach Robinson's 'Fading Away' (1858) uses a similar method of separate images put together into a composite.

Technical details:

All instruments are mine. It took me something like 45 minutes to set up the drum set, piano, tripods, cameras, and other instruments, which were all brought up from the basement. I used props like the guitar case and my portfolio (not really seen very well) stood in as a storyboard (a corner of it can be seen on the table next to the director's chair).

I dressed up for different characters in each shot: a drummer, pianist, bassist, guitarist, angry, arguing lead singer, recordist (had a recorder, would have liked to use a sax instead) a cameraman, angry director, assistant checking his watch and bringing the director's juice, and an observer far in the background looking over the fence.

The whole process took over an hour to do. It's my most ambitious self-portrait.

The story is that a band is filming a music video but there is a dispute between the lead singer and director who wants to stick to the script (the papers in his hand) and the singer who wants to improvise.

It helped that I have so many tripods and past camcorders (a third tripod is hidden behind the lead singer).

Putting everything away back down in the basement took less than half the time it took to bring it all up and set it up. The idea started off as just a photo of six tripods lined up together, with six Justins, then turned into an idea of me in different poses, then finally to a band having a dispute while filming a music video.

I wanted the sky to be cloudless but couldn't get it. Oh well. I think it worked out well.

There's a running gag in this shot - can you find it?

Oh, and of all those instruments, I probably play the bass guitar the most proficiently, as well as the most often.

Note: This is the 1,700th photo in this photostream.

HEY GUYS I MADE THIS PICTURE FOR A CONTEST AND AS A SNEAK PEAK OF HEATHERS NEW MUSIC VIDEO FROM HER NEW ALBUM. I JUST LOVE THE NEW LOOK I GAVE HER SHES VERY IN STYLE WITH HER PINK HIGHLIGHTS THE COLOR OF 2011(ACTURLY ITS HONEY SUCKLE BUT BASICALLY ITS PINK SO YEA XD)

ALSO IF U GUYS WANT YOU MAY PLAY THE BRATZ GAME ON THIS PICTURE :)

FAR AS MY OUTFIT I WANTED SOMETHING CRAZY NEW AND DIFFERENT THATS Y I WENT WITH MORE OF A PERFORMERS OUTFIT :)

WHEN I GET MY PRO ACCOUNT THERE WILL BE ALOT MORE DOLL PARTIES AND STUFF TO COME SO STAY TUNED :D

Picture yourself in a darkened movie theater, or soothed by the pleasing glow of a television screen. You are watching as a history of the moving image unfolds onscreen, but this history will not take note of D.W. Griffith or Jean Renoir, nor will King Kong or Jaws make an appearance. As the images flicker past - of four ebullient Britishmen turning cartwheels in an open field, a man tap-dancing on an urban sidewalk, a wedding party in a rainstorm, a tragedy in a school classroom - they wax more familiar, the theme growing more coherent, more stable. They keep coming, though, quickly, relentlessly, constantly changing form, changing style, shapeshifting. The parade of images appears to possess a logic of its own, a guiding hand to steer its ship. Finally, as the last picture fills the screen - it happens to be of a shooting on a Brooklyn street - a light bulb goes off: these are all images from music videos, the short films that once ruled the airwaves, and still possess a significant hold on the generations raised by MTV. "I wonder what those were all about," you say...
The music video is a medium that appears to have run its course, or at least hit a substantial rut in its evolution. MTV and VH1 have morphed into lifestyle channels, the musical component of their programming reduced to a mere blip on their schedule. BET, CMT, and other music channels still maintain their dedication to showing music videos regularly, but their narrower audiences render them distinctly niche channels. And yet the video's shining moment as part disposable crap, part momentary, fleeting genius (the exact cinematic/televisual equivalent of the pop song, of course) renders it a subject worthy of some serious attention. Saul Austerlitz's fascinating book tells the history of the music video, delving into its origins, function, stars, motifs, genres, conventions, and masterpieces.
Austerlitz sees the music video as a fascinating oddity, capable of packing great wit, emotion, and insight into its brief span. A compelling marker of cultural history, the video emerged onto television screens nationwide and shone gloriously for a brief moment before disappearing into the remembrance of television past. Informed, opinionated, and always entertaining, Money for Nothing goes a long way toward retrieving the memory of this fleeting, evanescent art-form.