Op Drop: A New Hope

This is a very dry post. Here is a cool picture of Alizée to help get you
through it. (Courtesy of Ruroshen from the Alizée America forums.)

It’s been almost a month since I last posted here, and I should probably explain why. While it’s partially due to real life just getting in the way—November and December are just about the busiest time of year in my line of work—it’s mainly because I wanted to test a theory I had.

The theory is that Operation: Disque Drop isn’t working…or at least, isn’t working as intended. And it’s pretty well been proven correct.

See, thanks to Google Analytics, I’ve been tracking the blog’s visitor stats for a little less than two months. In that time, I’ve done two major Op Drops—the one I split between York University and the Toronto Eaton Centre, and another along and around the route of the Toronto Santa Claus Parade, my single largest one-day drop to date—as well as a few minor ones here and there, mainly at other malls and holiday events around the city. And while the blog’s traffic is fairly steady, getting anywhere from five to twenty visitors a day, regardless of whether I post or not…the problem is that very precious few of them are actually from Toronto.

In fact, over the past month, of the 246 people who visited, only 12 came from Canada…and of those, not even half are from the Greater Toronto Area. And most of those are showing up during a lull between drops.

So where are the majority of the blog’s visitors coming from? The United States, oddly enough. Most of my views by far are coming from Texas, Florida, Minnesota and California, with a few visitors here and there from Illinois, New York and New Jersey. I also see a decent amount of traffic from Germany, Poland and France (but not from Corsica, sadly), and a bit from Belgium, Spain and Mexico. Even folks from Uganda and Tunisia have stumbled across Op Drop!

Now, while I’ve deliberately chosen to run Op Drops at locations around the city that could be considered tourist attractions, it’s a pretty good bet that not all of these people were vacationing in Toronto last month, found a disc and followed it here. Most of them appear to have either found it via Google, or followed a link from aw’s Alizée blog or the YouTube video I posted back in September. (Almost a full third of you, though, are coming to the site directly from your bookmarks, or typing the URL into the browser, which surprises me.)

All this suggests to me four things:

1) The people that are finding Op Drop disques aren’t visiting the blog.
2) The people that are visiting the blog aren’t doing it because they found a disque.
3) Dropping disques or not appears to have no impact on the number of visitors.
4) …but, oddly, whether I post or not doesn’t appear to have an impact, either.

This is a bit of a Scooby-Doo mystery to me, and to be honest, I’m not sure what to do with it. I am pretty sure that the focus of the blog is going to change somewhat, though…and, in fact, may stop being a blog altogether.

More to come as I think this through. Stay tuned.

Welcome, Santa Claus Parade visitors!

Welcome and bienvenue, visitors from the Toronto Santa Claus Parade! Thanks for joining us here at Operation: Disque Drop, a one-man (so far) grassroots fan effort to spread awareness of Alizée and grow her fanbase here in North America. If you or someone you know found a DVD in an inconspicuous place somewhere on or around the parade route, and that disc led you here, thank you for proving that this crazy idea might actually work!

I hope you enjoy your first exposure to the wonder that is Alizée. If you haven’t already, I invite you to explore your disque and open your mind to some new music. I think you might have just found your new favorite artist! Then, in either the Shoutbox to the left or in the comment section of the blog below, let us know how and where in the convention you found it, what you thought of it, and what you're going to do with it next!

If you’d like to learn more about Alizée, and interact with other North American fans on the web, the absolute best places to start are Alizée America, Alizée Forum and Lillytown USA. All three communities are filled with fun and friendly fans who absolutely love welcoming new converts, and would be more than happy to answer any questions you may have. Links to other Alizée sites on the intertubes, including her official MySpace, Facebook and YouTube pages, can be found in the upper left-hand margin of this page.

If you’re curious about Operation: Disque Drop (or ‘Op Drop’ for short) and what it’s all about, you can either check out the archives down at the bottom-left of the page, or start here at the first post and work your way forwards. If you have any questions that I haven’t answered exhaustively in the blog—I know, I know, I tend to run off at the mouth, a lil’—please feel free to again either leave a comment, or shoot me an e-mail at disquedrop@gmail.com.

Thanks again for visiting. I hope you enjoy your stay!

Alizée - Mademoiselle Juliette

Mademoiselle Juliette is the second of fourteen clips that appear on the DVD of Alizée videos and performances I’ve been distributing through Operation: Disque Drop.

Although it comes second on the Op Drop disque, Mademoiselle Juliette actually marks a number of ‘firsts’ in Alizée’s career: it was the premiere single from Alizée’s third studio album Psychédélices, released just over a year ago, and the first her fans had heard of her since she almost completely disappeared from the public eye nearly four years earlier. It was also the first track she released on her new record label, RCA Records. But perhaps most significantly, Mademoiselle Juliette was the first single in Alizée’s career to be released without the guidance of her former mentors Mylene Farmer and Laurent Boutannat.

To paraphrase the blurb on Lili’s official website, all Lolitas have to grow up eventually.

Produced and composed by Alizée’s husband Jérémy Chatelain, with lyrics by Jean Fauque, Mademoiselle Juliette casts Alizée as Juliet Capulet in Shakespeare’s drama Romeo & Juliet, portraying her as a girl who’d much rather party and have a good time than concern herself with the ongoing feud between the Montague and Capulet houses of fair Verona. The video shows her being led away, unconcerned, from her fateful balcony rendezvous with Romeo by a mysterious masked woman in black, through a decadent masquerade in a medieval castle…one attended only by beautiful young women. As Lili and the ladies lounge, party and dance the night away, poor Romeo is left cooling his heels on the balcony all by his lonesome, waiting for Juliet to come back…seemingly forever.

Once again, we turn to the fine people of Alizée America for an English translation of the lyrics, as well as a discussion of their meaning.

Despite being quite the departure in style and substance from Alizée’s previous hits, Mademoiselle Juliette was a modest success in France and parts of Europe, debuting in thirteenth place on the French singles download chart, and at number 22 on the France Top 100 Singles chart. In Mexico, it reached 49th in the Mexico Top 100 singles chart, while the video captured the top spot on the MTVLA show Los 10+ Pedidos. It was also featured at number 138 in a countdown of the 150 most important videos of the channel’s first fifteen years.

The reason why Mademoiselle Juliette comes second on the Op Drop disque, despite being the first single off Psychédélices, is simple: though I do enjoy both the song and the video, and Alizée both sounds and looks terrific throughout, I genuinely don’t like it as much as Fifty-Sixty. The latter just has more bounce, an oomph to it that MJ is lacking. Despite being a song about a young girl who’d rather party than get caught up in pointless drama (as opposed to one about a model led to the heights of fame who then slides into obscurity), Juliette simply feels heavy and almost stern next to the outwardly playful and melodic Fifty-Sixty. Apparently, partying in the face of tragedy is serious bidness.

Forgive the armchair quarterbacking, but if it had been up to me, I would have reversed the release order of the two…which I guess I kind of have, at least as far introducing new fans to them via Op Drop is concerned. (Actually, all things being equal, if it had been up to me, I would have released Lilly Town ahead of both of them, as it’s easily the catchiest track on Psychédélices…but that’s neither here nor there.)

One interesting thing to note about Mademoiselle Juliette is the similarity the video bears to a pair of other clips that were released later this year: Don’t Speak French by Girls Aloud, and I Kissed A Girl by Katy Perry. Don’t just take my word for it, either: check out the post “Trend Setting Alizée” on aw’s Alizée blog, and let him drop some science on you.

Coincidence? You be the judge.

Alizée - Fifty-Sixty

Fifty-Sixty is the clip that leads off the DVD of Alizée videos and performances I’ve been distributing through Operation: Disque Drop.

The second single to be released from Alizée’s third studio album Psychédélices, Fifty-Sixty tells the story of a young model under the guidance of Andy Warhol at the height of his influence in the 1960’s, who foolishly believes Andy’s pronouncement that she is the most beautiful model of all. Inspiration for the song has been attributed to the real-life stories of Edie Sedgwick and Nico (who is also referenced by name in the lyrics), both of whom were protégés of Warhol. The music for Fifty-Sixty was composed by Alizée’s husband, Jérémy Chatelain, who also contributed to the lyrics written by Jean Fauque.

You can find a translation of the lyrics as well as an in-depth discussion of the song’s meaning here, courtesy of the good folks on the Alizée America forums.

Fifty-Sixty was the obvious choice to kick off the disque, and not only because it’s Alizée’s most recent video. I also think it’s a fair embodiment of who Alizée is as an artist, and serves as a great appetizer for the banquet to come: catchy, poppy, and breezy on the surface, which belies the depth of the melancholy tale told by the lyrics, of a model brought to the height of fame only to slide into obscurity. The video itself is fun and adorable, heavily influenced by both American pop art and Japanese animé in turn. And she looks absolutely gorgeous throughout—what more could one ask for?

The video featured on the disque is the actually only first of three that were produced as part of Fifty-Sixty’s promotion. Two more were produced for remixes of the single—a slower, more melancholy version by David Rubato, and a techno reimagining by Rolf Honey. You can see the entire trilogy on Wisteria Song’s Psychédéclips website, or on Alizée’s official MySpace page, where you can also find the awesome Nellson remix and acappella versions of the song.

Though Fifty-Sixty hasn’t enjoyed even the moderate success of Mademoiselle Juliette in France, due in large part to a botched release and general lack of promotion, it has charted in Mexico and even achieved the number one spot on MTV Latinoamerica. It also spent much of the spring and summer battling it out with Gregory LeMarchel’s Restons Amis for the top spot on Radio Atlantis’ weekly Hit Parade countdown. The recent rumors of Alizée’s move from RCA Records to Jive/Epic have included hints of renewed promotion for the single under her new management, so perhaps we’ll see a resurgence of interest sometime in the near(ish) future.

Finally, it’s worth noting that several fans have interpreted the lyrics of Fifty-Sixty as a possible metaphor for Alizée’s own rapid rise to stardom at a young age, as well as her relationship with her former mentors, Mylene Farmer and Laurent Boutonnat, with whom she parted ways prior to the production of Psychédélices. Though it’s purely fan speculation—which Jean Fauque has apparently gone on record as denying—there’s certainly a number of interesting parallels which could be drawn.

Anatomy of an Op Drop III: School Daze

This is the last of three posts taking us through the process of last Thursday's Op Drop, from beginning to end. In the first post of the series, I talked about the Design phase--specifically, in the case of this drop, the design of several promotional stickers I've started putting up in my travels, in addition to dropping disques. In the second post, I wrote about the Build phase, and how I'm oddly entertained by the process of burning, labelling and packaging disques in preparation for an Op Drop.

Now onto the third and final phase...

Phase III: Drop

The drop phase of any operation is naturally the most exciting, especially when I’m operating in a new venue like I was last Thursday. Disque dropping isn’t just a matter of laying an Alizée DVD down on every available surface, all willy-nilly. There’s a very subtle science to it…at least the way I do it, anyway.

I’ve talked a little bit before about the ‘rules’ I’ve set for myself where a successful drop is concerned:

I should probably explain that—I mean, who cares if a half-dozen of my fellow comic geeks notice me dropping it, right? One of them might even be motivated to pick it up out of curiousity. The only explanation I can give is that it violates my personal “rules” of disque dropping as I’ve come to think of it. Discovering one in a random public place is meant to be kind of magical and mysterious…like coming down the stairs on Christmas morning and finding presents in the empty stocking you put up the night before. Getting caught in the act of a drop…I always feel like it robs it of its mystique, somehow…like Batman fighting crime in broad daylight, or something. There’s also the fact that I’m painfully shy around strangers—particularly cosplaying cuties in extremely abbreviated outfits—which makes having to explain a bungled drop somewhat akin to slow torture, but that’s neither here nor there.

It’s not just enough not to be noticed, though. While it’d be easy to pick an out-of-the-way spot away from crowds where I could drop a disque without being seen, the chances of that disque actually being picked up in the near future are slim to none. The trick is to balance the desire to perform an inconspicuous drop against the need to drop the disque where it will be noticed. It can be a tricky business, especially when running ops in very public places like the Eaton Centre or the ACC…or in the brand-new venue that I chose today.

After my random encounter with a Alizée-curious college student two weekends ago, it struck me that I’d overlooked possibly the best potential drop sites that the city had to offer—its colleges and universities, all of them full to bursting with young people with ostensibly open minds eager for new experiences, and all of them keen to get in on the ground floor of the ‘next big thing’ before their friends do. With this in mind, I did my best to disguise myself as a college student, packed up my disques and stickers, and trekked out to my first target of opportunity…my alma mater, York University.

It was weird being back on campus after so long away, to say the least. I’d chosen York first reasoning that, as the school with which I was most familiar, it’d be the one I’d be most comfortable in. Boy, was I wrong. A lot’s changed at York since I left there (mumblemumble) years ago…and I’d forgotten what a pain it was to find my way around even when I was a student there.

Fortunately, my main targets—the Student Centre, the libraries, and the main lecture halls—were all still where I’d left them, more or less, and were just as crowded as I remembered. Unfortunately, they were also a lot smaller than I’d remembered…which, if I were a better writer, I’d be able to parlay into some kind of deep and insightful metaphor for growth or life experience, or something.

It took me less than two hours to distribute just over half my payload. As drop opportunities (or “dropportunities”, as I’ve taken to calling them...clever, no?) went, though, I’d more or less saturated the main buildings, and not enough time had passed for many disques to be picked up yet. (I’ve learned from experience that it can sometimes take up to three or four hours, even in a very crowded venue, for somebody to take the bait.) I’d either have be outright blatant about it, self-imposed rules be damned—dropping disques in plain sight on occupied desks and tables in the library and cafeteria, which seemed a little gauche—or try my luck at some of the outlying buildings.

I opted for the latter, reminding myself in the process one of the things I’d hated most about going to York—much of the campus seems to act like a wind tunnel, making walking from one remote building to another in the fall and winter an absolute bitch—but didn’t perform more than a couple more drops, given how empty these buildings seemed by comparison. I retraced my steps back to the main buildings, shivering all the way, replaced the few disques that had been picked up in the interim, then headed out with about fifteen disques left in my bag.

Eager to lose the rest of them—as well as the stickers, which I’d completely forgotten about while I was at York—I zipped down to the Eaton Centre, which as become my go-to target of choice, lately. Being a Thursday afternoon, the mall was only moderately busy compared to the weekend, so it took a few circuits…but by five o’clock, my bag was empty of disques, and every bank of payphones in the mall had at least one of the new Alizée stickers adorning them. I headed back home, leaving a trail of stickers in my wake on the city’s transit system, until I finally slapped up the last one on the inside of the bus shelter on the corner of my street.

Forty stickers and forty disques dropped, all told. Added to the sixty disques I'd dropped the previous weekend, I've met my self-imposed quota of a hundred disques dropped for the month. Not bad for a lone Alizée evangelist! And from what I can tell from the few stickers I've been able to check on since, the majority of them seem to be holding up pretty well. It'll be interesting to see what kind of impact they have on the blog's stats in the days and weeks to come.

Anatomy of an Op Drop II: A Different Definition of 'Fun'

This is the second of three posts taking us through the process of last Thursday's Op Drop, from beginning to end. In the first post of the series, I talked about the Design phase--specifically, in the case of this drop, the design of several promotional stickers I've started putting up in my travels, in addition to dropping disques.

Phase II: Build

Building up a stockpile of disques prior to a drop is probably the most tedious part of the process, but I still find it strangely enjoyable, in the same way I really dug the crafting professions when I played EverQuest or World of Warcraft. It’s oddly satisfying for me to take a pile of components or raw materials, process them so they’re usable, and then assemble them into a stack of finished products that are more than the sum of their parts. It’s not quite the same high I get from the design phase, and it doesn’t carry the visceral thrill of a successful drop, but I still dig it enough to keep me from getting bored, at least so far.

I’ve streamlined the process quite a bit over the past few months, which has thankfully cut down on the time and effort I have to put into the build phase. (The message on the first ten Mark I disques I dropped, for example, was printed by hand on each and every one of the sleeves…which, you can imagine, took awhile.) It’s pretty well a one-man assembly line, with me running from one station to another as required. The PC I have set up in my living room handles burning the DVDs, while the one I have set up in the bedroom prints the labels and stickers. The coffee table between them serves as the assembly area, where—in between running from one computer to the other as they finish their tasks—I’ll slap the labels onto the DVDs and clamshell cases, and stack the completed disques. Assuming that both PCs cooperate (and I remember to set a fresh disc burning once I’ve removed a completed one, which I don’t always do), I’m usually good for about ten to twelve disques an hour…which means that a drop like Thursday’s can take upwards of three or four hours’ worth of preparation to pull off.

I usually have something playing in the background to keep my mind occupied while I’m in build phase. To get me in the mood, I generally either start out listening to one of Alizée’s albums, or I’ll put on one of the Lili DVDs in my collection—En Concert, my own copy of the Op Drop disque (yes, I kept one for myself!), or another disc I’ve put together of interviews and television appearances, like Fun TV or Stars à Domicile. If these can’t inspire you to do your damnedest for Alizée, you’re either clinically dead, or may in fact be an android and/or cyborg that’s incapable of feeling human emotion.

Between me and my kid brother—who I coerced into helping when he dropped by my place unexpectedly on Wednesday night, when I was deep into Build mode—we managed to get forty disques and forty promo stickers made up before he'd finally had enough, and we called it a night. Though he's decidedly not an Alizée fan, and has actually kind of frowned on the amount of time, money and effort I've sunk into Op Drop so far, even he was impressed by the pile of completed disques we'd amassed on my coffee table.

"All that work, and tomorrow you're just going to leave them all in random places for strangers to pick up," he said, pulling on his jacket as he prepared to head out.

"That's the plan, yeah."

He shook his head at me. "There has to be a better way to do what you're trying to do."

"There probably is," I admitted, "but until I figure out what that is, this is manageable for one person. At least I'm doing something. And besides, it's fun."

He cocked an eyebrow at me as he opened the door to my apartment.

"Dude, your definintion of fun," he said as he stepped out into the hall, "is way different from mine."

Dramatic Interlude: Two evangelists meet on a train...

For your consideration, a dramatic re-enactment of an incident that took place during my morning commute today, with apologies to Jehovah's Witnesses everywhere:

A pair of smartly-if conservatively-dressed JEHOVAH’S WITNESSES step onto a subway train, each holding a stack of pamphlets. As the doors close behind them and the train begins to move, they split from each other, each heading for a different end of the car. The younger of the two, an attractive young lady, approaches DISQUE, a twenty-something male on his way to work. Disque glances up as she approaches, and removes his headphones. A pair of TEENAGERS sitting across the aisle from Disque watch their exchange with interest.

D: Hi, can I help you?
JW: Hello there. Have you accepted Jesus Christ as your personal lord and savior?
D: No. Have you accepted Alizée Jacotey as yours?
JW: I’m…sorry, who?
D: Alizée Jacotey. She’s a singer from France. Here, this is her.
(D pulls a sticker out of his pocket and hands it to JW.)
JW: (smiles) She’s very pretty.
D: She has an incredible voice, too. Would you like to hear one of her songs?
JW: No, that’s OK, I—
D: You really don’t know what you’re missing. Here, let me play ‘Ella Elle L’a’ for you. It’s practically gospel, you’ll dig it.
JW: I don’t think…listen, have you ever given any thought to your soul—
D: You want soul? I’ve got a blues remix of one of her songs on here, too.
JW: No, listen…
(JW tries to hand back the sticker, along with one of her pamphlets)
D: Oh no, you keep that. I’ve got plenty. You see the URL on there? I’ve got a blog, you oughta check it out.
JW: O…kay.
(Uncomfortable beat as JW draws the pamphlet back to her.)
JW: Would…you be interested in learning more about Jesus?
D: Would you be interested in learning more about Alizée? I have a free DVD I could give you, here—
(Disque pulls his backpack into his lap, unzips it, and begins digging through it.)
JW: Ah…no, that’s OK. I, uh, think this is our stop…
(The train exits the tunnel into a subway station. JW signals her companion, and turns towards the door.)
D: Nono, here!
(D jumps up and thrusts a DVD at JW, who looks at it like it’s carrying the bubonic plague.)
D: You should play this at your next meeting or revival, or whatever! Your friends will really get into it. It might seem a little suggestive at points, but overall—
JW: I’m sorry, I have to go.
(JW hurries over to her companion, and hustles him out the door onto the subway platform. D calls after her as the doors close behind them.)
D: MAKE SURE YOU VISIT THE WEBSITE!
(D shrugs, and sits back down as the train begins to start back down the tunnel, watching as JW and her companion have a very animated discussion on the platform. One of the teenagers leans forward, laughing.)
T: Dude, that was awesome!
D: Thanks. Either of you want a free DVD?

And scene...