Kylie // All The Lovers (Fear Of Tigers Remix) VIDEO

Travis · #1 07-19-2010, 04:18 PM

Hello my fellow Kylie fans ...

An excellent new video edit of Kylie's "All The Lovers" set to the (Fear Of Tigers Remix) is now up on Vimeo.

Kylie Minogue / All The Lovers (Fear Of Tigers Remix) from Luis Island on Vimeo.

Heartboy · #2 07-20-2010, 05:44 AM

Talk about skanky video.

TrueFaith77 · #3 07-20-2010, 08:49 AM

I was mentioned in a review of the original All the Lovers video:

Excerpt from Armond White's review of Stonewall Uprising and All the Lovers:

Quote:

Opening with the specious quote, “Gay bars were to gay people what churches were to blacks in the South,” Davis and Heilbroner prove tactless and naive about the legacy of oppression. They forget their own premise that the uprising was indeed a civil rights movement. Thankfully, music video director Joseph Kahn corrects Davis and Heilbroner’s blundering in his relevant new Kylie Minogue video “All The Lovers.”

Kahn fantasizes a street scene—what in the ’60s was called a “happening”— where Kylie’s diva entreaty rounds up multicultural, ambisexual legions to join her individual ecstasy. It’s not a riot, not an orgy, it’s an uprising as the swaying lovers amass and their joy takes them literally higher and higher. Kahn erects a tower of humanity amidst gleaming skyscrapers of urban progress; his imagination carries the history of Stonewall and how what began as a protest march has become a celebration.

I was uncertain about the verity of the video’s exultant open-arms sexuality until Davis and Heilbroner’s error made me see that Kahn had shrewdly/ingeniously realized the uprising as Finch, Blair and Duberman understood it. Kahn’s leap towards universality does not neglect the reality that gay society’s class, race, size, image and age biases are undeniable (and in fact limit the perspective of even wellmeaning documentarians). Kahn’s floating marshmallows, balloons and white stallions do not make up for the inequities of gay socialization; rather, they anthropomorphize Kahn and Kylie’s idea of purity. Better than the gay exploitation of Sex and the City 2, Kahn’s video transforms those urban spaces—“All the dirty, despicable places” as a Stonewall Uprising witness recalls—where gays once were marginalized, pushed to express their sexual needs in the squalid Meatpacking district (now cleaned-up) or the Stonewall Inn itself (which one witness called “a toilet, but it was a temporary refuge from the street”).

Kahn’s gleaming fantasy of paradisiacal urban cleanliness is a creative act that idealizes an historical fact. Like Spencer Tunick, who photographs mass public undressings, Kahn and Kylie emcee a multiracial party; as critic John Demetry points out, restricting participants to the young, pretty, physically fit is part of their idealization. Importantly, Kahn and Kylie serenade their partiers by the Stonewall-era term “lovers” (out-moded by today’s “partner”). Stonewall Uprising is a whitewash; this is a resurrection of affection. Rainbow Pride expressed as Kylie’s bliss.