The Best Music Videos of 2014 (So Far) — #15-6

by S.L. Fevre, Cleopatra Parnell, Vanessa Tottle, and Gabe Valdez

It’s been a great year (so far) for pop videos. Coldplay, OK Go, and Ariana Grande all feature today. If there’s something to take away with you, it’s that this is the year rap matters again, the year where it woke up, looked around, got fed up with what it saw, and decided to start doing something about it. You’ve seen that already in the countdown (if you missed them, here are parts 1 and 2 of our rankings), and you’ll see it again today and tomorrow.

-S.L. Fevre & Gabe Valdez

P.S. Due to music copyright law, we can only feature some videos here. It’ll vary by country. Click on each title to watch it directly on YouTube.

15. You’re Not Good Enough – Blood Orange
directed by Gia Coppola

80s Music belonged to my older sister, who listened pretty exclusively to music like Blood Orange’s. It’s a light, airy, emotive groove reflected well in Gia Coppola’s faux behind-the-scenes rehearsal. What makes the video is how Coppola’s technical precision translates into loose, relaxed visuals – by harshly overlighting the whole picture, she achieves both the crispness and color of an HD piece as well as the flatly lit, soft tone of watching a variety show on an analog TV with so-so reception.

Combine the behind-the-scenes aspect, with dancers warming up and wearing era-appropriate rehearsal clothes, and it all sparks the feeling of getting a glimpse into a relaxed practice run from another era. And yes, Gia Coppola is Apocalypse Now and Godfather director Francis Ford Coppola’s grand-daughter.   -Gabe Valdez

14. Summertime – The Head and the Heart
directed by Chad VanGaalen

Chad VanGaalen’s unique animation style initially hints at a simple, cutesy video. You don’t expect it to be as detailed or darkly humorous as it is, but it rewards repeat viewings. The macabre takes the video over later on as if you’re watching a gorier, er, Edward Gorey. In a year flooded with complex animation videos, “Summertime” stands out as one of the few vids that’s truly different, both for its fresh style and its incredibly wicked sense of humor.   -Gabe Valdez

13. Girl You Look Amazing – Nicole Atkins
directed by Laurel Parmet

When you’re a PhD and you spend the majority of your life in Alberta, Nicole Atkins’ imaginary date out resembles way more evenings than I’d like to admit. Her performance is genuinely funny (those eyes!) and the song kills (so does the album).   -Vanessa Tottle

12. Magic – Coldplay
directed by Jonas Akerlund

While Ziyi Zhang not being able to free herself from captivity doesn’t seem quite right to me (she was my pick as the Next Jackie Chan, after all), she gives a charming performance as Cecile, the damsel in distress in Jonas Akerlund’s Depression-era tale of dueling magicians. The silent film look gets the most out of Zhang’s capability for softness and Chris Martin’s chiseled persona, while letting the video communicate a complete story without ever getting in the way from the music.   -Gabe Valdez

11. The Writing’s on the Wall – OK Go
directed by Aaron Duffy, Damian Kulash Jr, & Bob Partington

OK Go became famous because of a lo-fi music video done in one long take, “Here It Goes Again.” It involved the band dancing across treadmills in a video choreographed by one singer’s sister. They’re OK musicians, but they’re trailblazing music video artists. One-upping their Rube Goldberg machine in 2010’s “This Too Shall Pass” is “The Writing’s on the Wall.” It takes one of their better songs, plays with perspective like a Magic Eye, and literally turns you on your head all in one long, mind-bogglingly complex take.   -Cleopatra Parnell

10. Work Work – clipping. feat. Cocc Pistol Cree
directed by Carlos Lopez Estrada

Rats in the head and curb stomping. This is old school rap and old school videomaking. It hits you hard and low, catches you off-guard, and contains violence without being violent. Social comment about the state of rap? Introspective psychological exam? Or all of the above? The video is filmed in one long shot that baits-and-switches you into something you don’t expect at all. I can’t think of very many music videos that have made me jump. Can you?   -S.L. Fevre

9. State of Grace – Talib Kweli feat. Abby Dobson
directed by Daniel Cordero

Talib Kweli’s been sitting on the fence between educative rap and boastful superstardom for a hell of a long time. I’d like to think this means he’s finally chosen a side. “State of Grace” is his most important video yet, a vibrant animation full of color and emotion, a monument to hip hop’s origination in protest verse, and a call for women to take creative power and control of their image in the hip hop community.   -Gabe Valdez

8. West Coast – Lana Del Rey
directed by Vincent Haycock

Lana Del Rey leaves her loving, caring beau for an older, rich man. She burns in Hell. That’s what this video amounts to. Metaphorical Hell, real Hell, or just a certain L.A. lifestyle? Her regretful, slowdown, ‘narco’ chorus ends in a chant of “I’m in love,” as if she’s trying to convince herself but doesn’t really believe it. It eventually takes over the song, her personality and the video to the point where there’s nothing of her original, laughing self left. The story in the video illustrates the evolution of selling out, not as a celebrity but as a human being, of replacing every original part of herself with the image someone else has projected on to her. It’s a stirring, thoughtful commentary to the feel-bad song of the summer.   -S.L. Fevre & Gabe Valdez

7. Problem – Ariana Grande feat. Iggy Azalea
directed by Nev Todorovic

This remains one of my favorite dance videos not just of the year, but of all-time. Grande, who’s extremely involved in the filming and editing of her videos, has found someone in director Nev Todorovic who she synchs up with perfectly. Earlier this year, I compared their creative relationship to that of David Fincher’s and Paula Abdul’s in the late 80s. In “Problem,” the framing constantly teases the viewer not just with Grande but with her dancers, too. The rhythmic editing style paces the music perfectly.

The video itself is filled with cinematic detail. Faux signal losses and swish pans keep the editing pace when a shot isn’t broken through a direct cut. Film scratches abound at the edges of the image, constantly drawing you to the center. A sort of psychedelic tunnel vision accompanies Iggy Azalea’s rap solo, in contrast to Grande’s trademark pinwheel and in visual complement to those swish pans and signal losses. Like the song, the video is cleverer by far than its simple pop housing would make you assume.   -Gabe Valdez

6. Wrong or Right – Kwabs
directed by Emil Nava

The story of dance is sitting there and feeling like you’re wasting away. It’s needing to get out and express yourself. It’s not caring what you look like. It’s doing it in places you shouldn’t. It’s finding other people to do it with you at a moment’s notice. It’s finding something more in that community, something you get through movement and feeling music inside you in a way that has to get out. It’s letting every frustration you have get to your fingertips and toes to shake it out. It’s impressing people one minute and embarrassing yourself the next. It’s about taking down the walls between people in a way that makes everyone in a room appreciate nothing else but moving and feeling music inside you that has to get out. It’s about falling down and maybe getting back up and maybe not. It’s about telling your story to everyone else in a way that makes them understand their own stories better. The story of dance is sitting there and feeling like you’re wasting away, and finally deciding to do anything else but keep on sitting there.   -Vanessa Tottle

Keep an eye out for our Top 5 music videos (so far).

Bits & Pieces — Rhythm Editing, Ariana Grande’s “Problem” and Paula Abdul’s “Straight Up”

Thank You, Gene Kelly

How did ’50s musical star Gene Kelly play a part in launching David Fincher’s career? To explain that, we’ve got to rewind all the way back to 1989. Before Paula Abdul was a beloved reality show superstar, she was a singer and dancer.

Back then, David Fincher wasn’t an Oscar-winning director responsible for Fight Club, The Social Network, and The Girl With the Dragon Tattoo. He was a sought-after commercial and music video director who had worked with ’80s musical artists like Rick Springfield, Foreigner, and Gipsy Kings.

Neither Abdul nor Fincher needed the other, but they would each make the other’s career. Abdul got her start through a try-out for the Laker Girls, the L.A. Lakers’ cheerleading squad. She was quickly promoted as their head choreographer, shortly after which she was nabbed by the Jackson family to do their music video and tour choreography. Fans now think of her just as an 80s singer with a handful of hits, but Abdul’s history as a choreographer – especially with Michael and Janet Jackson – is often overlooked. She was one of the most important choreographers of the ’80s and ’90s.

Abdul made a demo in 1987 and – on the strength of her dance ability at a time when music videos were king – her singing career kicked off. Her single “Straight Up” was a megahit in 1988, fourth on the year-end Billboard Hot 100. It hardly needed a music video to make it relevant. She had worked with Fincher that year, creating a solid – but largely ignored – video for “(It’s Just) The Way That You Love Me.”

Fincher made his money directing commercials. He had made a name for himself as an edgy, subversive director whose ads could stand on their own as half-minute films. Sometimes, they barely featured a brand’s name.

“I’m totally anti-commercialism,” Fincher said. “I would never do commercials where people hold the product by their head and tell you how great it is, I just wouldn’t do that stuff. It’s all about inference.”

Fincher had also co-founded Propaganda Films with, among others, Michael Bay. He knew at a time when MTV made or broke careers overnight that the quickest route into feature film directing was music videos. He’d been at it since 1985, he was solid, incredibly productive, and he had vision, but he had yet to break out as a music video director the way he had as a director of commercials.

Then came “Straight Up.”

Aside from featuring Arsenio Hall and introducing America to Djimon Hounsou, it became one of the most heavily played videos on MTV, winning four 1989 MTV Video Music Awards – Best Female Video, Best Dance Video, Best Choreography, and Best Editing. It’s often forgotten because it was overshadowed by a music video Fincher directed later that year – Madonna’s “Express Yourself” – and one that was released the next year – Aerosmith’s “Janie’s Got a Gun.”

It’s worth noting the video that stuck the longest in people’s minds from 1989, however, was Madonna’s “Like a Prayer,” directed by Mary Lambert and winner of MTV’s Viewer’s Choice award. Lambert had earlier in the decade earned notice working with choreographer Abdul on a handful of Janet Jackson’s music videos. The ’80s were a small world.

Paula Abdul had already spent years as one of the music industry’s go-to choreographers, and she had a major hit on her hands before filming with Fincher. Fincher was, perhaps, inevitable – a year later, he held three of the four nominations for best direction in MTV’s 1990 Video Music Awards (for Madonna’s “Vogue” and Don Henley’s “The End of the Innocence,” in addition to the one for Aerosmith).

Yet Fincher’s first music video to truly catch the public’s attention was “Straight Up,” and the battlefield of MTV was littered with productive directors who never broke through. Paula Abdul was the route Fincher took in stepping up to major artists like Madonna and Aerosmith, and “Straight Up” was the music video that truly announced him, the connective tissue between one phase of his career and the next.

But before Paula Abdul was a reality show superstar, she was a singer, and before she was a singer, she was a choreographer, and before that – as she once told an interviewer – she was a little girl who had no idea she wanted to dance until she saw Gene Kelly in Singin’ in the Rain, and then it’s all she ever wanted to do. So thank you, Gene Kelly, I really liked The Girl With the Dragon Tattoo.

Get to the Part About Ariana Grande Already!

Look at this. If you haven’t watched “Straight Up” yet, watch it after. (On certain browsers, you’ll have to click through to YouTube.)

Congratulations, you’ll now have that song cycling through your head for the next month.

Notice anything? The two music videos are incredibly similar, down to the cutting philosophy of isolating featured dancers. It’s not as if no one’s used these techniques between “Straight Up” and “Problem,” but few music videos have echoed “Straight Up” so proudly.

They’re both edited with what I think of as rhythm editing – this isn’t a term used very widely in editing – but I liken it to choreographies themselves. A rhythm choreography is something that’s based on the music. You cut to the hard beats. “Problem” is a superb example of this. From the moment Grande starts singing, nearly every cut is made to either two or four beats. As she crescendos and we approach the chorus “I got one less problem without you,” the editing reflects the increased intensity, suddenly cutting on every one or two beats. Later in the song, we’re cutting on half-beats, as well.

How exactly does this reflect rhythm choreography? In many styles – jazz, tap, and hip hop – a rhythm choreography broadly means that the choreo is based on the musicality of a piece. Its inverse is lyrical choreography, which means the choreo is based on the meaning or story of a piece. They’re not mutually exclusive, but choreographers often prioritize one over the other based on the dance they want to create. As Dance Spirit described the difference between hip hop and lyrical hip hop, “hip-hop dancers hit the beat (one, two, stop). Lyrical hip-hop dancers ride through the beat while still accenting it (one, two-ooo).”

These are broad definitions. Hip hop, jazz, tap they each have countless style permutations, but for the purposes of understanding how a music video is edited, I think rhythm and lyrical editing fit very well. Rhythm values editing to the hard beat, reflecting the pace and intensity of the music itself. Lyrical editing prioritizes the story; you edit to the timing the narrative demands.

“Problem” wants a softer tone, but it still wants to be a rhythm-edited dance video, so it can’t use the severe overexposures and underexposures Fincher uses on “Straight Up.” Such severe contrasts are a dated effect anyway, evoking a style of glamor photography that is today more closely associated with commercial style – it’s the way we shoot iPads, Big Macs, and tractors now. Glamor photography in 2014 is far more informed by fashion photography, tabloid coverage, and theatre. “Problem” does reference Fincher’s black-and-white effects in Grande’s two-tone main set and pinwheel backdrop, while evolving it in the psychedelic tunnel effect of Azalea’s solos. (The pinwheel is used as a lighting effect in Grande’s separate lyric video for “Problem.”)

Grande (who, unlike some singers, is reportedly very involved in the editing process) and director Nev Todorovic also double down on Fincher’s film scratches, most notably at the edges of frame, while updating other imperfections to the digital era – those scratches are joined by digital artifacting (when pieces of information are dropped from the image, often in the form of visual static). A few faux-signal losses, like you might see on an old-fashioned TV, mimic edits as a way of simultaneously prolonging a single shot while maintaining the quicker pace of editing – your brain registers a cut, but the shot hasn’t changed. The psychedelic effect for Azalea further echoes the digital concept of constant screen refreshes.

Similarly, the dance styles are updated. The tap and isolation jazz in “Straight Up” – styles that typically require professional training – are replaced with styles more closely associated with street performance, like breakdancing and flexing (also called bone breaking). Abdul’s motorcycle is updated to some fancy Vespas.

From a song standpoint, a couple of quick notes – I appreciate that the song “Problem” itself is about a woman cutting off a difficult relationship, rather than pining for one or trying to get the guy. Iggy Azalea’s line “I got 99 problems, but you won’t be one” is the conclusive rejection to Jay-Z’s infamous and oft-repeated “I got 99 problems, but a bitch ain’t one” that I’ve been waiting 10 years to hear. The saxophone loop has seen credit given to Macklemore’s use of sax in songs like “Thrift Shop.” That’s fitting, but the sax loop in “Problem” has far more in common with the baseline electric guitar riff from C&C Music Factory’s “Everybody Dance Now.”

As we understand the evolution of storytelling on film, it’s important to understand the evolution of music videos as well. It’s still the medium from which many of our future directors arise, and through which endless new editing, design, and cinematography techniques are forged.

As a viewer, “Problem” is even more enjoyable when I can recognize all the little details that come together to make it. Like “Straight Up,” it may be popular for a year before fading away, but the artistry behind it deserves better. Most will never give these music videos credit for being smart, nuanced, studied pieces of filmmaking. They’re bubble gum, and that makes it easy not to afford them their places in the history of the medium. It’s too bad. The technique behind “Problem” is masterful.