Social Media Trends

I’ve discovered a trend in my blog. The bands who are the most active on social media are the ones I noticed most.

Plain White T’s, Linkin Park, and 30 Seconds to Mars have been the primary subjects there. One, because I really enjoy them. Two, because they have this social media thing down. Frequent posts in multiple venues (twitter, Facebook, band websites, blogging) and high-quality content.

I wish more bands would follow their examples. Switchfoot has performed on a couple of talk shows lately, and I had no idea! Not because they didn’t post it, but because they don’t post frequently enough to have an existing social media presence. Without that regularly maintained presence, fans quickly breeze by what little information they do offer. Which is sad – I’ve had a soft spot in my heart for Switchfoot since Learning to Breathe.

On the other hand, Adam Duritz of Counting Crows is the MOST BORING TWEETER EVER. He posts all the time, but the content of his tweets are just irritating. Pointless. He doesn’t have a clear sense of his audience and therefore doesn’t offer information relevant to them. Mostly he’s tweeting for himself, sharing his own thoughts and allowing everyone else to catch a glimpse. As for me, he can keep that view of his brain. I’ll just keep listening to his music and call it good.

And I’ll even say, Linkin Park could probably kick it up a notch, too. Plain White T’s and 30 Seconds to Mars have raised the bar. PWTs have chatted live with fans regularly for a couple of months now. 30 Seconds to Mars has requested that fans get involved in the creation of their videos and albums. Media is getting more accessible and more interactive with the burgeoning of social media – let’s get on the ball, people. Ride the wave.

"Hurricane" Video Runs 20 Minutes Long - But Should It?

30 Seconds to Mars informed MTV News yesterday that the "Hurricane" video runs about 20 minutes long.

And I don't like it.

The video will "explore sexuality and violence" for 20 minutes? I know that 30STM projects a certain amount of darkness in their music, particularly on their latest album. I can handle that. But I have a problem when you make a music video explicitly ABOUT sexuality and violence -- particularly when the lyrics have little to nothing to do with sex. Unless it's twisted, macabre sex. Then I REALLY have a problem with it.

If it were your typical music video, say 4-6 minutes long, it might not be such a big deal. "Oh look," I'd say. "One more thing about sex and violence in an already saturated industry. I wish 30 Seconds to Mars wasn't in on that trend like everyone else."

But no. This video is an effort at an art form. This is indie film with funding. Echelon already know that 30STM is capable of really beautiful work, especially in their videos. ("Kings and Queens" comes to mind.) How could it possibly be okay for them to use that talent as proponents for violence and sexuality?

Art criticism has two components: whether or not it meets its goal, and whether or not that goal was worth meeting. 30STM is CERTAINLY able to accomplish their creative goals. I don't doubt that for a second. I am, however, questioning the value of the goals for which they reach.

The buzz about the album as been it's got this epic, optimistic feel, and that's what I love about it. I just hope that "Hurricane" is somehow in keeping with that, though I'm not sure how it will be. How do you make the combination of sex and violence into an uplifting, valuable 20 minute message?

You make me nervous, 30 Seconds to Mars. And I wish you wouldn't.

30 SECONDS TO MARS WINS BEST ROCK BAND AT EMAs

30 Seconds to Mars rocked the world's face at the EMA awards last night with their song, "Hurricane." Madrid was very kind to our boys; "WOOOOOOOO!" transcends all language barriers. The flashing cameras only intensified the atmosphere that was so Spanish and so MTV and so awesome. The crowd was completely enamored...and you know what? so was I!

This song deserves the attention -- it's a brilliant collaboration between 30STM and Kanye West. It should have been included on This is War, but their respective labels wouldn't play nice, so the album is without Kanye...but with everyone else! I can't get over what a fantastic idea it was to include vocals from a crowd of fans on the album.


At any rate, the band rocked the transition into the hip-hop section - it wasn't so much abrupt as it was already happening before I realized how much I was enjoying it. The drums aided the transition, but the synth strings preserved the beloved 30STM vibe. Even Kanye himself borrowed Jared's vocal styling a tiny bit. ("In the MOOOOrnin'!" sounds much like "This, is, WAAAAAAR!" Watch the performance and you'll see what I mean.) And then it eased into a dance remix sound, which was SO COOL.

I nonetheless think EMAs are trying way too hard to honor a very specific subgenre within the media. Hurricane is only sort of conveying an environmental message...the song is more about the depravity in human nature than the rights of the planet and learning to appreciate it. Sure, there's references to pollution and acid rain, but that's all it is. A reference. The EMAs take an underwhelming approach to the concept on This is War.

But at the same time, can I really complain about a venue that lets us see this?


He might look like he dressed as Michael Jackson's ghost for Halloween, but he can wear whatever he wants to with bone structure like this.

Plain White T's Play Acoustic

In today's awaited video chat, Plain White T's played the first 3 songs from their upcoming album, The Wonders of the Younger: "Irrational Anthem," "Boomerang," and "Welcome to Mystery." The trend will continue as the band plays two or three songs from the new album during each chat session. PWTs noted that for most of the sons, it will be the first time they've played the acoustic versions. The approximately 200 fans that gathered ate up every moment.

It was also Dave's birthday. Happy birthday, Dave!

30 Seconds to Mars Tour T-Shirt CONTEST

Have you Echelon been lusting after 30 Seconds to Mars' Golden Ticket packages? Well, if you have an artistic slant, you're in luck!

Mars is calling for fans to submit their designs for the Into the Wild tour t-shirt. Given the album art, I won't be surprised if it included a face with the tour name across the eyes, just for unity's sake. But that's also a little obvious, so I'm excited to see what great idea the band decides to go with.

The usual rules apply: if you're not allowed by law to win, you don't get the prize. You're basically selling your identity to the band by entering. They can use the design any way they want to. Oh, and nothing that goes wrong is their fault.

But COME ON. Totally worth it! The basic VIP package includes a ticket, a soundboard seat, early entry, and a t-shirt/poster...this runs for about $200. However, if you're a REAL fan, shell out the $550 and live it up. This gets you all of the aforementioned elements plus a meet-and-greet with the band, stage-side seating, and an invitation on stage for Kings and Queens.

Prices of course vary based on location - hence why the website refers fans to each location to check out the Golden Ticket package.

30STM is currently on tour promoting This is War, their latest album. This week, Indiana, Tennessee, North Carolina, and Ohio get to bask in their epic rock glory. ...Anyone else a little concerned by all the postponed concerts though? What are Kentucky and Illinois going to do without their fix?

Analysis: "Waiting for the End" video, Linkin Park pt. 3

The most surprising move, especially from Linkin Park, is that the moments of intense, aggressive vocals actually have distinguishable notes and melodic value. This is not the typical fare from Linkin Park that fans have heard in the past. That development itself automatically gives more credibility to this work as a piece turning to virtue.

A final word: the last seconds of the video comprise of the lead vocalist, Chester, belting one last note into the darkness. It is, as previously mentioned, a recognizable note instead of a jarring, painful one. This makes the expression on his face one of determination rather than torture. Red triangles also fly off of Chester in the ending moments of the song, easily symbolizing a release from pain and sharpness. He sings, “I’m holdling on to what I haven’t got,” but the triumphant tonality leaves the viewer/listener sure that dreams and renewed faith can be obtained.

Combining all of these elements into a meaningful development of theme and message could have been no small task for the team in charge of creating Linkin Park’s “Waiting for the End” video. It is clearly of good report and praiseworthy. In addition, because the aforementioned theme and message is one of recovery, hope, and “fighting a good fight”, it is also a work that is virtuous and lovely.

Yes, I really did write a paper on this video. It's a healthy obsession. Promise.

Analysis: "Waiting for the End" video, Linkin Park pt 2

The transition period of this piece begins when the rapidly morphing images and flickering camera cuts begin to include shots of the band members. In other words, it introduces an element of humanity. However, this humanity is still distorted as the band members are unnaturally still while the camera turns around them.

The turning point occurs approximately 2:45 minutes into the song. For the first time, the video includes an intimate look into faces, sans skulls, with slow camera movement that allows a closer look at the quiet and somber emotion on those faces. Viewers also see the instruments in natural, organic motion rather than the band members strangely frozen in time as they play.

One of the most striking images from the video is that of the small fanged mammal – perhaps a weasel or ferret; at any rate, it is the third image included on the previous page. This animal is pictured once again in the video, but so briefly that it is difficult to capture. In contrast to the quickly deforming images featured previously in the video, the animal transitions rapidly into what might be a flower or sunburst. This simple image is a powerful example of how the video oscillates into a more positive character.

Having established this more noble character, viewers can take a new appreciation of the lighting. Throughout the video, there is an unsettling blue cast, but we muts take into account its structural resemblance to star charts. Stars are points that guide, illuminate, and beautify an otherwise dark and potentially threatening sky.

As the audio progresses, “Waiting for the End” builds in power, using that energy for positive ends: to develop clarity and purpose. Steady, solid drumbeats neither disguise nor distort the other elements of the song. Instead, they ground the sound in firm dependability. The guitar riffs, which at first sounded more like an angry saw, become more organic – almost wooden, in fact. In the latter portion of the song, harmonies become more consonant. The slurred lyrics transition to one of the most clearly-spoken rap sequences I have ever heard, which includes the ideas of “starting again.” The lyrics may say that there is something wrong with the world, but in combination with the music, the actual message of the song is that the world can be changed for the better.