I may be lending too much credence to Adam Levine and co., but it seems they’ve put the lavish lard into heat and finally melted it down into honesty. In 1983, Michael Jackson launched the age of production value with “Thriller,” a trend that soured into the current, vapid landscape, and now, in 2018, Maroon 5 may have just moved to revolutionize the industry henceforth. al., Maroon 5 has taken their mediocre single and launched it into a new sphere of music video. The American appetite for celebrity is insatiable, and in this new music video, featuring cameos from Sarah Silverman, Aly Raisman, Gal Gadot, et. Cardi B),” is to pare down all the elaborate nonsense into a single, popular impulse: celebrity. What Maroon 5 has done, in their music video for the song “Girls Like You (feat.
This, compounded by opulence and inanity, makes for a lousy, lazily “postmodern” mess. It is usually attention-seeking oddity with no threshold to breakthrough. Harold Bloom, in The Western Canon, says “all canonical writing makes you feel strangeness at home.” The best art opens a space of uncomfortable oddity within the ordinary it is a “making strange.” Russian Formalist Roman Jakobson defined literature as “an organized violence on ordinary speech.”īut these elements of strangeness, in contemporary music videos, are (mostly) desultory. That is not to say strangeness has no place in art. In music videos, we receive something so weird and obviously cost-ineffective, that any real thought or artistry pales in our cheap, facile admiration of opulence and uncanniness. It is in music videos, as well as commercial film, one could argue, the age of the outlandish sequence. It is an obligatory barnacle stinking of too much money, resulting in little creative or interpretive result. The music video as an informative, creative medium is all but dead. Although “Rockstar” has 350 million views, it seems overwrought and extravagant. There are, of course, exceptions, but one needs only to look at Post Malone’s cockamamie music video for “Rockstar,” a jaunt that amounts to a badly recut and recast stylization of Quentin Tarantino’s Kill Bill, for the state-of-the-art. It is now an annoying indulgence, it seems, by musicians who wish to claim artistry. But the music video, a format that reached its zenith in the early-aughts, has fallen from favor. It is an easy trend to pick up on and track. The nebulous wrestling match among celebrities permeates our lives on the radio, television and in film.
In addition to Cardi and Prinsloo, the bevy of badass ladies featured include some majorly talented women.We live in a society of personalities. Throughout the course of the video, which is set on a minimalistic, revolving stage, Maroon 5's lead singer Adam Levine rotates, finding himself with another woman behind him every time he spins, eventually closing the spin with his wife, Behati Prinsloo and their daughter in his arms. Lending her magical lyrical touch to the song's remix, she raps: "I'm sure them other girls were nice enough But you need someone to spice it up So who you gonna call? Cardi, Cardi Come and rev it up like a Harley, Harley Why is the best fruit always forbidden? I'm coming to you now doin' 20 over the limit" As arguably one of the hardest-working women in the music industry, Cardi is a great addition to the female-centric video. The video, which was released on Thursday, May 31, get a major hip-hop infusion with the appearance of Cardi as her feature spices things up a bit. That said, it's definitely something you're going to watch over and over again just to make sure you've taken it all in. At first glance, it's nearly impossible to keep up with every powerful woman that graces the screen.
While it goes without saying that any collaboration with Cardi B is an epic event all on its own, her appearance in the Maroon 5 "Girls Like You" video is just one of many amazing cameos included in the new video.
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