Funky '70s R&B with washes of disco flair.
Nashville pop artist Marquee Mayfield debuts the music video for "Spellbound."
The video for "Spellbound" not only delivers funked-out R&B music, but also tells Mayfield's story. Groomed to be a country pop star capable of squeezing into the mold expected by the suits in the music industry, he was set free by a young woman who introduced him to other styles of music, like disco, funk, and R&B. Just when Mayfield was about to sell his soul to the music overlords, his programming was altered, emancipating him once and for all from the encoded constraints of country-pop.
Marquee Mayfield - Spellbound youtu.be
"Spellbound" opens with emerging kaleidoscopic synths flowing into a '70s R&B tune flavored with heavy doses of disco pop energy. Rumbling bass riffs propel the rhythm, as horns infuse the tune with stuttering accents. Gleaming background harmonies radiate glowing savors, tight and stylish. A snug, fuzzy guitar solo suffuses the harmonics with undiluted disco vibes.
Mayfield's falsetto provides the song with flamboyance, as well as a passionate delicacy of tone reminiscent of Michael Jackson covering Kool & The Gang. The blend of luminous harmonies and Mayfield's falsetto acts as a go-between to the lush joie de vivre aura emanating from the music.
The video recalls the '80s movie Weird Science, in which two nerds, Gary and Wyatt, take a cue from Dr. Frankenstein and construct a cybernetic girl. Only in "Spellbound," a gorgeous scientist finds a way to transform a robotic Mayfield into a dancing, singing popstar with soul and rhythm
"Spellbound" pulses with wonderful retro energy and sounds brought to life with flair and polished bravura.
Randy Radic is a Left Coast author and writer. Author of numerous true crime books written under the pen-name of John Lee Brook. Former music contributor at Huff Post.
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The classic He-Man meme video stands the test of time as an iconic example of queer-coded art.
In December of 2005, Brokeback Mountain shifted queer-coded cinema into the mainstream.
Prior to 2005, "New Queer Cinema"––a term coined by film scholar B. Ruby Rich in Sight & Sound to define the queer-themed independent film movement, which focused on rejecting heteronormativity and concentrated on LGBTQ protagonists––existed on the fringe of the film world. It's worth noting that while the movement primarily refers to the boom in independent LGBTQ films from 1992 onwards, queer cinema existed for many years prior, albeit without a proper name. But regardless of nomenclature, New Queer Cinema was typically designated for niche audiences, relegated to arthouse showings at best.
There's a big problem with the trailer for Morbius, Sony's upcoming Marvel outing that is definitely not part of the Marvel Cinematic Universe even though it has Michael Keaton reprising his role as Vulture (please let us keep our license, Disney!).
See if you can spot it.
MORBIUS - Teaser Trailer www.youtube.com
If you answered, "Sampling Beethoven's 'Für Elise' to line up with blue-tinted action shots is the absolute lowest effort, brain-dead attempt to signify 'gothic vampire movie' in the entire history of movie trailers," you're correct, but that's still not the biggest problem with Morbius. No, the biggest problem is that Morbius is played by Jared Leto.