Wicked Wisdom - Bleed All Over Me

FEB 21 2006 · 12:00

Wicked Wisdom - Bleed All Over Me (2006) Director: Dean Karr Era: Nu Metal Late Wave (2006) - Second-generation nu metal commercial push, coinciding with the genre's commercial decline post-Ozzfest era and Hollywood crossover celebrity-fronted band phenomenon High curatorial value as a primary document of the nu metal era's final commercial wave, preserving both Dean Karr's signature gothic rock visual style and the cultural phenomenon of Wicked Wisdom, one of the era's most debated celebrity-crossover acts. The confirmed Headbanger's Ball premiere and Ozzfest context make this a traceable artifact within 2000s metal media history. The resurrection narrative, combined with its quantifiably dark and high-contrast aesthetic profile, makes it valuable for visual culture and gender-in-metal scholarship. Context: Released in April 2006 to promote Wicked Wisdom's self-titled second album (Suburban Noize/100% Womon, February 21, 2006), 'Bleed All Over Me' arrived at the tail end of nu metal's commercial dominance. The band, fronted by actress Jada Pinkett Smith and formed in Los Angeles in 2002, had navigated significant cultural friction, including hostility from metal audiences at the 2005 Ozzfest, before releasing this, their second single. The video's premiere on MTV2's Headbanger's Ball placed it squarely within the ecosystem of late nu metal media promotion. The album peaked at #44 on Billboard's Top Heatseekers chart. The band represented a visible intersection of Hollywood celebrity culture and underground metal authenticity politics, making this artifact a rich document of those tensions in mid-2000s American rock culture. Director notes: Directed for 100% Womon/Suburban Noize Records. Produced by Arthur Gorson through The Mine LLC, edited by Clark Eddy. The video debuted on MTV2's Headbanger's Ball on April 29, 2006. The narrative centers on a resurrection concept described by Jada Pinkett Smith as being 'about resurrecting those aspects of ourselves we kill to make other people happy.' The structure combines a conceptual storyline, Smith rising from the grave, with band performance footage, a format consistent with Karr's signature approach of blending narrative horror imagery with live rock energy.