Brann’s just visiting some relatives.
"Hey, wait just one damn minute here…"
Get ‘em, Tiger.
New York friends, Mastodon are performing “The Motherload” on Letterman Monday October 27th. Request your pair of tickets for the taping at this link:
Brent and visual artist/guitarist Juan Montoya (of Torche and MonstrO fame) on the set of an upcoming promotional ad for Orange Amps. The dog is Brent’s baby, Dingus.
Mastodon recording albums through the years (Blood Mountain - Once More ‘Round The Sun)
Was a good night.
Dudes on dudes on dudes on dudes
Brent, Casey Yarbrough (Order of the Owl), Tom Cheshire (West End Motel; Rent Boys), and…not sure who’s on the bottom right.
Right on, dude! Myself and the other mods here at FYM believe that music shouldn’t have boundaries. I think that too much of the time, people get too caught up in how “metal” or “brutal” something is without even giving thought to whether or not it’s actually good. I just want to listen to whatever hits me as being good music, not just something that’s hard and heavy.
I feel like for the most part, Mastodon is evolving with their fans, not against them. They’re changing as their fans are changing, and I’m still seeing a lot of solidarity with the band from people who have been listening for well over ten years now. Those who don’t like the changes are very much in the minority. They can have their cookie monster grunts and blast beats all they want, I’ll take the killer riffs and big, bright choruses. It’s all in what you like.
Things are getting a bit too spooky in the Masto-Verse…
This week has been an interesting one. At the end of August, I danced with some friends for Mastodon’s new video, “The Motherload”. We were stoked about it. Twerking in a metal video?! Unheard of! We came from varying backgrounds, classical dancers, pole dancers, strippers all nervously waiting in the common area wondering how we’d all fit in. Well that was a piece of cake. As soon as the music played, we felt jazzed—in fact, they asked us if we’d prefer to dance to some hip-hop instead and then they’d remove the sound and add their track. We declined. We all waited patiently by our machines for weeks, waiting for the video to drop. It dropped Monday.
Within minutes of the video dropping, there was a serious backlash. While most people seemed to “get” the band’s shout out to their hometown, Atlanta, others called it racist and sexist. Some people even called us dirty niggers and whores. Funny, the most sexist and racist sentiments came not from filming the actual video, but from a subset of metal fans who thought we simply didn’t belong. If anything, the video shoot was welcoming, the band clever and pleasant, and the girls bonded almost the second the music dropped. Much like the band, we weren’t concerned with thin, knee-jerk reactions to asses and twerking.
We came across from different walks of life. Real deal ATL strippers joked with me—I’m a pole dance student with a background in African American literature and cultural theory, while my ballet dancer friend laughed with the other ladies, doing pirouettes in between takes. If you read the interview in which the band says that we were having fun with each other and not for the male gaze, you should know he was totally right. My other friend who is the best conglomeration of every dancer there—pole dancer, stripper, PhD in women’s lit and African American lit focus, and a dance instructor—could be the poster child of what this was. Women having fun with each other. Praising each other. A glimpse into what we do and that we are bigger than what we do.
One of the reasons this video, for me, is garnering so much attention is that truly the women are not just asses—and there are a lot of fantastic asses in the building—but shown as 3D people, which scares folk. Another is the concern for cultural appropriation. From us and from them. The fear of metal being “tainted”, the fear of the band using a dance form associated with black culture for their own gain. These fears boil down into my one response: we all belong. This band made it such that by the time the shoot was over, we all went home and got the track. (I’m playing it on the jukebox at my local bar as I write.) This video wasn’t a spoof or mocking or satire, in my opinion. The guys are ATL homegrown. As much as metal is in their bones, so is trap music, so is Old Fourth Ward, so is Magic City. They repped Georgia not out of exploitation, but because it resonates with them and is a part of them. This video proves that metal can reach out and can be reached out to without parody, without hierarchy, and it is a good thing.
Ask us if it was racist or sexist. We were the ones right there experiencing it. I’ll tell you from my view: no.
Please read all of this and spread it around!
According to Brann, the video was just supposed to be a spoof of mainstream rock videos, like having all of this super-serious imagery in the beginning that gets trumped by the dancers. I don’t think it was trying to “cater” to a trend at all, but rather it was taking the piss at trends in general.
Thanks, man! In a bit I’ll be posting an article a sex-positive feminist wrote about the video that pretty much sums up what myself and asstodon have already been saying. I’m glad that there are so many fans of different backgrounds lending the band support right now.