Times change, styles change, and Miley Cyrus does exactly the same, this time dipping way back to the more wholesome '50s/'60s (with one nod to the more recent pole-dancing past, albeit with a huge "No One Stays The Same" title).
Director Diane Martel conjures up a very '80s, yet very contemporary video for The 1975 that's so ridiculous you might wonder if it's a joke. Fear not, fans: It is.
Singer Matt Healey released a statement with the video release saying, "With 'Love Me' we wanted to capture the neon-hued enthralling acquisition of success and excess, the screaming momentum, the sexy daze. Everything is REDICULOUS! But, is it? The only art worth any investment is art that makes one feel personally addressed. A simple truth, or set of truths, that galvanises an awareness and passion within an individual and in doing so immerses the individual into a sense of shared experience and community founded upon that same personal connection or experience. Too many artists care what others think. We are for the ‘community’! A non-linear observation on everything that has been and what will become. A lack of understanding of the world we are living in. The post-ironic notion of the modern world. Selfie mythologizing. Creating how we consume. Fragments of culture. Not settling for what you’re given. WE’VE JUST COME TO REPRESENT A DECLINE IN THE STANDARDS OF WHAT WE ACCEPT."
And then, he jumped back in the hot tub with his champagne.
Silly Rabbit, don't you know tricks aren't just for Miley Cyrus? Nicki Minaj has been pushing out transgressive videos since jump, but "Pills N Potions" carves out territory that seems custom-made for Tumblr (or sad MDMA trip). There's out-there animation, some revenge at her lover — gamely played by The Game (no pun intended) — and tears that fall like metallic sheets of rain, all in a 4x3 set-up to accentuate the occasional lo-fi, but always hi-impact visuals.
We'll have to a wait a little longer for the full blast, but Nicki Minaj has unveiled the first taste of what she's been cooking up with director Diane Martel and vfx artist Geoffrey Lillemon. The same absurdist touch from the "We Can't Stop" video is evident here — Hello, bunny rabbit drug dispenser — plus an unadorned styling look that serves as a pallette for metallic tears, purple clouds surrounding The Game, and what's sure to be lot's more...
It's not the Lingerie Bowl, but this game of Twerk Football gets close thanks as Robin Thicke, 2 Chainz and Kendrick Lamar make a convincing case that next year's Rose Bowl Parade should include an Ass Float.
With the original version now in the VEVO Certified zone of over 100 million views, there's no harm in losing views to the Director's Cut that's been newly unleashed.
This time director Diane "Diamond" Martel gets a big title credit upfront — which is more than deserved — and all the product placements have been wisely severed off like a pesky ankle monitor, but it's the other changes that should grab your interest, since A/B'ing the original and this Director's Cut can serve as a lesson in how you can cut two very different videos from the same footage.
This is sexier, more salacious and a bit sillier — for example, a Karaoke segment, which takes up a prominent position — and presents a great What If issue, where you can imagine if this cut would have generated the same response and results as the official version.
Diane Martel, director: It's like a giant, fucked-up selfie... We wanted the video to be full of blog-worthy moments, but it ended up being about Miley sharing herself with her audience in a crazed way. It's exhibitionistic, and she's absolutely taking the piss out of being in a pop video"