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drake tickets in austin

Post by CaseyChait » Thu May 24, 2018 7:05 pm


Drake’s mates and Taylor Swift’s cosplay: exploring the 2018 music video

From famous friends for hire to Kate Bush-aping interpretive dance, it’s likely the modern music video will fit one of these frameworks

Before Marvel monopolised blockbuster season and tried to crowbar in some, like, intelligence, you could always count on a mega-budget film experience to sit in front of and unplug your brain. Thankfully, that kind of gloriously empty nonsense still exists in pop videos and it’s mainly Taylor Swift and director Joseph Kahn’s fault.

First there was 2015’s feminism-destroying Bad Blood, in which every high-gloss “futuristic” scene screams: “The budget for this one video is more than your entire album campaign!” That was then followed by last year’s Route One dystopian cosplay video ...Ready For It?, which appeared to re-use some of the old Bad Blood sets while borrowing its one aesthetic highlight from Scarlett Johansson’s version of Ghost in the Shell. Worst of all was End Game, in which lavish country-hopping ended up looking like the most expensive (and boring) episode of A Place in the Sun.

Pop stars are busy people: there is original content to upload; other famous people to interview for magazine covers; and Twitter apologies made up of screenshots of the iPhone Notes app to post. So, sometimes a music video is the last thing a schedule will allow, and that’s where things get creative, ie everyone panics.

Ed Sheeran’s latest slightly pass-agg love song Happier features a puppet rendering of the multi-millionaire, who is in the middle of a world tour, while serial collaborator Selena Gomez used the same excuse for not appearing in a video with Charlie Puth. That must surely have been why Kelela put out the animated, Sims-inspired Frontline video, too, right? Still, both are preferable to the barrel-scraping tour montage video, as showcased recently in Pink’s “will this do?” single, Whatever You Want.

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