#it also heavily reminds me of like early 2000s animated cartoons

[im-very-sorry]

i love ramshackle the artstyle is so fun and the pilot shows so much potential concerning a series!! its great watch it now

[kitoral]

Your original illustrations are really fantastic. I dig the colors and the anime girls. I feel like I resonate with them well, so I am curious about what creatively influences you. Like... Why do you color as you do? Why are your illustrations of anime girls? What do you think of when illustrating? Are there artists, pieces of media, or events in your life that inspire your stylings? Sorry if that seems like a lot or if I'm being intrusive! I just really want to know why your art is the way it is, but I feel that if I ask that so simply, I may not receive an answer with nuance, which is what I'm hoping for.

no worries about being intrusive, if anything, i appreciate the ask!

there's no clear-cut answer for a lot of these, but i'll try to articulate as much as much as possible. i started drawing from a very young age (~5 or so), and my preference was always cartoons/games/anime. i always enjoyed heavy stylization - not that i disliked realism, it just felt as if i had already seen so much of it before? and this isn't to discredit such works, just that they werent something i personally gravitated towards.

as i got older, i realized i wanted to pursue my goal of becoming an artist. things started to change when i entered college, though. it's a choice i dont regret, but i often felt a bit lost in comparison to my peers - because i didnt really draw [or study/learn] the way they did. i still struggle with insecurities regarding technical skill or talent because of this - and i actually stopped drawing for a year or so after i graduated. i kept thinking "its just another anime style anyways." (which is discrediting in and of itself, as all art has value regardless of how subjective it may be).

basically, i did a lot of soul searching - and the reasons i wanted to draw started to resurface. i loved drawing incredibly cute, yet somewhat outlandish looking characters. of course there's a sense of nostalgia with this, but i always preferred the art used for older anime (90s and early-mid 2000s specifically). i'm also really into hobbyani, which is basically hobby/kids media (precure, duel masters, beyblade, etc). i love the sense of experimentation that comes from designers who intentionally market stuff to a broader audience within restrictions, if that makes sense? it just seems to resonate with me.

i'm also heavily into old tech/computer graphics. a big example of this is the old (and still running!) chat program known as worldsplayer. i discovered it about a decade ago, and while a lot of people found it ominous or strange, it felt... comfortable to me. reminded me a lot of the stuff i used to play as a kid, but beyond that, a sense of style/texture i wanted to replicate in my artwork.

(as a sidenote: i actually run a sideblog dedicated to old chatroom media called digitalspacetraveler!)

as for specific inspirations/artists? i love the traditional sketchiness of van gogh, rembrandt, etc. a lot of classical painters during the renaissance era + beyond come to mind. for more modern artists, id say yoshitoshi abe, shigenobu matsumoto (duel masters mangaka), yoshihiko umakoshi (doremi, heartcatch precure, casshern sins), hajime ueda, and a plethora of artists on tumblr/pixiv/twitter.

basically, i love the idea of combining ridiculous amounts of texture with otherwise cutesy and/or 'smooth' styles, such as those found in anime/manga. the end goal is pretty different from the initial sketch, but that's what makes it fun to me. mimicking traditional mediums while also incorporating digital processing, overlays, and filters!

[adultswim2021]

Aqua Teen Hunger Force #4: “Mayhem of the Mooninites” October 14, 2001 - 11:00 PM | S01E04

Two moon guys come down to earth and act like dicks in this SEMINAL-ASS Aqua Teen Hunger Force TV Episode. There are a handful of Adult Swim episodes that I loved so much and watched so much that I can barely watch them these days without it feeling like some weird out-of-reach facsimile of itself. I need to actively remind myself that this used to make me laugh uncontrollably until one day it’s effectiveness wore off thanks to repetition. With this episode Aqua Teen Hunger Force became truly awesome. This is also the first episode of the show to almost completely abandon it’s formula. Dr. Weird’s segment almost has nothing to do with the episode itself; The Mooninites are shown entering Earth’s atmosphere independently of Dr. Weird’s activities (rocking out with a wall of speakers). In fact, I didn’t even realize that the segment connected with the episode AT ALL until I sat down to write this review: we later find out the Mooninites have stolen Dr. Weird’s gear to give to shake to hush him up regarding their other petty crimes. I also believe there is no mention of the Aqua Teens being detectives. They are simply dealing with random aliens who’ve shown up to act like low-class dirtbags and be a bad influence on Meatwad. The Mooninites themselves are hilarious characters, and the voice of the green one (I know his name but I don’t feel like looking up how to spell it right now - SORRY). All they do is smoke and steal and flip birds. This was one of my few go-to episodes I’d show people to get them into Adult Swim. I had a tape that had this and the Feng Shui episode of Sealab on it that I’d sit many people down to force them to watch and appreciate. It usually worked. Anyway, this episode had a notable legacy because they did several Mooninites episodes after this, making them the most recurring guest characters of all. They tried to spin them off, but it didn’t work out so good. Hell, they were involved in a fucking bomb scare after a botched publicity stunt, for fuck’s sake (fun fact: I live two blocks away from a liquor store that has one of the Mooninite lite-brites from said incident! NEAT HUH?) MAIL BAG: shout out to the person who messaged me advising that I edit a previous bannable slur. I fixed it, and I’m hopefully safe. Here are some thoughts about Home Movies from Kon:

Some assorted thoughts on Home Movies UPN run: I actually watched almost the entire run of the show on UPN. I only missed one episode, The Art of the Sucker Punch, which is a pretty major episode in terms of character introductions. It's the first episode with Shannon, Walter and Perry, first time Duane has a speaking part. So I thought all those guys were invented just for Adult Swim (at least for the like two weeks before Adult Swim aired the UPN episodes)

Some major differences between Home Movies UPN run and Adult Swim run is that 1. the UPN ones are much more heavily improvised, and are in some ways funnier, and 2. not that Squigglevision ever looked great but the UPN run has much shittier animation. Some sort of Squiggietech breakthrough must have been discovered in 2000, shame they discontinued it right after. It would have been cool to get a full season of UPN-era Paula-starring improv-heavy episodes.

I do love the Adult Swim episodes though and I think the show retained its charm. For a long time, Director's Cut was my favorite episode of the series. That means for 4 out of the 6 shows on Adult Swim's premiere, the first episode I saw was my favorite (Sealab- Chickmate, Birdman- Bannon, Brak Show- War Next Door [saw this early at comic con]). I don't still think Director's Cut is the best Home Movies but for those other three, there's a solid argument to make for those first eps being best

One thing I’ve wanted to do with my currently-abandoned/notably-worse Simpsons blog is start reviewing mostly-90s cartoons that I deem “simpsons-esque” in some way; I just haven’t settled on a format yet. I think I will probably try to start that up relatively soon and have it include those UPN Home Movies (also pre-AS Space Ghost).

Anonymous writes:

Sorry I'm late on this one but I just had to tell you that I think the Marbles episode of Home Movies is really funny! Especially the song at the end which is a serious treat. Did you know that the episode was the inspiration for one of the most famous youtubers of all-time to call herself...Jenna Marbles. Awesome!

Wow. That IS awesome!

[intersex-ionality]

I’m sorry for asking but I cannot seem to find any answers. I see a lot of stray anti posts complaining about hazbin hotel, and I can’t for the life of me understand them because I haven’t seen the show. I read a summary of the plot, but perhaps you could explain better. What is it and why do so many hate it (and why have I seen no fewer than 4 unique posts claiming it’s “what happens when you let billdip shippers make things”?)

Now, I was never a billdip shipper, but I suppose I can see the, like, similarity in vibes between Alastor (a demonic radio host with untold evil powers and who speaks in a 1930s radio jockey voice), and Bill.

And since antishippers hate Bill and they also hate Vivienne Medrano, the attempt to compare “billdip” to an entire original cartoon property is, I guess, a logical connection for them.

But let me be clear: there’s absolutely fuck or all that can be said to parallel the popular interpretation of billdip, in no small part because there no Dipper character, and in much larger part because of Alastor extremely rejects all romantic, sexual and even platonic advances.

Antishippers hate Hazbin Hotel because they hate the woman who came up with and spearheaded the project. They loathe Vivienne Medrano for being a successful independent artist capitalizing on the desperate need in the general viewing public for the bright colors, musical numbers, and zany antics that only animation can provide, but without the stifling restrictions of being targetted towards children. Most “adult” animation is focused on being drab or viscerally disgusting as a form of schadenfreude humour. And while children’s animation certainly fills that bright and zany niche, because it is obligated to adhere to the morality of various broadcasters, it’s often very suffocated in what it can or cannot do or say.

The aesthetic that HH/HB has created is clearly a callback to two major styles of animation: the adult-aimed slapstick of early Warner Brothers, and the long-and-lanky exaggerated flailing limbs that were popular as a design choice in low budgets (TV, off-brand film) and fandom animation in the late 2000s.

Since this style of animation is also associated heavily with fandom’s last big burst of creative and sexual freedom before the whole “no boundaries, no barriers, the search algorithms can and will put porn on every child’s dashboard” disasters of 2013-2015, some people are naturally off-put by it, because it reminds them of the time a bunch of corporate overlords decided that they should destroy their own platforms. For whatever reason (it’s the capitalism, probably), people blame individual artists for this trash fire rather than the platform holders that purposefully destroyed organization and boundaries between groups in a desperate bid for ad revenue.

Antishippers have a deep-seated reflex reaction towards hating that art style. You can see it in the hatred of HH/HB, but also in the hatred of things like, “cringey once-ler fans” and of “people who draw all the homestuck like twinks,” and "people who draw Pearl like a man” and all kinds of other places.

Additionally, Vivienne Medrano was at the centre of a few other antishipper fiascos, because her previous projects involved what they call a “pedophilic student-teacher relationship between a child and an adult.” Of course, in truth, the relationship in question is between an 18 year old student and her 19 year old student-tutor, but when have anti-shippers let facts get in their way.

Likewise, she made a living for a while taking commissions for (SFW) furry art work, and has always had a very positive relationship with the furry community (despite not being a furry herself). People upset by her success as an artist are also quick to say that she has sex with animals, “like all furries do,” because as we all know, calling queer artists sexual cirminals is Good Praxis that has Never Caused Harm /sarcasm.

In effect, Vivienne Medrano is a perfect storm of things anti-shippers hate: successful queer creators who refuse to assimilate to heteronormativity; successful creators of color who refuse to assimilate to white respectability; unrepentantly proud of her art; unafraid to engage with sexual themes in a fun rather than puritanical and hateful way; popular in the late 2000s/early 2010s; an ascended fan who was able to turn her fandom credentials into a successful professional project.

Their hatred for all of these facts about her are presented in a way that lets them feel good about lashing out at someone they dislike/are envious of. Namely, by saying that her work is an act of sexual, racial, or gendered violence, rather than, you know, fictional and fun.

HH/HB is not somehow a perfect piece of art. I have made my own discomfort with facets of it very clear. And there are flaws other than my wariness of rehabilitation themes.

Some of the sound design is overwhelming, with a few scenes bordering Johnny Test levels of excessive sound effects; in some cases the editing has clipped too much quiet-space between the presentation of a joke and its punchline; those traits combined with the lack of closed captioning can make the show very hard to process for someone like me who has difficulty with speech.

The immense budgetary constraints of the animation can sometimes be seen in framerate dips or in peculiar background details. Zoomed out shots of the cast as an ensemble are particularly identifiable as places where what would have been filler art in a higher budget production were ultimately left in because there wasn’t time or money to replace them.

The show is extremely upfront about sexuality and especially queer and professional sexuality, which can easily be off-putting to people. Conservative Fox News hosts’ extreme homophobia and violence are put on full display--for the purpose of mocking them for being enormous sacks of shit, but on display nonetheless--which can likewise be uncomfortable.

At one point you see the clearly exposed brain of a cartoon egg, which I won’t lie, makes me gag every time it happens, no matter how stylized and brief the shot. (Why! Does the egg! Have a brain inside it!!!)

But, unironically, HH/HB is the best series of adult animation I have seen in probably a decade or more. Maybe in my entire life. Prior to this, the only option for adult animation that isn’t rooted in sadism or grey-beige palettes was anime, and the design direction and acting of anime are ultimately very different than that of western slapstick.

Obviously, not every anti-shipper is so outraged because they envy the success of an artist other than themselves. But a great many are fuelled by envy, either that they aren’t the success story, or that someone they perceive as The Enemy is a success story.

This is far from the first time that anti-shippers have proudly taken the same side as anti-queer bigots and as open and avowed racists, who also hate the show (for being gay, for featuring an interracial relationship, etc). It won’t be the last. But, for all that their actions are often indistinguishable from the queerphobes and the white supremacists, their motivations are at least meaningfully distinct.

[allisonswrittenwords]

Or, “hey, look what my dad lets me do for his company!”

Previously, On Allison’s Written Words…

The booming home video market meant lots of smaller companies vying for those video store rental (and purchasing) dollars by releasing content through their own companies.  Major studios had major movies, and smaller companies released special interest and B-grade films (or worse).  However, those smaller companies had one thing over the major studios – their own children/family sub-labels.  During the mid-1980s, Children’s Video Library and Hi-Tops Video competed for the interests of kids who liked films and shows featuring their favorite licensed characters.  Both companies also had a hand in releasing “instructional” and “informative” videos.

Heck, they even shared a likable teen actor for those purposes.

Those companies, for a few years, were successful in their missions, but off in the corner, waiting to strike with its own content, was a company known for B-grade and soft core films…and its own children’s label.

The label even came with a child spokesperson of its very own.  If he was likable…well, that’s debatable.

From Soft Core To “Just For Kids!”

Businessman Noel C. Bloom founded several home video distribution companies during the course of the booming 1980s home video market.  Some of them are likely familiar to you – Artisan Home Entertainment (starting as U.S.A. Home Video in 1983, then International Video Entertainment in 1985, then LIVE Entertainment beginning in 1988), Family Home Entertainment (1980-2005), and Celebrity Home Entertainment. Celebrity had soft core adult films in its catalog, which was nothing compared to Bloom’s Caballero

It was this company through which a sub-label was created to distribute children’s films, both of the obscure and well-known kind.  You could say that Family Home Entertainment had the children’s market covered, but this was a market saturated with competition.  And besides, Celebrity was good for distributing obscure content, so there was a need for a children’s company to do the same.

Enter Just For Kids!

“The Name To Remember In Children’s Entertainment!”

Celebrity’s Just for Kids label was established in 1985, and distributed children’s programs and films, many of obscure nature, some international movies (including the Gamera movies, and many European and Japanese cartoons), and some very well-known content at the time, including Bravestarr, GI Joe: The Movie, COPS, and Filmation’s Ghostbusters.  the animated series capitalized on the live action show from the 1970s, which has nothing to do with the 1980s films and cartoons that are more commonly known and embraced.

Related: List of content released through Celebrity’s Just For Kids (it is a lengthy list!)

The “Just For Kids” videos were book-ended with segments featured Noel Bloom Jr., the son of Noel Bloom.  Beginning about 1987 or 1988, Little Noel (and his braces) introduced the video and reminded kids about how to adjust the tracking on their VCR for the best picture quality, and to stick around for the end of the program, so you – yes you – could find out how to receive a free “Just For Kids” videocassette!

Be jealous kids.  His dad owned a company made him the spokesperson for it before he was in his teens.  What were you doing at eleven years old?

But before all of that (including braces), there was…

Upload via EncoreEnterprisesLLC

This, my friends, is everything 1980s.  The furniture, the television, the clothes, the hair.  I remember watching this video during the earliest days of YouTube (about 2007), and was just…wow.  I was into nostalgia at that time, but it took years to fully appreciate what made certain aspects of it super special.

Everything about this is just top notch cheese, my friends.  Right down to the bang up acting.  I had no clue that the starting of a home video in the family VCR could have a tractor beam-type effect, but the 1980s were a different time.

This was about 1987-1988, and by 1989, the introductions with Noel started.  I’d say these probably went through 1990, 1991 at the absolute latest.  Content was released by Celebrity through the early 2000s, but the Noel Jr. intros seemed to stop by 1991 itself.

Marvel in the collected works of Noel Bloom Jr.!

Upload via cringevision

All of his girlfriends love Maxie’s World.  Remember that, kids.

I will say though, seeing this clip and him talking about The Noozles brought back memories of watching the show on Nickelodeon in the 1980s and 1990s.  Pinky was super annoying!

Hey Kids, Want A Free Video?

Well, yeah.  Who doesn’t like free stuff?

Noel’s promises of a free Just For Kids video could be yours, if you send in the Proof of Purchase from six of their videos.  From what I’ve gathered over the years, that “free video” is really a sampler of trailers for different Just For Kids releases.  So if you were figuring on getting a copy of GI Joe: The Movie, and bought a bunch of Gamera and Maxie’s World videos just to bask in the glory of a freebie…you would be very disappointed.

Image: Anime Hell

Admit it, you really want something with animated Little Noel on the cover.

But hey, here’s the address.

Because I wouldn’t be doing my best job ever without researching this PO Box, I Googled it.  Nothing comes up.  At all.  I mean, something about the UPS Store in Woodland Hills, California as a way to get a secure private mailbox comes up, but that’s pretty much it.

The videos were usually dubbed in EP, sold at budget prices, and were usually selected episodes of television shows, as well as compilation films of episodes.  Television series never saw completed releases.

Noel really should have taken up a complaint with his dad about that.  Kids don’t like to be left hanging.  Heck, his girlfriends (all of them!) don’t want to be disappointed!

Did “Just For Kids” Actually End?

Well, not really.  The parent company for Just For Kids, Celebrity Home Entertainment, filed for bankruptcy protection in 1991, but it didn’t officially close down until 2001.  To say that the Noel introductions pretty much went away by that time is accurate – Noel would have been 13-14 by that time, so I’m sure he wasn’t talking about Beverly Hills Teens and Maxie’s World and drawing in his “friends” with a opening logo tractor beam by then.

Celebrity Home Entertainment closed down for good in 2001, and Noel Bloom Sr.’s other companies – Artisan Home Entertainment (and its previous incarnations, as well as Family Home Entertainment), are all owned by Lionsgate as of 2003.  His company Caballero Home Video still operates today (and has since 1974, one of the oldest pornographic film studios still operating.  Another label, Monterey Entertainment (established in 1979, the second sub-label of his company) is now under the ownership of BayView Entertainment as of 2019.  This company originally was a home video distributor, but these days, has expanded into independent theatrical distribution, film festivals, and other venues including television, digital delivery and home entertainment markets

As for Noel Bloom Jr. played basketball, and coached a high school team in California, though there isn’t muuch to be found for him.  We’ll wish him well – he probably was a nice kid that was lucky enough to promote kiddie videos. Who wouldn’t want to be able to do that?

But Wait, There’s More!

I’ve tried (in vain) to find the full video of the Sampler Collection (60 minutes of glory!), but alas, it is no longer on YouTube.  However, this little collection of clips is basically that, but without the funny in between segments of 10-year-old Noel in a Lakers uniform.

Upload via Jangobadass

As for this video, this is from 1990 and clearly features an older version of Noel, trying to do his best British accent.

Upload via treadman28

*facepalm*

And Now, You!

Did you ever watch/rent/own a “Just For Kids” video?  Do you remember Little Noel and his braces, introducing the company’s offerings?  Or do you just remember that gloriously cheesy segment that was clearly filmed in a 1980s living room?

So, in the course of my research, I realized I would be remiss if I left our Family Home Entertainment – this was the OG of children’s home video companies.  And since it has an oh-so-special connection to Just for Kids, it will be next week’s heavily-researched article.

Exciting, right?

Until then, have a great day, and, um…bow before your Dark Underlord of Quality Children’s Entertainment!

"Hey, Look What Celebrity's Doing Just For Kids!" - The story of yet another children's home video company, in a sea of budget sub-labels in the 1980s! Or, "hey, look what my dad lets me do for his company!"

[zaraehedderman-blog]

State’s Videos of the Week #19

So many of the videos I watched that came out this week opened with the name of both the band and song title emblazoned by oversized type, making a grand introduction. Bizarrely, this happened consecutively with at least three music videos and it turned it into a game by the fifth or sixth instance – the prize taken away was a stark realisation of how imperative it has become to define and label everything we do in all aspects of our lives. Whether it is with work or relationships when you meet people or talk about them it seems like we immediately (and unconsciously) identify as someone’s boyfriend or girlfriend, a writer or an engineer, or whatever it is that you’re working as. It’s rare nowadays to talk to someone without being asked what you do within the first five minutes of meeting them. Yes, it’s an innocent talking point but does it alter a person’s perception of you and how they will then engage with you? The music videos that opened with the artist’s name lent themselves to greater skepticism, though it’s difficult to exactly pinpoint why. Perhaps it was because it felt like the song was being heavily marketed by their label by adding a sort of cinematic element, transforming the format of the video into something bigger.

It may also be due to the fact that this is the twentieth Videos of the Week and reaching this milestone is akin to turning twenty. You see things, everyday happenings – nothing overly dramatic – and you begin to look at them with a more critical and inquisitive eye. You ask more questions, it’s like being five all over again. “Why do people do this?” and “Why do we place so much emphasis or importance on that?” Recently, I’ve found myself asking a lot of questions about music and considering musicians’ intentions, especially now. Then I have to stop myself and try to take things, music videos in particular, for what they are and stop trying to define them in my head. Fortunately, this week, some really lovely songs were released to distract my brain from imploding with these twenty-something thoughts.

Radiohead – ‘Present Tense’ (XL Recordings LTD)

“Keep it light, keep it moving.” This line perfectly represents ‘Present Tense’, the current single from Radiohead’s A Moon Shaped Pool album. This is the second video released by the band that has been directed by filmmaker Paul Thomas Anderson and it simply shows Thom Yorke and Jonny Greenwood perform the song live with no frills, special effects or narrative. Watching Thom and Jonny be simultaneously connected and independently focused in their playing and singing on the song reminds us why Radiohead are an interesting band that garner mass attention whenever they put out new material. They seem to nurture each other’s creativity and appreciate the talent that each member contributes to the music. Even though this video is remarkably simple it is also incredibly striking and the song is an absolute treat to the ears.

The White Stripes – ‘City Lights’ (Third Man Records)

Michel Gondry is another filmmaker who has regularly collaborated with musicians and bands by directing music videos for them. His most visually inventive music videos have been the ones made for The White Stripes in the early 2000s, such as the stop motion lego video for ‘Fell In Love With A Girl’. ‘City Lights’ is the fifth video Gondry has directed for The White Stripes, and this one is special for a number of reasons, mostly because the French filmmaker made the video alone and without informing anyone, not even Jack White, and he sent it to Third Man Records during the week. White released Jack White Acoustic Recordings 1998-2016 – a collection of unreleased songs including ‘City Lights’, which was originally written for The White Stripes’ 2005 record, Get Behind Me Satan and it is the first new single from The White Stripes to be released since 2008. I really love the video because we’ve all spent an extra few moments in the shower drawing silly scenes whilst waiting for your conditioner to untangle unruly knots.

Whitney – ‘Polly’ (Secretly Canadian)

Whitney featured recently on the Electric Picnic edition of Videos of the Week, and they return jovially with the animated video for ‘Polly.’ The story follows a despondent man that goes from sitting on a bench overlapping hands with another guy, who shuttles the cartoon protagonist swiftly out of his car. On his journey he sets fire to a house and enters a strange sea on the sidewalk with animals floating past him. It’s abstract and requires a few watches to fully appreciate the details in the narrative. Fortunately it’s a really nice song so it’s a nice excuse to watch the video repeatedly.

Pavo Pavo – ‘Ran Ran Run’ (Bella Union)

‘Ran Ran Run’ is the debut single from Pavo Pavo, a Brooklyn based five piece with a musical style that veers towards lethargic synth pop with retro inclinations. They’ve signed to Bella Union and are due to release their introductory album entitled, Young Narrator in the Breakers in November. With this initial insight into Pavo Pavo, it feels as though there is a glimmer of promise with what they are capable of musically. Guitarist, Oliver Hill has described the songs on Young Narrator in the Breakers as love letters to the city they live in and how they are growing in that setting, as well as friendships and coming to terms with progressing from adolescence to adulthood. Meanwhile, they’re aesthetic is typical to what you would anticipate to compliment this genre; pastel colours, expressionless performance, table tennis and then day-glow bicycle riding.

Notable Mention… TOYing with time…

TOY – ‘I’m Still Believing’

This video and song really amused because here we are in 2016 and still there are bands creating songs that sound about six years too late to the golden age of indie. Then, there’s the band members who have adopted the styles of musicians from the 1990s, 1980s and 1970s respectively. I suppose that’s what happens when a band is formed in Brighton in 2010 by a former member of NME darlings, Joe Lean and the Jing Jang Jong. Toy are currently promoting their third album, Clear Shot which will be available from October.

http://state.ie/features/77049

Originally Published on State.ie, September 2016.

State’s Videos of the Week was a column I wrote for State.ie from May 2016 - May 2017. It provided a summarised insight into music videos released each week.