PHOTOGRAPHY BY TANYA TRABOULSI

Sonic City 2012 – Jerusalem in my heart from De Kreun on Vimeo.

Multidisciplinary Relevance

Furthermore, Jerusalem In My Heart do not perform in bars, but prefer artistic spaces that are well-acquainted with installation art and the benefits of transforming space over an extended period of time. All 16mm images created, filmed, and edited by Salazar are made to bounce off of walls in a way that highlights, in Moumneh’s words, the fact that they “use the wallspace itself as part of the visuals.”

Moumneh goes on to describe the aesthetic, saying, “It is this super fragmented, cut-up visual where you are not really looking at one flat surface, because it’s multi-dimensional. There is no one spot to stand and look; it sort of forces you to use all of your senses to understand the environment you are in.”

This spatially-shapeshifting approach naturally creates a ever-evolving project. Some nights, the trio uses eight screens; some nights, adaptation dictates that only two projectors are appropriate for the venue. Nonetheless, the music always stays more or less the same. Although the composed pieces see slight improvisation, they generally stay faithful to the recordings on Mo7it Al-Mo7it.

“It is very much the same music, but in presenting it with the visuals, it becomes very different because the two are so married,” Moumneh explains. “It is not like visuals that accompany music or music that accompanies visuals. It is co-composed together, or co-created together.”

Up until recently, JIMH have primarily performed in their hometown of Montreal, Quebec. But when touring finally became a legitimate reality, their dedication to performance spaces took on a whole new meaning and set of challenges. At home, JIMH often had the better part of the day to configure and arrange their equipment. On tour, they discovered they needed to figure out how to setup quickly while still maintaining the spirit of the project.

“You quickly realize that if you are given the time to think about something, you will think about it,” Moumneh says. “If you are given four days, then you will use four days. But if you are given four hours, you will use four hours and still come up with something.”

Ω

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1. Multicultural Sounds: Jeffrey Jerusalem – 13 Months Of Sunshine Mix
2. Remix City: Theophilus London + Jeffrey Jerusalem, Is Tropical + Moonlight Matters
3. Jerusalem String Quartet March Music Moderne Live Show Review

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Jerusalem In My Heart Band Interview: Shape-Shifting Multidisciplinary & Multicultural Appeal

Director/Producer: Sarah Kinlaw
DP: Julian Kapadia
Editor: Nick Vannucci
Set Design: Natalie Fragola
Styling: Savannah Wyatt
1st AD: Ryan Mekenian
2nd AD: Bryan Wade Keller Jr
Gaffer: Noah Chamis
Key Grip: Matt Clegg
Swing: Yoni Shrira
G&E PA: Sachi Bahra
1st AC: Stuart Soloman
Camera PA: Daniel Wright
Mask: Shitty Bedford
Graphics: Ben Hill
Principal: Zoe Wardlaw
Dancers: Colin Alexander, David Andrews, Jonathan Howard, Richie Howard, Hannah Kinlaw, Zoe Ligon, Bryan Wade Keller Jr
Special THX to HAUS1025 & Colin Alexander

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Julian Lynch – Gloves Music Video

Says director Melissa Cha of the concept:

The track comes from Xander Harris’ The New Dark Age of Love record, out on Not Not Fun. You can watch the video after the jump.

NIGHT FORTRESS – Xander Harris from Melissa Cha on Vimeo.

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Xander Harris – Night Fortress Music Video

Responses from Emily Pothast of Midday Veil and Director Steven Miller

On The Spiritual &
Conceptual Side of Things

Q&A by Thad McKraken

Your new video basically involves keyboardist David Golightly being buried alive by a coven of witches as a sacrifice to some creepy daemonic super witch entity so the rest of Midday Veil can rock out that much harder or something like that. Where did this concept come from, and how does David feel about all this high strangeness (and the inherent awesomeness of gold lamé underwear)?

EP: Haha! I guess you could say that the basic concept has been sort of developing for years, due to our interest in mythology, especially ancient mystery religions that involve sacrificing or dismembering a god/hero and taking him into the underworld in order to give him a secret awareness of the processes of death and resurrection.

The first spark of the idea for the video actually came to us last spring while David and I were hiking at Moran State Park on Orcas Island. There are some stone structures out there that were built by the WPA in the 1930s, and they really look like they should be used to have a rock show that culminates in a human sacrifice. Weird dungeon/picnic pavilion vibes. As the concept developed, it ended up making more sense to use Seattle locations, but we did spend the better part of a day brainstorming after stumbling onto those structures.

A few weeks later we were at brunch with a Seattle artist named Amanda Manitach (who appears in the video as one of the women in white slips, whom we called “maenads” during production). We started telling her about our idea, and the cake orgy just sort of emerged during the conversation. Some of Amanda’s work involves the eroticized use of messy food, and that was definitely an inspiration in the early stages. At least… a cake orgy at a rock show seemed like a logical project for us to work on together!

As far as the golden shorts go, David is an excellent sport. Also, he looks great in them, so there’s that.

SM: I heard Emily and Amanda’s idea for a cake sacrifice, then found out the song is over 11-minutes-long and knew that there had to be more involved in the story. At that first meeting, I had the idea to bring in a coven of witches to call in the dark goddess and instigate the maenads into action. As for the burying alive — a friend did an O.T.O. ritual years ago where she was symbolically buried and sequestered from all humans for a month before being reborn into the world. I really liked that idea but wanted to make it literal, since I knew it would be disturbing to see. I’d been wanting to create that visual ever since I asked Canadian band Les Jupes if they’d do it for a band photo years ago. They said no, but David didn’t mind at all! From there, I wrote a script that is basically the video as you see it.

I found the concept particularly fascinating, because one of the themes that has been interpenetrating my psychic life as of late has been that of female energy consuming and feeding off the masculine — as if the previous era of humanity has shifted and now it’s time for the sacred feminine to devour the dark war mongering energy that “mankind” has created. Terence Mckenna, Whitley Strieber, and others have described encountering entities that have an almost insectile-multi-eyed-telepathic-hive-mind characteristics. I don’t know if you’re up on insect sexuality, but the feminine typically reigns supreme in that micro-verse. There are no King Bees, if you catch my drift. Thoughts?

EP: Oh wow. Well, I mentioned the inspiration of mystery religions, myths that explore the inner workings of sex and death, which definitely relate to the core processes of nature. These myths are at the root of Christianity, but while the basic mechanism of the dying/resurrecting godman is alive and well in the character of Christ, the “feminine” and erotic aspects of the eternal that were also present in early versions of the myth have been considered taboo for most of Western history.

Elsewhere in the world, the Dark Devouring Mother is acknowledged in figures like Rangda or Kali, but in the west, the worship of the sacred feminine has been driven underground, where it has nevertheless persisted in the form of esoteric practice and witchcraft…

It’s interesting that you mention bees because there is such a close association between the symbolism of beehives, the Great Goddess, and witchcraft…

SM: I’ve encountered that insectile DMT universe, but I don’t think that was at play here. It wasn’t until I saw the video completed that I recognized what I was trying to invoke. A coven of witches create a ritual that stir the women at the concert to unleash their subconscious desires to consume David AND call forth the Great Cold of the Night simultaneously: the ritual invokes both the id and superego of feminine energy. David gets buried and consumed, then reborn anew as the dark goddess’ consort. For me, the story isn’t so much about creating a matriarchy as a balancing of the energies. They walk off together hand-in-hand at the end of the story to symbolize that balancing. I’m guessing this story says more about my own subconscious; since I was a child, hermaphroditic angels have always been the enlightened beings in my dreams.

The last time I saw you guys live, I was mildly tripping on mushrooms. Emily handed me a maraca at the beginning of the set, which was a very tribal improv freak out thing. I got so into shaking that maraca that I actually gave myself a huge blister without even realizing it. I was somehow so wrapped up in the music that I completely blocked out the mounting pain. You could say it was a mild form of possession. With that in mind, do you see a lot of potentiality in the live musical experience as a means to create new ideas regarding spirituality and therefore spiritual ritual? Also, do you ever sit up at night thinking about the potential consequences of handing maracas to tripping people?

EP: I definitely think there’s a link between music performance and spiritual ritual, and while these might seem like new ideas given our very secular culture, I think it’s essentially as old as humanity. There is this book from the ’80s called The Death and Resurrection Show that is all about the performative nature of “shamanism” and its impact on the emergence of the performing arts. It’s almost cliché, since so many mediocre musicians like to imagine themselves as “shamans,” but there’s a reason we want to identify rockstars with that archetype. There’s a deep history there.

I’m sorry my shaker gave you a blister!

What is the underlying theme and concept behind your new album The Current? Is it kind of like tapping into the psychic grid connecting us all and finding your path — what Christians refer to as the Holy Spirit or what Vivian refers to as Intuitive Navigation? Or am I completely off track with that?

EP: You know, the concept of this album is a little more open-ended than some of the things we’ve done in the past. The first song on the album is called “The Current”, and it was written as a jam in the studio that I had to go back and write words for, which isn’t exactly the easiest way for me to work.

There is an artist in Seattle named Sharon Arnold who curates these box sets of art multiples with a written component, called LxWxH. A couple of years ago, she asked me to write something for one of the boxes, and I contributed an essay called “The Current”. At the time, I was trying to find a way to weave together the works of two visual artists whose work was very different from one another. I liked the image of the current because it is evocative of both the literal currents of natural processes and also the common thread that emerges within an artist’s work over time, as older works are given a new context when they enter into dialogue with new works, or even the way that versions of “self” or identity can be conceived of as snapshots along an invisible axis that winds through time.

Currents have no content of their own, but they help create the form of everything. So yeah, your idea about the Holy Spirit is probably not far from the mark! Of the six songs on this album, two, “Choreia” and “Remember Child”, are new versions of songs that appeared on our very first CD-Rs together as a band. The identity of those songs has changed widely since we first conceived of them, and those songs have seen us through a lot of changes. New band members have joined, and a couple of members have left, but there is still a continuity within the music. There’s a continuity with our videos, too, although the latest one obviously, uh, takes the cake. We’re actually about to issue a super limited, tour-only VHS compilation of all the videos that Midday Veil has produced over the past few years. It’s 56-minutes long, which is a lot of video! There are common threads there, too, especially the exploration of video feedback, which uses the inherent properties of video to generate emergent forms that seem to illuminate a hidden world of the forces of nature.

Ω

Related posts:

1. Midday Veil – “Choreia” Music Video Premiere
2. Midday Veil – “Anthem” Music Video
3. Midday Veil – Moon Temple Music Video (Subterranean Ritual II)

music art film review - REDEFINE magazine

Midday Veil – Great Cold of the Night Music Video (w/ Director & Musician Interviews)

About the “gun-shy” music video, from director Kris Moyes (via Grizzly Bear’s website)

“The idea came from a question:- if the creative energy of any living organism could be seen, what would it look like? Ed, Daniel, T and Bear demonstrate where their creative energy is located by extracting their hair, nails, skin, sweat, tears and blood. This is an invitation for a very rare glimpse of what creative energy could look like on a molecular level, if it could be seen.

Is this is where their music comes from?

The 2nd half of the video takes on a more metaphysical or alchemy-like shift. We see the impact they have on their environment, throbbing leaves, boiling a river, steam, hovering in air, lightning bug-like sparkles in the afternoon sun etc.

This turning point in the story came out of a very creative conversation I had with Daniel Rossen and belief I have and I think the band share is everything is connected.

In the filming of this clip we used various scientifically explainable methods known to the natural world, soap film interference, rapid crystallization, splitting of the light spectrum etc to create the impression that these visual phenomena actually comes from them.

Of course this hypothesis would not hold much weight in the various scientific circles, but, it is a good question to ask. Science has tried unsuccessfully to explain where creativity comes from. Why some humans have a creative drive and others do not, why this person can draw but does not have a musical ear, or why this person is better suited to the clarinet and not the guitar, and why some people can play every instrument they come into contact with.”

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Grizzly Bear – “gun-shy” Music Video

INTERVIEW W/ PAUL TRILLO CONTINUED BELOW

According to director Paul Trillo, “The concept behind the video was to convey multiple aspects of loneliness. The feeling of being trapped (or tied down in this case), holding onto what is no longer there, and observing something that no one else is seeing. I think the backdrop of the NY skyline helps emphasize the scale of loneliness.”

In order to create a panorama effect, the camera is positioned from a single axis, quite independent from the subject matter, so as to further stress the idea of loneliness. Given the nature of the filming style, a huge amount of work was done in post-production to control the speed or panning and the look of the human subjects.

“The empty bodies that fill the view almost appear as voids, something missing that can’t be grasped or filled in…” explains Trillo. “We had a couple hours to shoot the video because the sun was setting so the whole thing was an giant experiment. I thought it was going to be an utter failure; fortunately things came together in the computer. There is quite a lot of post production. The video is shot similar to [how] panoramic photography [is], where you set the camera on a tripod and shoot a 360º in multiple shots. The camera movement is all controlled in post. The hollow or invisible people are chroma keyed suits that are replaced with a background plate.”

Included below is a “Making Of” breakdown.

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The Peach Kings – “Lonely” Music Video

Thee Oh Sees – “Lupine Dominus” Music Video

Kasper Bjørke – “Bohemian Soul” Music Video

Thee Oh Sees – “Lupine Dominus” Music Video

Earlier this year, Thee Oh Sees returned with a new record, Putrifiers II, and album single “Flood’s New Light” seemed to indicate a mellower Thee Oh Sees on the horizon. But with their latest music video for “Lupine Dominus”, which director John Strong sums up with the words, “A young man enters a strip club with different intentions…” it seems the band’s grittiness is still present.

Thee Oh Sees’ last music video for “Chem-Farmer” involved Bavarian-style costumes, silly dance parties, and convenience store snacks galore, but in “Lupine Dominus”, the band decides to take a less playful approach (or at least “playful” in a wholly different way).

Putrifiers II was released September 11th, 2012 on the band’s longstanding label, In The Red Recordings.

Thee Oh Sees – “Flood’s New Light” – DOWNLOAD MP3

Kasper Bjørke – Bohemian Soul

Halfway across the world, Thai ladyboys become the main subject in Kasper Bjorke’s music video for “Bohemian Soul”, which takes an intimate look backstage in dressing rooms and onstage during performances. This video presents a much larger emotional spectrum than “Lupine Dominus”, and as such, feels more like a glimpse into daily lives rather than exceptional one-off circumstance. The Copenhagen-based producer’s album, Fool, was released on April Fool’s Day, 2012, via hfn music.

Conception & Direction: Karim Huu Do
Editor: Karim Huu Do
Producer: Lamar Hawkins, Pumpkin Film AG , Zürich
Colorist: Adriel Pfister, Online Video, Zürich, Switzerland
Sound design: Fadel Gomari
Production assistants: Djamel Merzkani & Alessandra Dolci

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You may also be interested in…

Diplo – “Set It Off” Music Video
(Director Ryan Staake & Producers Talk “Infinite Stripper Pole”)

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Sexual Deviance in Music Video: Thee Oh Sees – Lupine Dominus & Kasper Bjørke – Bohemian Soul

Diplo – “Set It Off” Music Video

How closely did you guys collaborate with Diplo in conceptualizing and executing the piece? How much creative freedom were you given?

Ryan Staake: The entire initial concept was my doing, and was delivered to [Diplo] and his label [Mad Decent] with 3 words: “infinite stripper pole” and a crudely mocked up test image. Diplo’s a really busy guy, playing shows every night all over the globe, producing tracks for loads of pop and indie artists’ but somehow despite that, he’s incredibly connected, and crazy fast with email responses. We got the bulk of his feedback during post-production, in which we’d talk in vague terms of making it “sexier” or “more cocaine-Vegas”. As the post came together more and more towards the end of the process, I’d get his thoughts on specific ideas of what might appear on the pole as we panned up, and used his, T.S.’, and Robert’s taste as a sounding board. The creative decisions were definitely mine, but your mind can start to melt as you look at the same vertical pole for several months, and it’s crucial to get some trusted opinions on it throughout the creation of the piece.

T.S. Pfeffer: We are currently seeing the “new generation” of artists and with it comes new methods for driving a creative project from inception to delivery. More often then not, the makers are all connected to several other artists at any given time solely through the internet, sometimes never connecting face-to-face… ever. (Laughs.) But because we’re all able to exchange these ideas, or reference images and visual tests in high-def quickly, the collaboration process moves very fast. We all don’t have to be in the same place at the same time to build essentially what is going to be the project’s creative pre-production, and in some cases, even production and post. Ryan and Diplo have this process down to a dime.

Robert McHugh: I am just happy to be here.

How did the decision to use a stripper pole and dancers come about? Were there earlier concepts using the same infinite scrolling type model?

Staake: I’ve always been into creating videos which appear seamless, with little to no sense of edits (not saying this is all I make, but it’s something I love to do and watch come together). Several months before the request to make a video for “Set It Off” came through, I’d shot some test footage of a friend pole dancing, and loved the look of it… there was definite sexiness to it, but the potential to add a bit of class to the depiction of beautiful, strong women showing off their skills. I filed it away, and it came to mind when I begin investigating various treatments for the “Set It Off” video.

Pfeffer: Our processes as a team always begin with us sending things back and forth. Some make it on to become actualized concepts; others sit in the dark. The test footage Ryan is referring to was brought to Robert and I way before it was conceptualized as a music video. At first it was just a pole and our friend dancing; I believe it was used as a lighting test for Ryan’s recent light-kit purchase. Anyway, from here, we’ll usually give him our gut reaction, tell him how it can be achieved from a production standpoint, and then rain little potential ideas here and there for him to collect and carry with him as he goes. Somewhere in the process of back and forth, there was that light bulb moment from Ryan, that clearly only comes from staring at a metallic pole and thinking deeply about its design for too long, where he exclaimed, “I think that if I did this, that this would be possible…”

McHugh: Our gut reaction here was obviously, “Totally.”

The shots in this video are extremely impressive and take on a three-dimensional hyperreal quality. Can you tell us a bit about the shooting environment and the equipment used? Was there much experimentation before deciding on the final visual style?

Staake: Yes, I’m glad this comes across, by the way. The video is not intended to be photorealistic, nor CG, but some weird hybrid of the two; “hyperreal” is a perfect descriptor. We knew I’d need incredibly high-resolution and high-quality footage to work with in post, and T.S. and Robert helped steer the project towards the RED Epic, which offered 5K shooting at 100fps. This enabled us to zoom in and out of the red footage slightly, without losing quality, and gracefully throttle the speed up and down as needed. Aside from the RED camera and the pole rig (a 20x24x16 foot metal rig/pole spec-ed specifically by the AERA dance team), our setup was pretty simple. Lighting-wise, I knew I wanted all of the dancers strongly backlit, just because of the anonymity it gave, and [because it] kept the emphasis on the movements of their bodies. Backlighting was also a practical choice, as it allowed for CG elements to be rendered in a lighting setup that was easier to composite than something more traditionally lit. Beyond the setup, we definitely experimented a bit when shooting — embracing accidents and discoveries… for example, the high heels on Autumn (the 2nd dancer) were slipping off because they were too big, so we shot that a few times, and it turned out to be a perfect introduction to the movement of the pole.

McHugh: T.S. and I are usually the ones helping Ryan frame his concepts as Directors of Photography. That said, we can be pretty particular about image and image quality. (Points to T.S.) For this project, even as producers, we had our eyes on what Ryan had drafted in his test footage and applied our options for producing the best image for him. Our first thoughts were briefly with the Alexa, but we quickly landed on the Red Epic for its monstrous resolution. With the ideas we had been exploring to take advantage of in post, it was obvious that this was the camera that was going to take Ryan’s concept to the next level. Tim found our DP for the project, Aaron Grasso, who owned the Epic, and we paired him with our gaffer Rudie Schaefer to create a pretty stacked team for delivery.

Pfeffer: (Sighs.) I wish we could say we shot it. (Laughs.) Aaron did kill it… come on…like we were surprised?! WE found him. He’s the real deal. I’ll have him back anytime.

It seems that the post-production on this music video must have been a long and quite involved process. How long did that take, and what were some of the challenges?

Staake: Yes, post was a huge part of this project. I did all the post myself, so it took quite some time. The quality of the 5K RED footage was impeccable… with its high resolution output stretching across all 3 of my 24″ monitors. But this massive resolution also had the downside of being incredibly slow to work with, even at 25% quality on a 12 core Mac Pro. There was a lot of experimentation in post, which also added to the duration of the process. I’d spend a couple days working on one 2-second shot, rendering tests overnight, and ultimately decide it was too far removed from the concept of the video, and start all over. But those dead-ends were necessary departures to ultimately get to the better ideas.

Pfeffer: Post was easily the most rewarding experience for us. We were able to watch this thing come to life piece by piece. We knew it was going to be good when Ryan discarded some of his initial ideas and held on the introductory shot of this beautiful toned woman stretching outwards on the pole upside down. The track’s dip, commencing the movement of the pole is classic, jaw-dropping angst for what’s to come.

Is this a bit like building an elevator to the moon — only with strippers?

Staake: (Laughs.) Yeah, it’s drawn some comments that describe it was a Space Elevator, which I love. Or an antenna connecting to the Curiosity rover on Mars. Neil Armstrong passed shortly after the video came out, and Diplo and I unofficially tweeted that it was dedicated to him. I’m a huge proponent of space exploration, so if this video can get one hundredth of a percent of budget added to NASA’s yearly allowance, I’ve done my part for humanity.

Pfeffer: It’s been a long time dream of ours to be the first to film a music video IN orbit. Maybe this is the calling card to get us on Sir. Richard Branson’s list.

Is there anything else you would like to add? Anecdotes, curious points, etc.?

Staake: I will say that I didn’t expect the massive debate over strippers/pole dancers that is going on the YouTube comments for the video right now. There’s 2 sides to the argument: Those that think these girls are definitely Pole Dancers, and those that think they are definitely Strippers. I can say that both sides are in fact correct… The dancers are all professional, highly-trained, incredibly talented Pole Dancers who I asked to play the role of Strippers — and they nailed it. But I love watching the debate; some of the commenters are getting really heated over it.

McHugh: Tell them about the physical version.

Staake: Ah, yes. I’m in early days of preparing to do a physical installation version of the Set It Off video in late 2012. Stay tuned.

Pfeffer: I’m in the early days of preparing to be the pole cleaner for the physical installation.

McHugh: Lastly, something of note, with the whole piece being shot from a single camera angle, principle photography was captured in just a day where we had arranged for the girls to come in one at a time. But since they all know each other so well, it turned into a kind of jam format shooting schedule and that’s how we ended up with the tandem dancers, and the whole environment had a really great energy with everyone being around and encouraging/pushing one another. We filmed at the Automobile Driving Museum which is by LAX, and they had hosted a large pole dancing event the night before our shoot day. Some of our production team went to the event and were blown away by AERA and the rest of the performers. We ended up casting some extra dancers from that event who came in the next day to perform for us.

www.pompandclout.com

www.set-it-off.com

Directed by Ryan Staake (Pomp&Clout)
Interactive Version: set-it-off.com
Dancers: Marlo, Mina, Nadia, Reiko, Michelle, Prana, Kyra, Autumn, Danielle & Crystal
Production Companies: Pomp&Clout and Pier Pictures
Co-producers: T.S. Pfeffer, Robert McHugh & Ryan Staake
Director of Photography: Aaron Grasso
Assistant Director: Robert McHugh
Assistant Camera: Gille Klabin
Concept & Visual Effects: Ryan Staake
Makeup: Christina Rodriguez & Rana Akhavan
Gaffer: Rudie Schaefer
Key Grip: Jamin Mandel
Additional Footage: Peter Corina
Associate Producers: Kyle McBeth, Kyra Johannesen, Jen James & Liz Kinnmark
Production Assistants: Ian Kaye & Michael Onak
Quality Assurance: Leslie Ruckman
Thanks to the AERA Dance Foundation (aeradance.org) & The Automobile Driving Museum (automobiledrivingmuseum.org)
Shot in Los Angeles on the RED Epic

Ω

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music art film review - REDEFINE magazine

Diplo – “Set It Off” Music Video (Director Ryan Staake & Producers Talk Infinite Stripper Pole)

A reminder that the world wide web is a wonderful, indulgent piece of technology, you can now stream all six episodes of the television series Marc. Originally airing in 1977, Marc is the pop music show of Marc Bolan, the famed glam rocker whose life was taken in a car crash in the same year the series ran. Featuring a rather glossed over Bolan lip syncing and dancing around stage to his own tunes, it’s a sort of macabre look at an artist not only entering the final days of his career, but of his life too. Marc’s final episode, which features guest star David Bowie performing “Heroes” and a duet with Bolan, actually failed to air until after Bolan’s funeral. The super low cut jumpers, the leopard print, the neon. It was glam rock at its finest, and topped off with backup dance troop Heart Throb, this UK tv show was the epitome of rock and roll at the time. Other guest performances found throughout the episodes include Thin Lizzy, Roger Taylor of Queen, Generation X and The Jam. In a lot of ways, viewing Marc in a contemporary setting employs the sort of twisted voyeurism that plagues the internet, but the show is a fascinating project that would never be greenlit in 2012, and for that historical perspective alone it’s worth diving into. Oh and the music isn’t half bad either. View all episodes via Youtube user VenusDeBurgio.

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Watch The Entirety of Marc Bolan’s 1977 TV Show, Marc