It's interesting that the breakout new star from the 2016 is sombody who didn't perform on the stage, and who took about about half of the time that Kanye West had at his disposal. Meet Teyana Taylor, an actress/singer/dancer who takes a cue from Irene Cara and Jane Fonda, but updated with way more sexuality and booty — and, a shower scene with her real-life fiancee, basketball star Iman Shumpert, that's closer to soft core than a workout tape — in a video that West premiered during the VMA telecast.
Of course, KWest isn't presenting a straight-up dance video. There's an ending twist, that reveals the animalist side of the on-camera actors, and the way we gawk along like obedeient sheep.
If you missed it last night, you're only option (for now) is Tidal. So sheep on over to Tidal.com if you need your fix right now.
Some things never change... Not for those who were different in high school, not for star-crossed lovers, and especially not for Mykki Blanco in this epic tale of love/loss.
Matt Lambert, director: "To me the film is nothing more than a story of love and hate. It's a love story wrapped in the cyclical nature of conflict that humans seem to thrive on. It's a story of the moral relativity and polarizing forces of humanism and a simultaneous misanthropy that seems to live in all of us."
Welcome to the murky world of Desiigner where things are criminal, off-kilter and dangerously addictive (especially the desire to get a Mercedes X6, be it the black Phantom or the Panda white version).
A bold video — thanks in part to creative directors Kanye West and Paul Geusebroek — especially for a song that's become an unlikely pop smash.
This multi-generational gangster tale is a Pandora's Box of seriously fucked-up shit, as we pivot from a Portrait of the Gangster as a Young Man to the gravity that keeps even our (anti)hero's conscience in line with the ongoing immorality.
And you thought owing money to Stitches was a precarious situation? That's nothing compared to what Rihanna is prepared to do when she comes to collect. In this case, an unlucky trophy wife gets subjected to various punishments that range from cruel to unusual, but that's nothing compared to what happens to the deadbeat and decadent accountant who's really the target of RiRi and her girl gang's dirty deeds.
Let's just say there will be blood, and boobs, so consider this one NSFW — unless you work in collections and need a role model.
You could take a normal sightseeing tour of Shanghai, or just follow the lead of Brodinski: Stay safely ensconced at a posh hotel where you can trip your way through a more mystical world thanks to a few hits from the bong.
PS: Wouldn't it have been cool if the 24 hour-long-version — still up in all its glory at 24hoursofhappy.com — had won Best Longform aka Best Music Video Film. (Not Spoiler Alert: That Grammy went to 20 Feet From Stardom
Hard to describe this video without giving away its structure, so let's just say that if you've ever thought "Rabbit In Your Headlights" could be a portal to figuring out your younger self, then this one is definitely for you.
You bought a pack of smokes for your 18th birthday. Ella "Lorde" Yelich-O’Connor celebrated her's by releasing a hugely anticipated video for this new song off The Hunger Games: Mockingjay - Part 1. (And hey, maybe she also bought cigarettes, although I doubt it).
The video skips the usual movie clipjob in favor of a series of unexplained, yet surely not unrelated vignettes that bear several filmic influences, especially Kubrick.
Emily Kai Bock, director: "Ella emailed me during the summer while she was on tour with Majical Cloudz, who I made a video for a couple years ago. I was amazed that she would reach out to me directly. Usually with such a big-name artist, there is a team of people you have to go through, but she kept a close connection to me from start to finish - from feedback on the treatment to editing notes, we were in constant touch.
Ella is a true collaborator. She had sent me a reference video of Mae West being interviewed by Dick Cavett. In the clip, Dick Cavett walks across a massive airplane hanger to this tiny lit set, where Mae West is reclining in this chair - it's a really surreal interview setting.
I wrote her a treatment with a bunch of these kind of set ideas, of things that could live within a dark void of a large vacant space, under a singular light - a motel room, a confessional, a chandelier, a streetlamp, and so on - and she loved it. I was really excited about the idea of using black as a way to transition between the worlds, losing the context of what is exterior and what is interior.”