Even if you didn’t grow up with MTV, it’s hard to deny the impact that music videos have on our listening experience. You can’t picture Michael Jackson’s “Thriller” without his ghoulish makeup and red jacket, or Britney Spears’ “…Baby One More Time” without its schoolgirl uniforms. In an age where the relevance of music videos seems to be slowly fading with declining YouTube views and the near obsoleteness of the MTV Video Music Awards, it’s important to recognize the voices who have consistently contributed to the creative art form, allowing their music to live in more ways than one. Across all genres and styles, here are seven of our favorite music videos that encapsulate the blend of cinema and music in their own unique ways.
Outside of the very obvious world affairs, 2020 to me was watching a blue-haired Dylan Minnette stick his head through a drive-through window and Braeden Lemasters asking if straight fries could be curled. Wallows’ “OK” music video could double as a teen comedy, one where the band is road tripping to their friend Schaefer’s party but gets distracted by fast food along the way. Saturated primary colors, fish-eye lens shots and red LED lights transport you right back to the era of Alt TikTok as the band cuts between performing at Schaefer’s party and bopping around town in a big van. While there really isn’t a correlation between the music video’s plot and the song’s lyrics, the zany shot changes and the band’s goofy acting capture the funky energy of “OK.” If you’re invested in the story, you’ll be happy to know that the series continues in the “Nobody Gets Me (Like You)” and the animated “Wish Me Luck” music videos.
— Dani Biondi, Arts Editor
“What is Love?” by TWICE
Regardless of your affiliation with K-pop, the genre’s music videos are arguably more imaginative and visually inventive than any other sector of pop music. In K-pop girl group TWICE’s “What Is Love?,” the nine members yearn to be the main characters in their own love story. They flawlessly achieve this through a series of dreamy vignettes recreating romantic scenes from films like “La La Land” and “The Princess Diaries.” Additionally, the video bursts with vibrant color, seizing every opportunity to show off eclectic outfits and irresistibly catchy choreography. Regardless of your familiarity with the cinematic nods, “What Is Love?” radiates pure charm and whimsy. I still get emotional watching Jihyo passionately reenact the snowy scene from the Japanese film “Love Letter” in the song’s bridge.
— Amelia Knust, Music Editor
You can’t have too much of a good thing, or a good music video in the case of K-pop girl group ARTMS’ 14-minute video for “Icarus.” The cinematic video follows the five members through intertwined storylines, all tied to the Greek myth of Icarus. Unsettling illustrations depicting wingless birds, an eerie score and moody monochrome visuals all work together to build suspense until the “Icarus” track finally plays after 10 minutes. Every scene in this music video is stunning, but my personal favorite is when HaSeul gets stuck behind her television screen in what looks like a gray-scale, vaporwave horror movie. K-pop may be most famous for girl crush and cute concepts, but “Icarus” truly embodies the creativity that elevates the genre to the world stage.
— Chantal Mann, Performing Arts Editor
“Telephone” by Lady Gaga & Beyoncé
Directed by Swedish filmmaker Jonas Åkerlund, “Telephone,” starring Lady Gaga and Beyoncé, is a campy, nine-minute staple of modern pop culture. After picking up Gaga from prison in the original “Pussy Wagon” from Quentin Tarantino’s “Kill Bill,” the two poison an entire diner and then race away into the desert. Gaga explores themes of American excess and overconsumption through cigarette-plastered sunglasses and product placement. Between adjoining the pop powerhouses’ fans and Gaga kissing a female inmate, the video creates a space for queer joy and creativity. Finishing with a reference to Ridley Scott’s “Thelma and Louise” — another important piece of queer media — “Telephone” redefines the purpose of a music video to shape an impending cultural moment.
— Ellie Miller, Staff Writer
“bad guy” by Billie Eilish
Perfectly capturing Billie Eilish’s playfully dark lyrics, the “bad guy” music video features bold colors and idiosyncratic scenes that reaffirm the singer’s creative dualities. From Eilish speeding in a tiny car to her breaking through various walls, the video is brought to life by a stark primary color scheme. Near the end of the video, the imagery slowly creates a disturbing atmosphere with Eilish in a dark-red lit scene, dressed in all black and chains, sitting on top of a man doing push-ups. Encompassing curiosity, disgust and amusement, the “bad guy” music video creates the ultimate sensory experience for its viewers, and will be remembered as one of Eilish’s best.
— Lucy Farringer, Contributing Writer
“Rhythm Nation” by Janet Jackson
Janet Jackson’s “Rhythm Nation” is one of the most groundbreaking, foundational videos of the 21st century. She starts the video with the emblematic lines, “We are a nation with no geographic boundaries, bound together through our beliefs. We are like-minded individuals, sharing a common vision, pushing toward a world rid of color lines.” The rest of the iconic music video follows this message, with individuals dressed in gender-neutral clothing, intensely dancing to unforgettably sharp choreography. With the intention of making the video in black and white, Jackson’s video portrays harmony and the desperation for unity in times of political unrest. With the video’s astonishing hip-hop movement set to her socially conscious anthem, it’s no surprise “Rhythm Nation” has become a cultural touchstone for Jackson’s revolutionary career.
— Ellie DaSilva, Staff Writer
“Casual” by Chappell Roan
Chappell Roan’s “Casual” begins with a warning that four men have gone missing at a beach, followed by Roan falling in love with a man-eating siren and beginning a not-so-casual relationship with her. The video is a tribute to LGBTQ+ love and the ambiguities of falling for someone who may not reciprocate it. From beachside sunsets to underwater kisses, Roan’s queer “Aquamarine” fantasy is a visual treat to anyone who watches. Creating her own sapphic take on the trope of falling in love with a monster, the video’s vibrant creativity and storytelling are reminiscent of what catapulted Roan to fame, and continue to be a staple in her career.
— Jaya Pally, Contributing Writer