Featuring guest appearances from comedians Aisha Tyler, Margaret Cho, Eric Stonestreet, Kristen Schaal and Jack Black, the video was shot on location at the historic Palace Theatre in Downtown Los Angeles, the same space that was used as Julianne Moore’s apartment in The Big Lebowski.
aubilenon: “So am I the only one who is unable to get the video to play, then? I just get an infinite spinning loady thing.”
If you really wanna
Leave out that Oxford comma
While it looks like there MIGHT have been an edit somewhere, I absolutely guarantee you, that was all done in ONE CONTINUOUS SHOT. That was a bit of a challenge for me, because I start the video on a 5th floor fire escape, and I reappear on street level wearing completely different clothes. That means - for EVERY TAKE - as soon as the camera was off me I had to run down 5 flights of stairs WHILE CHANGING MY CLOTHES so I could be on camera again at the end. Definitely got my workout THAT day!
$ ffmpeg -i http://hls-aka.vevo.com/v3/hls/2014/07/USRV81400345/4200/usrv81400345_4200k_1920x1080_h264_4200_aac_128.m3u8 -f mp4 -c copy -bsf:a aac_adtstoasc first_world_problems.mp4
But I want to be careful here because I've been taken to task for writing a song that encourages bullying of people with poor grammar. That's not my intention. There's a bit of me in "Word Crimes" the same way there's a bit of me in [2006's] "White and Nerdy." I drew a lot of that song from personal experience. It stems from my distaste for bad grammar, but it's also a parody of the kind of prescriptivists that would lose their minds over grammar infractions.
It’s not that there wasn’t a self-referential pop culture before “Weird Al” Yankovic; it’s just that those of us under forty might have a hard time remembering it. Just as difficult to imagine are those who, even after all these years—after all the albums and songs and verses, after all the puns and parodies and poetry—still think of Weird Al as nobody more than that guy who rhymes about food over popular music. Weird Al engages the entire culture, in all its functions and facets, through his lyrics, his videos, his original musical-style parodies. Just how he does it all remains a mystery no matter how often he explains it.
When he explained it to me recently, by Skype, he said much that I’d never heard before, even though, like most culture vultures my age, I’ve followed his career since the early eighties. And if a lot of those early songs did in fact find their rhymes in the names of food, it’s also true that a lot of them did not. His songs have become more intricate with each new album, even as they’ve become more expansive. And more popular, too. It’s easy to forget that Weird Al’s career, after an early but tough start, nearly failed to make it very far out of the eighties. It wasn’t until his parody of “Smells Like Teen Spirit” (“Smells Like Nirvana”) that he safely established full traction and momentum.
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