Note: Yes, this is another music video review. No, you do not have to know the song or the singer or even watch the video. As usual, I’ve taken one thing and turned it into something else entirely. Enjoy.
We start off with several model-type men marching into what looks like a crusty barracks from some old-school military movie where lots of things blew up and there was no real plot, so at least the producers are being honest with us from the get go. The guys line up along one wall, looking like they already regret having answered the casting call. Then we cut to LuAnn wearing a fancy bustier in a room with horrid wallpaper, while the title of the song magically appears just beneath her hydraulically-trussed cleavage. She’s going to sing about class whilst shoving her breasts at us?
This train hasn’t even left the station and it’s already off the rails.
LuAnn, somehow managing to put some actual clothes on at some point, sashays her way to the unrealistic barracks, where she proceeds to inspect the troops. (This inspection is mixed with more shots of LuAnn still in that bustier, attempting to look sultry, but it really appears that she might have a gastric disorder.) Inspector LuAnn finds a billfold on one of the guys, an apparently offensive discovery, and she throws it to the ground with the acting skill of a pet rock. At the same time, LuAnn’s vocals start on the soundtrack, and it’s obvious within half a second that somebody hit the start button on the Auto-Tune and prayed for daylight.
Inspector LuAnn then moves on to the next guy, and she finds a stack of cash in one of his pockets (held together with a rubber band, because that’s how everybody carries their money around, right?). She promptly tosses this aside as well, letting us know that she has no use for currency. (Obviously not, since she clearly didn’t spend any on singing lessons.) Then LuAnn quits hurling things about and selects her victim, dragging one of the guys out of the lineup, heading to parts unknown. (The other three models breathe sighs of relief and salvation, because there’s just something not quite right about LuAnn and her head-scratching sense of self-importance.)
Oh look, LuAnn has schlepped the Chosen One up to her tawdry boudoir with the crushed velvet wallpaper. (She’s made him change into a shirt that coordinates with said paper, the one hint at actual design sense that we’ve seen so far.) Then she forces him to tighten the back of her bustier even more whilst she clutches her globes of self-esteem, a startling display of self-love that we haven’t seen since the last time Donald Trump said something stupid on TV. (Which was probably two hours ago.) And based on the way her little man-servant is instantly familiar with the mechanisms of a bustier, he clearly knows a show tune or two and this relationship simply can’t work out.
We then have a montage of LuAnn in various poses in the boudoir, with “Not Gonna Happen” Guy shoved to the side while LuAnn takes matters into her own hands, touching herself provocatively and looking about as erotic as an armadillo in heat. Then LuAnn launches into a “spoken word” bit that never should have happened in a civilized society, with her babbling about the proper way to treat a lady. What lady that might be, we don’t know, because she surely doesn’t mean the one we can see now, wearing the last bit of sheet-metal from the crash of the Hindenburg while the uninterested male model pretends to know where a woman likes to be touched.
LuAnn actually pauses in mid-rap to apply lipstick in what she presumes to be a sexual manner (because that’s classy) as the model gazes at her in feigned adoration, which really means “studying her makeup tips because he might need them for the drag show on Saturday night”. And did I mention that LuAnn’s speaking voice is really deep? Deeper than mine, and I sound like I have gravel in my throat. She must have boulders. I officially start looking for a cleverly-disguised adam’s apple, but my research efforts are thwarted by Miss LuAnn constantly shoving her breasts heavenward, waiting for the angels to sing and blocking my view.
Wait, we’ve just changed locales (sort of, because we keep going back to the Bustier Room repeatedly, as LuAnn apparently feels most comfortable in the Hindenburg getup). She’s now in some room where another one of the guys from the barracks lineup is texting on his phone. (Is he asking FEMA exactly what qualifies as a disaster?) This attempt at communication with the real world is apparently a no-no in Lu-Lu land, because she snatches the phone away from him and then slams his head into a cocktail table. (Honey, really? You couldn’t just say “I don’t really care for that”? Were you raised by she-wolves?) Texting Guy, realizing that her biceps are bigger than his, doesn’t put up much of a fuss.
Brief montage of LuAnn cavorting some more in the boudoir, then we head to a nightclub, with LuAnn now sporting an outfit presumably made out of a pink Slip-n-Slide from the 70s. (I didn’t know those things even came in that color back in the day, but they must have, because there’s no other explanation for what we are now seeing .) She’s managed to gather up all the guys from the barracks lineup, and they have apparently been instructed to “gaze upon LuAnn with complete infatuation, no matter what her hick ass does”, because they do. One guy even whips out a camera to record the moment, partly because the wafer-thin “script” says he should do so, but mostly because he hopes that someone from CSI: Breastville will find the documentation and prosecute the right people.
The cinematographer manages to pull his camera away from LuAnn for a brief bit, giving us shots of the other attendees at this questionable nightclub, all of them gazing at LuAnn with a wonder greater than the biggest orgasm ever. Clearly, these people are drunk and/or very-highly paid, a phrase that could easily be applied to any official in the upper echelons of the current version of the Republican Party elite.
Then we hit a bit where LuAnn confirms that she has lost touch with reality and should be confined to a sanitarium where there are no sharp implements and an abundance of medication. She actually walks up to two patrons, snatches their beers away, and shoves glasses of champagne at them as recompense. This is just not right in any way imaginable. You do not mess with the beverage choice of a hard-working American who just wants some down time. Nobody who is serious about intoxication chooses champagne as a modus operandi. Just say no.
But do the patrons complain? Nope. Instead, everyone, especially the males, continue to gaze upon LuAnn like they haven’t seen anything that delectable since Grandma baked one of her apple pies with the secret ingredient. (Can you say Prozac?) This encourages the boundaries-trampling LuAnn, who clearly skipped all appointments with her high-school guidance counselor, to then terrify another one of the random model-guys in the proper way to use silverware. Or eat soup. She’s clearly concerned about something that involves a big white bowl on a table and some utensils that were not properly utilized. The guy looks just as confused as we are. LuAnn, now wearing a black ensemble that came out of nowhere, doesn’t care, because she wasn’t given enough time-outs as a child.
As a distraction from the logic inconsistencies, we are treated to more images of LuAnn straddling a barstool whilst no-shame paid extras struggle to get in the same shot with her and pretend that the words spit from her mouth have any type of significance whatsoever. Of course, because there’s no validity in anything the Countess might have to share, we cut to even more shots of LuAnn in the Bustier Room. (Did it never occur to anybody to walk up to LuAnn and say “you know what, I think we’ve seen enough of your breasts”. Could you maybe put those things away for, I don’t know, two seconds?)
Then we roll into a bit where Lu-Lu is screwing around with one of the guy’s ties, adjusting it a bit, like she has any qualifications when it comes to fashion. (Rule Number One: Just because you can afford to buy it doesn’t mean you should wear it.) But I guess she’s not really all that invested in the tie, because the pointless scene is quickly abandoned and we head back to the bar proper, where LuAnn is under the impression that if she just does enough arm choreography we’ll forget that there’s really no reason for her to have a recording contract of any kind.
Then we’re suddenly somewhere that has a giant bed, one that allows LuAnn to wear yet another outfit, this one made out of old-school circuit boards from the first computer ever invented. All of the guys from the original barracks lineup are on hand, sprawled on the bed in what is supposed to be a sensual manner, but actually looks like there has been a vindictive round of food poisoning at Cracker Barrel.
I feel especially bad for the one guy who agreed to have his head placed near LuAnn’s cooter. He looks absolutely terrified, even more so because LuAnn has one of her industrial hands latched onto his head, keeping him firmly in place. If he doesn’t sue his agent for abusive behavior, then he’s a fool.
But I guess they spent a lot of money on this sequence, because we stay here for a while. (There are some brief glimpses of LuAnn in the other settings, but they’re really not necessary. She has breasts. We get it.) For a scene that’s presumably supposed to be erotic, those guys lounging on the bed couldn’t be more disinterested. (I haven’t seen that much boredom since Ann Coulter tried to share another one of her vapid opinions.) These guys are clearly not hot for teacher.
That doesn’t stop LuAnn, however. She loves herself so much that she simply can’t fathom the possibility that anyone with a pulse wouldn’t instantly worship her on sight. To prove this, we now have a montage of various menfolk being allowed to touch LuAnn for a second or two, because she’s all about letting the little people have a moment of glory. (The men all respond to this opportunity with professional adoration and feigned lust, but I’m assuming that once the director hollered “Cut!” they all raced to a decontamination chamber, screaming.)
We wind up the video with LuAnn doing another spoken-word bit where she babbles once again about the class that she doesn’t have, including a segment where she grunts out a fake laugh that is the most emotionless sound ever heard on the planet. This is followed up by a quick re-visit to the Shawshank bed where terrified men have been chained to the mattress and forced to appear aroused, and a final run through the crappy nightclub where you don’t dare order a beer or Countess AutoTune will snatch it out of your hands and destroy your dreams.
We close with LuAnn (courtesy of the computer program that is desperately trying to modulate the heinousness of her screech-voice) bellowing “Money Can’t Buy You Class” while she visibly restrains herself from kissing her own ass.
No, honey. Money can’t make your wrongs right. Thank you for proving that…
Click here to watch this video on YouTube.
Originally published in both of the “Backup Dancers from Hell” sites as well as “Bonnywood Manor” on 04/06/16. No changes made from that last posting, other than fiddling with the intro and outro. For the few of you who might be curious, Countess Luann is one of the stars of “Real Housewives of New York”, a TV show that I have never watched (full disclosure) but I was certainly stunned to discover (just now googled it) that the show is STILL AIRING after ten years. What the hell? I need some quiet time to process this statement about American culture…
Categories: Video Review