Scene divisioning( Yaad aya Youn)

Scene One

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:

'Kabhi Socha na tha,       

Kai bikroo ga mai,

Teri unth batou pai

Translation:

'Never had I thought,

That I would be left torn apart,
By your incredible talk,'

Description: Danyal the protagonist is sitting on a bench, with sorrow etched all over his face. His gaze is cast downwards, and his hands rest in his lap in a very helpless manner. His shirt hangs loosely around him, and an open notebook lies beside him, in which there seems to be something scribbled inside. On closer inspection, it turns out that the words 'Best Friends Forever' are written, when Danyal picks up the notebook and brings it closer to his eyes. He then looks up in the sky, as if thinking about something very deeply.

Scene Two

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

 Lyrics

'Parchai sai bhee,
Koi rishta na hou,
Aisa kyu,
Bta mujhay,'


Translation

'With the past,

No relations I have,

Why?

Do tell, why?'


Description: The real scene dissolves, and flashbacks limited strictly to the school ground are shown. In these flashbacks, Danyal and his late friend are talking to each other in class, while conversing with other friends in a happy excited manner.They are faced towards each other, with huge smiles plastered onto their faces. The classroom has been brought into focus during these initial series of flashbacks, and is mostly occupied by students, hence providing a very lively atmosphere. And then suddenly, they stop and Danyal stands up, looking ahead in a very depressed manner. His eyes are still cast downwards, and his hands now lie loosely around his sides, one still clutching the notebook. He twiddles his thumbs hopelessly, and then starts moving forward slowly.

Scene Three

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:

'Tou lai chul mujhay,
Kubhi uus jaga,
Ghum na hou,
Hur rasta'

Translation:


'Then take me,
To that place,
But, don't get lost,
Along the way,


Description: Firstly, he walks towards a school playground very slowly with an averted gaze. While walking, he then looks on either side of him; at the boys playing football as well as the rows of benches hidden behind small trees. His head droops down again, and he stops for a while experiencing yet another series of flashbacks this time strictly limited to the school playground. First, he is shown seated with his friend on the stage during recess, while talking excitedly. Both of them watch the crowded school with smiles yet again plastered on their faces, while chatting animatedly at the same time. Next, they are walking across the ground, and a football hurtles past them, which his friend kicks back. His arms flail in mid-air as he enters this motion, and his body movements become more agile when he does so. Danyal just watches in sheer amazement at the scene before him, and they exchange hi-fives before moving forward.

Scene Four

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:

'Bursou sai hai,

Jou yai silsila,

Kesay ruhoo,

Ga mai bhula,'

Translation:

'Since forever,

This ongoing relationship,

Without this, 

How will I manage to live?'

Description: The flashbacks stop again, and this time Danyal watches the boys playing football more properly. He moves a hand through his hair in a sad way, then after staring at them again resumes walking forward. Although this time, he looks more frustrated than usual, his fists clenching and unclenching momentarily, while biting his lip at the same time. The notebook in his hand violently sways to and fro, as if threatening to fall down, and his eyebrows meet at the centre with his lips pursed agitatedly.


Scene Five

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:

'Yaad aya Youn hai,
Dil sai mila,
Tha youn.
Yaad aya Youn hai
Yaad aya...'


Translation:

'Remembered you have been,
Entwined with the heart,
You were.
Remembered you have been,
Remembered you are...'


Description: All the flashbacks he experienced come again, but in a more slow-paced manner. Like a colourful mixture of both the inside as well as the outside of the school, all the details are more comprehensively shown in them like the two friends conversing excitedly in the classroom, as well as outside with the same scene of his friend kicking the ball in the ground shown again in slow motion. An extra scene in which his friend folding a paper plane, and throwing it across the classroom is also shown. He caresses the fold with admiration, and the two of them erupt into raucous laughter as the plane hits a fellow classmate who immediate responds by a steely look directed towards the duo.


Scene Six

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:


'Kabhi soucha na tha,
Kai aoogay tum,
Phir sai,
In sasou mai,'

Translation:

'Never had I thought,
That return you would,
Again,
With these painful gasps for air'


Description: Again, the real scene comes into focus, and Danyal is still walking in an agitated manner. He then stops, the contortion of his face easing slightly and looks yet again at the boys playing football. A split-second hallucination of his friend walking towards him all in smiles is shown, and then de-materializes, leaving him motionless, the notebook in his hand falling down immediately. He bends down slowly, and picks it back up, now leafing through its pages.


Scene Seven

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:

'Veeranay mai bhee,
Jou bus gya hoo,
Kurdou hou,
Riha mujhay!'


Translation:

'Even in abandonment,
Stuck as I am,
Please let go,
Leave me be!'


Description: His increasing agitation recedes into regression, and he slows down to a great extent. Instead of anger, and frustration, a series of deformed expressions pass on his face, and make him look both tense, and depressed at the same time. His lips stretch thinly, and then revert back to their original size. One of his arms shifts upwards being clenched like a fist, and then suddenly lowers down then hanging limply by his sides. His eyes blink in and out, as if he is having trouble perceiving reality from fantasy, given that he experienced a series of flashbacks in the last scene. The surroundings blur around him, and he is brought more into focus for this particular scene. His expressions, thanks to their strange nature are being more heavily concentrated upon, and he starts taking calculated steps while wandering aimlessly towards his desired direction.

Scene Eight

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:

'Tou ladooga mai,
Ujaalai sabhi,
Nibah dooga mai,
Wou waadai sabhi,'


Translation:

'Then I shall bring,
Light into my life,
And keep,
Promises we made'


Description: He then stops, and his movements relax, until eventually coming to a halt. He widens his eyes slightly, as if something has occurred to him. He brings the notebook again to his face, and then after shutting it stares at its binding as if he has just realized something. A smile registers on his face, and he gives a small nod in approval of his stabilized mental state. Suddenly, a boy approaches him and places a hand on his shoulder, as if inviting him to something. They both exchange warm glances, and after giving each other a small nod start moving towards the centre of the field where the rest of the boy's friends are playing football.


Scene Nine

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:

'Khuray hou gai tum,
Jis hal mai,
Na jaooga mai,
Waha bhee!'


Translation:

'Standing you will be,
But, despite your condition,
Never shall I go,
Again to that place!'


Description: Danyal experiences flashbacks in a very fast-paced manner, and more blurred this time. These are the same flashbacks he experienced in the earlier scenes, save for the point that they are now presented in  a more fast-forward manner. He smiles, and then starts talking animatedly to his newly made friend, and they both enter a light phase of discussion, their hands moving as they try to explain something to each other.


Scene Ten

Time: Day

Location: Beaconhouse Jubilee Campus, Dar-Us-Salam Society, Korangi

Characters: Danyal

Lyrics:



'Yaad aya Youn hai,
Dil sai mila,
Tha youn.
Yaad aya Youn hai
Yaad aya...'


Translation:


'Remembered you have been,

Entwined with the heart,
You were.
Remembered you have been,
Remembered you are...'


Description: Danyal greets his other friends, and dribbles around with the football a bit. Then, he gives a smile and kicks the ball towards one of them. He then looks up in the sky, and the scene dissolves for a few seconds to show a new flashback in which he and his late friend are playing football in a similar manner. The moment his late friend catches the ball, the 'real' scene is brought back into focus again, and all the boys including Danyal are shown playing in an excited manner.

Permission to use copyrighted song granted by the Rehman Ifrahim Band

Mohsin Hussain- need to use yaad aya youn for a media project

Inbox

x

Mohsin Hussain	Jan 26 (5 days ago)
Hi guys. My name is Mohsin and I want to make a music video on your song 'yaa...

Rehman Ifrahim	11:35 PM (22 hours ago)
On Thu, Jan 26, 2012 at 12:30 AM, Mohsin Hussain <mohsinspordium@gmail.com> w...

Mohsin Hussain	12:07 AM (22 hours ago)
Thanks a lot guys :D When I've made the video, I'll definitely let you know!

Rehman Ifrahim rehmanifrahimband@gmail.com	1:10 AM (21 hours ago)
to me

our pleasure mohsin stay safe may Allah bless ya and your family thx...

Narrative Breakdown( Yaad aya Youn)

Stanza One

Lyrics:

'Kabhi Socha na tha,       

Kai bikroo ga mai,

Teri unth batou pai

Translation:

'Never had I thought,

That I would be left torn apart,
By your incredible talk,'

Explanation:

These lyrics make it clear to the audience that the protagonist is reminiscing about his troubled past. And to further signify that this is indeed about someone he knows, it has been made clear in the very first two lines that he has made some memories with the person, and is experiencing a paradox, given that he is remembering the undiluted fantasy that person poured in him now in pure agony, and which he believed to be incredible at a previous point in life. This could be a clear reference to ordinary talk like 'We might die some day' or 'I may cease to exist, and you would have to continue living without me.' Due to the developed intimacy, he may have considered such a negative possibility as rubbish, since the protagonist may have found it impossible to think of a life without his friend. And now that he has been placed in such a worst-scenario situation, he feels as if everything is crumbling beneath his feat. That his life has turned into a revolting nightmare, into a wretched fantasy;

Stanza Two


Lyrics

'Parchai sai bhee,
Koi rishta na hou,
Aisa kyu,
Bta mujhay,'


Translation

'With the past,

No relations I have,

Why?

Do tell, why?'

Explanation

As the flashbacks start kicking in an orderly fashion, the lyrics explain that without his friend, the past has been deemed insignificant by him. Yet again, a paradox is involved because clearly he is still living very much in the past, hence shifting occasionally to those painful memories. However, here he is faced with a conflict. He can either chose to forget his troubled past, or let it riddle his mind with poisonous feelings and ensnare his senses.

With these clearly defined questions, he allows his mind to develop the conflict, and ensue both a social as well as psychological dilemma. These lyrics help in explaining the state of his mind in an elaborate, yet very precise manner. They do reflect the point that the protagonist is indeed heavily disturbed by these rather troubled memories.



Stanza Three

Lyrics:

'Tou lai chul mujhay,
Kubhi uus jaga,
Ghum na hou,
Hur rasta'

Translation:


'Then take me,
To that place,
But, don't get lost,
Along the way,

Explanation:

The lyrics explain to the audience that he has given up, and is letting the memories take control of his body, steering him in a direction they wish to. He refuses to let go of them, despite all the suffering he is having to endure because of re-visiting them, and the vivid image of his friend keeps going stronger in his mind's eye, as if he can still feel his presence, and thus continues to urge him to stay as a living memory, and provide him with hope.

However, since the grim reality is that his friend is dead, it is hard to absorb in such a mindless, and highly irrational fantasy. Another theme highlighted here is 'Sanity' and 'Insanity'. Clearly the protagonist feels that an offset has triggered in his set-equilibrium, which is why he is allowing such fanatical thoughts occupy his brain, and lead him to think in a very irrational and illogical manner. To compose himself, it is essential to move on. Clinging to the past is not going to help him regain control of his mindlessly steering life.

Stanza Four 

Lyrics:

'Bursou sai hai,

Jou yai silsila,

Kesay ruhoo,

Ga mai bhula,'

Translation:

'Since forever,

This ongoing relationship,

Without this, 

How will I manage to live?'

Explanation:

He is miserable that while others are happy, living life as if no such thing as sorrow exists, he is contemplating on his heavy loss, unsure as to how to let go of all these painful memories, which seem to be taxing him to a huge extent. These lyrics help in explaining his current mental state. Due to the developed intimacy with his late friend, he understands that letting go will prove to be a daunting task. And he knows that if he relinquishes his grasp from these oft-changing memories, he will place himself in listless silence with nothing to provide him company with. Unbearable, but nevertheless comforting to some extent, these memories are all that he can thrive upon. But, he knows that the need to move on grows significant as time lapses, as they might take control of him and make the 'emotional instability' a constant, thus ruining his life altogether.

Stanza Five

Lyrics:

'Yaad aya Youn hai,
Dil sai mila,
Tha youn.
Yaad aya Youn hai
Yaad aya...'


Translation:

'Remembered you have been,
Entwined with the heart,
You were.
Remembered you have been,
Remembered you are...'


Explanation:

This further explains the gravity of these memories since they are now starting to constantly weigh him down. He comes to the point where everything makes sense. He finally realizes that in order to stabilize his present, he needs to let go of the past. The answer to the conflict has been provided, and now it is his sole decision to either let these flashbacks ensnare all his senses and make him lose his touch with reality, or move on to making new and happy memories.

The lyrics due to their repetitive nature manage to comprehensively explain the fact that the memories are too volatile, too strong to be dissolved quickly. And that the very clear reason as to why the protagonist can't let go of these memories is  because he can't allow himself to forget his friend entirely, given the magnitude of their friendship.


Stanza Six


Lyrics:


'Kabhi soucha na tha,
Kai aoogay tum,
Phir sai,
In sasou mai,'

Translation:

'Never had I thought,
That return you would,
Again,
With these painful gasps for air'

Explanation:

These lyrics make it yet again clear to the audience that he is still in a state of depression because never had he accepted the idea before his friend's death that such a negative possibility would ever rise, and instead of experiencing joy of re-living these memories, he experiences utmost anguish given the fact that they are simply confined to his troubled mind, and  his friend will never walk the face of this Earth anymore. This is to signify that the state of realization is finally growing stronger, and he now understands that the very reason he is depressed is because these memories will now forever remain as nothing more than a dream, and will never come to life ever again.



Stanza Seven

Lyrics:

'Veeranay mai bhee,
Jou bus gya hoo,
Kurdou hou,
Riha mujhay!'


Translation:

'Even in abandonment,
Stuck as I am,
Please let go,
Leave me be!'


Explanation:

Now, another side of the conflict is presented-the 'letting go' dilemma. From depression, the protagonist enters a state of mental aggression, and helplessly tries to combat the ongoing flashbacks, trying to rid himself from them. He understands that when he will let go, all these memories will leave and he will be left in complete isolation. However, this in his case is better than living with memories which can only cause inexpressible grief and toxic agony. The emotion in these lyrics has been well-presented so as to further signify to the audience that Danyal cannot bear this pain anymore, and strongly wishes to be released from there grasp.


Stanza Eight


Lyrics:

'Tou ladooga mai,
Ujaalai sabhi,
Nibah dooga mai,
Wou waadai sabhi,'


Translation:

'Then I shall bring,
Light into my life,
And keep,
Promises we made'


Explanation:

The lyrics make it very clear to the audience that he is finally ready to let go off all the memories, and start making new ones. That in order to bring his life back to the set-equilibrium, and allow joy to enter, he needs to stop living in his troubled past. And he remembers the promises they made to each other, one of them being to live life to the fullest just as his friend had done.

Stanza Nine

Lyrics:

'Khuray hou gai tum,
Jis hal mai,
Na jaooga mai,
Waha bhee!'


Translation:

'Standing you will be,
But, despite your condition,
Never shall I go,
Again to that place!'

Explanation:

All those memories seem to be letting him go, rewinding till the very last one is left. It is made clear to the audience, thanks to these soulful lyrics that the protagonist looks forward to making a beautiful future by living happily in the present. Also, the lyrics further insist to the audience that despite the fact his friend has ceased to exist, he shall never contemplate on this heavy loss because he knows that this wouldn't be a wise decision, and that his friend would've wanted the same thing for him as well. While this has been established, it is also made clear that the protagonist is not feeling depressed anymore, and is looking forward to making new friends, and more importantly; new memories. The intensity of emotion is clearly displayed in the vocals to establish the new and stable 'mental position' of the protagonist, as well as to how concrete this final decision of his really is. 

Stanza Ten

Lyrics:



'Yaad aya Youn hai,
Dil sai mila,
Tha youn.
Yaad aya Youn hai
Yaad aya...'


Translation:


'Remembered you have been,

Entwined with the heart,
You were.
Remembered you have been,
Remembered you are...'


Explanation:

However, this one doesn't effect the protagonist in a negative way, since he has already moved on, and is making memories of even magnitude with his previous ones. In this flashback, he is playing football with his late friend, and their spirits are soaring high. The emotion increases in intensity to signify that the joy blooming within him is wishing to escape into the cheery atmosphere. The lyrics signify that although he still remembers his friend, he won't allow the loss induce pain and misery into his being, and hence allow him to live life to the fullest.

Exploring Music Videos for Different and Influential Music Styles

Given that I am working on a pop music video, I shall first analyse a Music Video related to that genre. For doing so, I've chose Katy Perry's E.T, a collaboration video with Kanye West, which is a love story of two aliens in outer space, hence staying true to its title. While involving heavy make-up, and background construction, it is interesting to note that the video is in sync with the song. And due to the fact that the sub-genres Rap and Techno are present (courtesy to Mr.West), it has been set for a larger audience, rather than being limited to just pop-lovers. Kanye West is a Rapper, and his inclusion to the music video helps in extending the audience to both rap-lovers and techno-lovers. Collaborations like these have become an influential music style, since other famous artists like Lady Gaga, and Rihanna have done this repeatedly.

Here is E.T, Katy Perry f.t Kanye West:

Another example of an excellent collaboration is Rihanna f.t Eminem 'I Love The Way You Lie':



It can be observed in both the videos, that except they share a common theme, which is in this case; love. Although E.T focuses on love, as a result of mere impulse and a spontaneous reaction to her lover's qualities, I love the Way You Lie focuses on a complicated relationship, in which the couple presented is experiencing a conflict since the male lover (Eminem) explains that he can't stop loving her, despite having some issues with her.

Here are the lyrics to give a better idea:


'and right before i’m about to drown, she resuscitates me, she fuckin’ hates me
and i love it, wait, where you goin’?
i’m leavin’ you, no you ain’t come back
we’re runnin’ right back, here we go again
its so insane, cause when it’s goin’ good its goin’ great
I’m superman with the wind in his back, she’s Lois Lane
but when its bad its awful, I feel so ashamed I snap
whose that dude? I don’t even know his name
I laid hands on her
I never stoop so low again
I guess I don’t know my own strength'

And here are a few lyrics from E.T, in which a more spontaneous love relationship has been shown:


'Kiss me, k-k-kiss me
infect me with your love, and fill me with your poison
take me, t-t-take me
wanna be your victim, ready for abduction
boy, you're an alien, your touch so far away
its supernatural, extraterrestrial

You're so super sonic
wanna feel your powers, stumb me with your lasers
your kiss is cosmic, every move is magic'






Another significant aspect of such type of videos is the range of costumes used by the main vocalist, usually the female in this case. Both Katy Perry and Rihanna have a strong image for their fans, and they continue dazzling them with something new and unique to look at.

Here are the costumes Katy Perry used in E.T:

Katy Perry as two different aliens, and with two exotic, yet brightly-coloured costumes

And here are the costumes Rihanna used:

Rihanna in a shiny black-leather dress

Because E.T has a Star Wars-like setting, Katy Perry has used costumes, which make her look like a complex, yet beautiful specie. One of her dresses is similar to that of Lady Amidala of Star Wars, who dressed in the same manner, which was described as a stunning dress by her audience. 

Here is a picture of it:

Queen Amidala from the Star Wars trilogy

So, the audience for singers like Rihanna, Katy Perry and Lady Gaga is the same. Pop goes hand-in-hand with Rap and Techno, and therefore the audience for such type of videos is generally assumed to be a large one. No wonder Pop is gaining more popularity, because unlike metal or rock, it displays a huge amount of both vocal talent and an array of bright colors, which despite the theme being love, keep the audience glued to the video until it ends. The addition of Rap helps the audience in understanding the story, and brings the highs and lows in the rhythm to make it all the more unique.

In the case of a music video belonging to the genre Alternative/Rock, the story is a short, but with feelings of magnitude nevertheless. To explore this unique style, I've chosen Crawling by Linkin Park:

Unlike pop, rock songs focus more on grief, and depression, which is why their audience usually comprises of teenagers. A typical rock song usually has a story in which the protagonist is feeling depressed due to some conflict he/she is experiencing or due to harsh treatment at the hands of close ones. As it can be observed from this particular video, the girl has been beaten up by someone she once held close (parents or her boyfriend), and is silently reflecting on how pathetic her life has become while cleaning her wounds in a bathroom sink.  The emo look, makes her look all the more sad, and with the main vocalist reaching to unbelievably high pitches, one can naturally assume that this is her inner-demon part,  the part writhing and screaming in undiluted agony.

Now the costume isn't much to look at, but as can be observed from the video, it plays a vital role in both signifying the theme as well as identifying its audience.

Here is a post, in which I have given a detailed analysis of plain rock songs like those of a famous band called 30 seconds to Mars.

Michael Jackson- Analysis of Image through his Music Videos

Michael Jackson, an oddity who lived and sung among us was anything, but normal. His extraordinary musical talent rose him to fame from a very young age; when he used to perform with his siblings, then belonging to Jackson 5, which was later changed to the Jacksons.

However, it was after he started a solo career as a musician that success started knocking at his door, and barged into his life, and that of his admirers for several magical years until that beautiful fairytale was poisoned by  wretched fantasies of entities who considered him as nothing more than just an oddball wrecking havoc in an otherwise sane world.

This could perhaps be the very reason as to why his personal life became a target for continuously pestering Media officials, and aspects of his life like his radically changed appearance, complex personal relationships, and unusual behaviour at times led to the development of a very confusing image in the public.

Apparently, Michael Jackson realized the gravity of this situation and set to re-establish his popularity as a true iconic figure. To understand his views regarding this troubling matter, I have selected a song he composed called 'Leave me Alone', which is accompanied by an animated music video of him asking the stalkers to leave him in peace, while trying to break free from their harrowing presence.

Released in 1989 as a part of his seventh music album, Bad, and put together by animator Jim Blashfield, 'Leave Me Alone' does well to present Michael's views about the controversies which had circulated his life.


In this video, the animated Michael Jackson is shown pouted out of a cabin, with a two armchairs flung alongside him. This is then followed by a rapid succession of newspapers on his doorstep, which seek to address the controversies in simple, yet bold headlines. Headings like 'Michael's Space-Age Diet'  and 'Bubbles The Chimp Bares All About Michael' are made conveniently visible, signifying yet again to the audience that the now late King-of-Pop did not enjoy his privacy being invaded like that, and that all the rumours revolving his personal life were considered simply as nonsensical to him. Here is the scene, in which all of this happened.

After that, he hangs in mid-air in apparent surprise (or disbelief?) at the nature of those speculative newspapers and is then shown in momentarily switching front-covers, while explaining the audience via the song's lyrics that he doesn't care as to what others think about him, and wants to live his life the way he wants to with no force pestering him.

To make the message on Freedom even more clear, he is shown paddling away in a small boat to his amusement park 'Neverland', based on the concept of a hidden magical island in the novel Peter Pan, by a Scottish Novelist and Playwright called J.M Barrie (1860-1937). During a brief interval, the lyric 'Leave me alone' is repeated oft to further signify to the audience, that Michael Jackson wants to live like an ordinary being with privacy given to him as far his personal life was concerned.


Also the lyric 'Stop dogging me around' mentioned repeatedly during the song, with animated dog-faced reporters does well to address that personal issue he had, which was that he considered them as a nuisance who never quit bothering him, when all he wanted was a little space.

As the song progresses, he is shown escaping his body and making his way from these dog-like reporters. There is also a scene in which he is shown dancing with an elephant's skeleton, his ankle chained to an iron ball. This acts as another sign that he doesn't feel free, and needs more space with the freedom to make decisions on his own accord. In the end, his bigger self destroys the amusement park, and allows him to escape into the abyss with no one trying to stop him.


This song clearly speaks of his public image, as well as what Michael wants it to be. Not only can it be treated as an unrivalled expression of freedom, but acts also as an insight on both the Media's representation of his personal life, as well as his own.


Michael Jackson through singing, songwriting and dancing gave several gestures to the public concerning various matters. A perfect epitome of sensuous singing, and illustrious dancing is his hit song 'Billie Jean' from his sixth album 'Thriller' produced by Quincy Jones, which does well to sum up the excellent talents and desires of the late King of Pop in a very understandable manner. Both on record as well on stage, Billie Jean has captivated audiences in a way no other song has. According to critic Greil Marcus, he  "walk(ed) the television stage not as if he owned it, not as if if was built for him, but as if his very presence had called it into being." Marcus has also gone far enough as to say that with Billie Jean, Michael Jackson 'shocked the nation.




.

Was it his brilliant dancing, each graceful step nothing short of a roller-coaster ride? Or was it the song itself, an outright acceptance of sheer madness, uncertainty for the world confined to it being expressed in beautiful low moans, and nicely brought high-pitched lamentations? The angry sentiments in this song according to Marcus, were 'not "fierce," but, instead, overcome by dread. And the lyrics about a paternity suit (no paternity suits were ever filed against Michael Jackson until after the release of this record) are a classic study in paranoid confusion complicated by guilt.'

By simply hearing the lyrics, one can understand how appalled Michael in this particular funny little world of his feels about  false accusations presented by the lover-cum-accuser-cum-torturer Billie Jean, who claims to have been his lover, and that she bears a child of his. To this, Michael wallows in sweet melody with an underlying sense of agony that, "This happened much too soon/ . . . Billie Jean is not my lover/ And the kid is not my son." In the song, he undergoes a social and psychological dilemma since he attempts to both remember that night with Billie Jean, as well as forget it ever happened as if in constant denial.

What is more surprising is that the song portrays a very 'emotionally unstable' Michael Jackson, but nevertheless stands as a brilliantly composed and stable song perhaps due to the synced performance which accompanies it. It looks as if  he is stringed by unseen unbalanced forces, but is breaking free as though bringing his social life back to a set-equilibrium. It is, frankly speaking, quite hard to tell whether he is being controlled or is actually the controller.

According to Marcus, it is the subjective experience of watching the performance which adds to the magnitude of the effect itself. Many Americans live a hard and controlled life, and feel like breaking free at times. Watching Michael Jackson's way of gliding across the stage is perhaps similar to watching a drowning man begin to swim.

Moonwalking with Michael Jackson doesn't always involve complex rhythmic dances, and fast-paced lyrics. With another of his hit songs, 'You are Not Alone', Michael despite slowing down to a great extent touched his audience' heart, and sent them sobbing uncontrollably as if they were trying to project their own feelings of misery and sorrow onto him.

Although not originally his song, belonging to R. Kelly's hit record 'Bump and Grind', who allowed him to record another version for his album 'HIStory', the intensity of the passion displayed by him makes the song look as convincingly his own.

Here is the video of him singing, and performing the song live:

The effect on his audience is simply magical. With his soft sweet high-pitched voice, he showed another side of him; that not only is he a deep and sensitive guy, but also a loving and caring person as well. Unlike his '80s hits like Thriller or Bille Jean, this isn't much of a pumped-up performance video and it is a clear fact that after the 80s, the rhythm in his songs slowed down to a great extent. This could be perhaps due to the increasing complexity of his life during that time-since he underwent several physical as well as emotional changes. These changes eventually led to an overall appearance; he became a depressed albino then faced with heavy paternity suits for mostly child abuse, and a divorced father who kept his children masked in order to keep them safe from the occasional stalkers. The paradox involved in the song is that although he assures his audience 'you are not alone', he sings that in a low melodramatic voice which gives the impression that he on the other hand is lonely. The audience, as if reacting by mere impulse starts crying as if feeling his sorrow a thousand times over. And when one of his screaming female fans rushes up to the stage, Michael hugs her with such passion that she faints due to the triggering of the uncontrollable excitement in her heart.


Thus, looking at both his 80s and 90s hit, one can heavily conclude that the image constructed in both the songs as well as music videos is far more important than both of them. In the early 80s, we had a completely different Michael, one who was lively and a bearer of strong desires (sexual fantasies?). And while there were hints of him feeling controlled, as was observed from his Billie Jean in which he also 'moonwalked' on the stage for the first time. The songs themselves did well to reveal some interesting views he had, such as those on false accusations targeted towards him. What's more important to note is that during that time, no paternity suits had been filed against him. Maybe he feared that the sudden rise in fame would brew similar troubles in the future? One can never know. Even after controversies started poisoning his life, he attempted via both his songs as well through on-stage performances the image he desired for the public as can be observed by the songs; 'Leave Me Alone' and 'You Are Not Alone'.  Clearly, the musician-cum-performer placed image as a top priority. The songs did well to represent his thoughts, and issues regarding his personal life.

Story

My music video is about a boy studying in a middle-class school, and has just lost a close school friend in a tragic accident. He has to decide as to whether the location is to become a constant reminder of his loss, or will it offer him the happiness which has been drained out of him, due to the magnitude of this loss.

The story starts with A seated on a bench near the school playground in apparent depression, twiddling his thumbs and allowing a light breeze to carelessly whip his face, which  looks rather glum. He tries to stare ahead, and clear his head from all the poisonous memories, which ends in vain as his gaze switches onto an open  notebook in which the words 'Best Friends Forever' have been scribbled in. He then allows his mind to become a victim of these oft memories, and keeps reminding himself of all the pleasant experiences he shared with his late friend.

As these flashbacks keep pestering him, he finally stands up and allows his body to steer him towards the playground, in yet another desperate attempt to lay these memories to eternal rest. His sorrow is however not extinguished because he has shared memories with his friend there as well, and  therefore has a hard time looking at it with a straight face.

The playground is occupied by students of his age playing football. A experiences new flashbacks, closely related to the happy scene before him. He tries blocking them out, but the frequent flashbacks make it impossible for him. A is now feeling even more depressed than before, his movement becoming a bit restrained and slow. He finally lets the memories take over him, with a heavy conclusion that he will never be able to rid himself from them.

But, before all hope seems lost, one of the boys previously playing football approaches him, and invites him to the game. A is left speechless, but then slowly realizes that this is Fate telling him that all his struggle to move on has not been futile, and in order to advance in his life, he must stop thinking about his troubled past. A smiles, and follows B to the center of the playground, ready to let go of all his pain and sorrow. As he greets the other boys, he experiences a hazy flashback in which he is playing football with his late friend. He finally understands that this is what his friend would've wanted for him, and thus moves on.