Click it, there is much detail to it.
I'll start out with the famous cartoon of a 1040 form by the late Jeff MacNelly (Shoe and once cartoonist for the Chicago Tribune). They usually run it every year, similar to the old fall favorite Indian Summer by John McCutcheon. The Tribune appreciates it's cartoonists.
The San Franciso Chronicle had an article with writers picking their favorite YouTube videos.
This was Joe Selvin's choice:
Alanis Morissette: "My Humps," 4:09: Almost 3 million people watched this sly, wicked parody of the Black Eyed Peas in the first week it was posted on YouTube.
Reportedly filmed at her own apartment in front of a white sheet, the Morissette version of "My Humps" treats the hip-hop number as a slowed-down singer-songwriter piece with Morissette, flexing heretofore previously unrevealed comedic skills, acting out the drama and angst of the piece, makeup running down her cheeks, until the final frame, when she breaks into peals of laughter.
There is no record, no official video, no mention of the parody on her Web site. It seems to be just a wacky freelance job with no agenda other than well-deserved poke at the Peas and the group's ridiculous hit song.
This is a breakthrough piece for both Morissette, who little has been heard from since her mid-'90s smash, "Jagged Little Pill," and YouTube, which has become one of the most potent tools for exposure the music business has ever had.
And Tim Goodwin's:
Elvis Costello on "Saturday Night Live," (December 1977), 2:58: Most musical acts on television are rote and boring.
Not Elvis Costello and the Attractions in this notorious moment, when the young, wiry and punkish Costello (who had already played "Watching the Detectives" for his first song) managed to supremely annoy "SNL" czar Lorne Michaels by messing up the running time of the show (there are many theories about why Costello was essentially banned from the show -- he didn't return again until 1989 -- but it was all about throwing the timing out of whack).
So much for being "live," as Costello would later say. His sin was first launching into the scathing "Less Than Zero" only to yell, "Stop, stop!" to the band a fiery nine seconds into the song, then careening into a blistering version of "Radio Radio," which tells a tale about the corporate squashing of musical freedom. Above and beyond the back story, the song rocks.