BROOKLYN – The author recalls a surreal experience on the set of a White Stripes music video, where he was tasked with wearing giant lifts to appear as a stretched-out version of CONAN O’BRIEN. This bizarre scenario unfolded after the release of the band’s album, Get Behind Me Satan, a project that veered away from their earlier guitar-driven sound.
In 2005, the White Stripes were riding high on the success of Elephant. The album spawned the ubiquitous “Seven Nation Army” and cemented their status as rock icons. However, the band faced the challenge of following up such a monumental record. Get Behind Me Satan was their unconventional response, incorporating marimbas, pianos, and a more nuanced approach to songwriting.
The transition to fame wasn’t seamless for the White Stripes. MEG WHITE, known for her privacy, and JACK WHITE, an intense and passionate figure, navigated the complexities of stardom. JACK WHITE’s altercations with figures from the Detroit garage rock scene,including a physical altercation with VON BONDIES leader JASON STOLLSTEIMER,highlighted the clash between rock stardom and the band’s artistic sensibilities.eschewing another “Seven Nation Army,” they embraced a more intimate sound, resulting in tracks that prioritized subtlety over chart domination.
The White Stripes’ visual language, showcased in music videos like “Fell In Love With A Girl” and “The Hardest Button To Button,” played a crucial role in their success. Director MICHEL GONDRY’s whimsical style perfectly complemented the band’s aesthetic.
While “Blue Orchid” and “My Doorbell” garnered attention on alt-rock radio, they lacked the iconic visual impact of their predecessors. The “Blue Orchid” video, directed by FLORIA SIGISMONDI, introduced blue into the band’s signature color palette and featured KAREN ELSON, who later married JACK WHITE. However, it didn’t quite capture the imagination likewise.
“My Doorbell,” a piano-driven track with a Broadway-esque energy, also struggled to make a splash on MTV. The video, directed by the MALLOYS, presented the White Stripes performing for children at LA’s Magic Castle in a black-and-white short.
MICHEL GONDRY, fresh off the success of Eternal Sunshine Of The Spotless Mind, reunited with the White Stripes. the author found himself on set, not for his creative input, but for his height.
The author’s involvement began with a freelance gig moderating a panel discussion with music video directors MARK ROMANEK, ANTON CORBIJN, and STÉPHANE SEDNAOUI at the Soho Grand. A subsequent call from MICHEL GONDRY lead to his unexpected casting in the “Denial Twist” video. GONDRY’s concept involved portraying the author as an elongated version of CONAN O’BRIEN, capitalizing on his height.
The video set, located in a Greenpoint warehouse, featured a circular design for a continuous shot. It recreated the white Stripes’ week-long appearance on Late Night With Conan O’Brien, with a little person playing one version of CONAN and the author embodying a stretched-out version. The author’s brother, visiting from Baltimore, was also recruited to play the band’s bodyguard, albeit with some questionable casting choices.
The author’s task involved walking in oversized lifts while wearing a cardboard CONAN O’BRIEN mask, proving to be a challenging feat. Despite numerous rehearsals, he struggled to maintain his balance and felt like he was letting the crew down.
The real CONAN O’BRIEN visited the set, dressed in rockabilly attire. He expressed his admiration for the White Stripes, and JACK WHITE shared details about their upcoming guest appearance on The Simpsons.The author couldn’t help but feel like he was letting CONAN down as well.
After multiple takes, GONDRY finally deemed the shot complete. The author twisted his ankle, but KAREN ELSON was speedy to offer assistance. Despite the camaraderie, the author no longer possesses any of the photos taken with the White Stripes, MICHEL GONDRY, and CONAN O’BRIEN. The final video featured a superimposed CONAN face over the author’s mask.
The video was for “The Denial Twist,” a piano-driven track that didn’t quite resonate as strongly as other White Stripes singles.The author recalls seeing it sparingly on Fuse, but never on MTV.
While the author was initially excited to be part of a MICHEL GONDRY White Stripes video, the experience took a turn when he wrote about it on his blog. The band’s representatives reprimanded him for divulging details prematurely, and JACK WHITE later cited him as an example of the internet’s pitfalls.
Despite the initial excitement, the author learned that he was one of the few unpaid participants in the video shoot. However, a few weeks later, he received a check for a couple thousand dollars, a welcome surprise during a financially challenging time.
Get Behind Me Satan,recorded at JACK WHITE’s home using analog equipment,showcased the band’s experimental side. The album explored themes of love, obsession, and the challenges of fame. “Take, Take, Take” delves into the perspective of an obsessed fan who can never be satisfied with his interactions with RITA HAYWORTH.
Get Behind Me Satan is a compelling album with subtle hooks and introspective lyrics. Tracks like “The Nurse,” “Forever For Her (Is Over For Me),” and “As Ugly As I Seem” stand out as highlights.While not a blockbuster, it demonstrated the White Stripes’ commitment to artistic exploration. though, it would be one of their final albums.
Get Behind Me Satan was generally well-received in 2005, earning critical acclaim and a spot on the Pazz & Jop poll. However, it didn’t achieve the same commercial success as its predecessors or successor.
The White stripes are now entering the rock And Roll Hall Of Fame, a testament to their enduring legacy. The band’s willingness to experiment and create unique music, even after reaching the pinnacle of success, solidified their place in music history.
Get Behind Me Satan remains a testament to the White Stripes’ artistic vision and willingness to push boundaries. The author reflects on his experience, acknowledging the unexpected turn of events and the complex relationship that emerged with the band. He concludes that he almost wishes he hadn’t received the check, so that the money could have been used to create more music.