Tag Archives: music video

Pulp – Disco 2000: I Never Knew That You’d Get Married, I would be living down here on my own…

9 Apr

“I never knew that you’d get married
I would be living down here on my own
On that damp and lonely Thursday years ago…”

Still from the video.

Pulp’s song “Disco 2000” from their 1995 album “Different Class” is a song about the singer Jarvis Cocker’s childhood crush Deborah, but told through the lense of adulthood. The song is based on real events from Cocker’s childhood; there was indeed a girl called Deborah who was popular and pretty, but had no interest in Cocker and didn’t notice him at all. In the song he fantasises about meeting her at some distant point in the future, in the year 2000, when they’re both grown ups. There is a wittiness and a sense of humour, a slight self-deprecation which are all always present in Pulp’s songs but there is also a tinge of sadness, especially as the song’s narrator is realising that his childhood crush is now married while he is single and lonely on that damp Thursday: “I never knew that you’d get married/ I would be living down here on my own/ On that damp and lonely Thursday years ago….” There is even a cute sort of desperation when he sings “Oh, what are you doing Sunday, baby?/ Would you like to come and meet me, maybe?/ You can even bring your baby…” He doesn’t even care that she is with somebody, as long as he can see her.

Stills from the music video.

It is as if in one moment you are a carefree teen sitting bored in school, fantasising what your adult life might be, and you blink and suddenly you are twenty-something and your peers are getting married and having children. Doors are closing, opportunities being limited. We all have a certain someone that we fancied back in high school, or even primary school and we may have had certain fantasies and now we may have the what-ifs. That interest may have been only one-sided, or both parties may have been too shy to act upon anything… Time passes and school finishes. We move on with our life and we forget about that person, but there is always a warm, pure feeling to the memory. And the memory is pure and warm precisely because nothing happened; if something did happen, then it would likely leave us disappointed, as most school-age ‘loves’ do. Something that could have been always has more charm than something that is. For those living in small towns such as myself the feeling is even stronger because there is less people to see and it is almost impossible to avoid certain people even if we want to. Someone that was a rebel-without-a-cause, sitting with you in the last row in biology class and cracking jokes is now delivering pizza and you pretend not to see them when you do see them. I guess we’ll never meet at the fountain by the road.

The lyrics of the song:
“Oh, we were born within an hour of each otherOur mothers said we could be sister and brotherYour name is Deborah (Deborah)It never suited yaAnd they said that when we grew upWe’d get married, and never split upOh, we never did it, although I often thought of it
Oh, Deborah, do you recall?Your house was very smallWith wood chip on the wallWhen I came ’round to callYou didn’t notice me at all

And I said, “Let’s all meet up in the year 2000Won’t it be strange when we’re all fully grown?Be there two o’clock by the fountain down the road”I never knew that you’d get marriedI would be living down here on my ownOn that damp and lonely Thursday years ago

You were the first girl at school to get breastsAnd Martyn said that you were the bestOh, the boys all loved you, but I was a messI had to watch them try and get you undressedWe were friends, that was as far as it wentI used to walk you home sometimes but it meantOh, it meant nothing to you‘Cause you were so popular…
Oh, what are you doing Sunday, baby?Would you like to come and meet me, maybe?You can even bring your babyOoh ooh-ooh-ooh-ooh-ooh-ooh…”
*
The video for the song features a guy and a gal, played by models Jo and Patrick Skinny, who take time to get ready for a Saturday night disco and they both hope the other will also be there and they are both looking for a hook up. The video for “Disco 2000”, just like the video for the songs “Lipgloss” and “Common People” has that vibrant, artficial, retro aesthetic so typical for Pulp’s 1990s videos. Another thing I liked a lot about the video, apart from the garish, eye-candy, ’70s inspired aesthetics, is that it tells the tale almost in the style of a comic-book. If you pause the video every now and then, as I did to get screenshots for pictures for this post, you will notice that the the video is almost made out of pictures, a few seconds for each scene, and one after another and a story is told. There are even captions, unrelated to the song’s lyrics, which show us what the guy and the girl are thinking. It is interesting to see how they both want the other to notice them, but don’t want to appear to eager as well, so typical for love games. Jarvis Cocker did after all study fine art and film at Saint Martin’s College of Arts from 1988 to 1991 and aesthetic was important to him. I appreciate cleverness in lyrics and videos of rock songs, just as I appreciate art in various forms. This video is artistically interesting to me as any normal oil on canvas paintings would be.
*

Depeche Mode and Caspar David Friedrich: Pleasures Remain So Does the Pain, Words are Meaningless and Forgettable

9 Oct

Autumn is a time for wistfulness, melancholy and introspection, and also a time for one of my favourite painters Caspar David Friedrich whose Romantic landscapes perfectly fit this autumnal mood.

Caspar David Friedrich, Memories of the Giant Mountains, 1835

These days I was listening to Depeche Mode and I especially enjoyed the song “Enjoy the Silence” which is probably their most recognisable song anyway. I also enjoyed watching the video, directed by Anton Corbijn, where the singer Dave Gaham is dressed as a king and is seen walking around through fields, meadows, beaches and mountains; all the landscapes which irresistibly bring to mind the moody landscapes of Caspar David Friedrich. The specific places in the video are the Scottish Highlands, the Algarve coast in Portugal and the Swiss Alps which beautifully showcases the beauties and diverities of European landscapes. All of these places in nature; forests, beaches, snow-capped mountains, can easily be found not only in paintings of Friedrich but also in paintings of other Romantic painters. Corbijn’s concept behind the video was that the King (Dave Gahan) represented “a man with everything in the world, just looking for a quiet place to sit; a king of no kingdom.” I think the video is a good representation of that.

Whilst gazing at the video, I suddenly remembered something that my friend had said. Years ago he had sent me the video to the song “Enjoy the Silence” and pointed at the similarity between the video’s aesthetic and the landscapes of Caspar David Friedrich. I hadn’t seen the video before he had sent it to me because I was mostly listening to Depeche Mode from my mother’s casettes, so this was something very interesting to me. These days my thoughts again turned to Depeche Mode and Friedrich and finally I felt it was the right time to tackle the topic because, as you know, I am always fond of discovering aesthetic parallels between art and rock music and poetry. I had done so previously by connecting the cover of Echo and the Bunnymen’s album “Crocodiles” (1980) and “Heaven Up Here” (1981) to Friedrich’s landscapes. I am writing this post with the memories of my friend who, although estranged from me now, will always have a place in my heart. And, interestingly, Corbijn also directed many music videos of Echo and the Bunnymen too.

Scenes from the “Enjoy the Silence” video.

In some scenes of the video, Gahan is seen as a solitary figure against the vast landscape; a transient figure passing through the ever-lasting landscapes of beauty. In some scenes he is sitting and turning his back to us, which is again something we see often in Friedrich’s art, for example in his famous painting “Moonrise Over the Sea” (1822). In the scenes filmed at the beach in Portugal the sea waves are crushing onto the sandy shore and Gahan is seen looking out at the sunset over the sea, everything painted in dusky pink and purple shades, and this romantic imagery is also seen in many of Friedrich’s beach scenes. In one scene Gahan is walking across a landscape where the tree is the only other thing in the scene and there is a tight line separating the land from the vastness of the sky. This, for example, made me think of Friedrich’s painting “Monk by the Sea” (1808-1810). I also incorporated the lyrics of the song into this post because I like them, I think they are wise and profound and they fit the mood of loneliness and isolation that Friedrich’s landscapes have.

Words like violenceBreak the silenceCome crashing inInto my little worldPainful to mePierce right through meCan’t you understand?Oh, my little girl
Caspar David Friedrich, Evening, 1821
Caspar David Friedrich, Seashore by Moonlight, 1835-36
All I ever wantedAll I ever neededIs here in my armsWords are very unnecessaryThey can only do harm
Caspar David Friedrich, Riesengebirge, 1830-35
Scenes from the “Enjoy the Silence” video.
Caspar David Friedrich, Sunset (Brothers) or Evening landscape with two men, 1830-35
Vows are spokenTo be brokenFeelings are intenseWords are trivialPleasures remainSo does the painWords are meaninglessAnd forgettable
Caspar David Friedrich, Monk by the Sea, 1808-10
Scenes from the “Enjoy the Silence” video.