{"id":1254006,"date":"2019-10-25T13:00:00","date_gmt":"2019-10-25T10:00:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1254006"},"modified":"2019-10-25T13:00:00","modified_gmt":"2019-10-25T10:00:00","slug":"20-pitchfork-staffers-on-their-favorite-music-videos-of-the-2010s","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1254006","title":{"rendered":"20 Pitchfork Staffers on Their Favorite Music Videos of the 2010s"},"content":{"rendered":"
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Lists & Guides<\/span><\/div>\n<\/div>\n<\/div>\n

20 Pitchfork Staffers on Their Favorite Music Videos of the 2010s<\/h1>\n
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Our personal picks for the best clips of the decade<\/div>\n
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By <\/span>Pitchfork<\/span><\/span><\/span><\/div>\n

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Illustration by Drew Litowitz and Arjun Ram Srivatsa. Images via Getty Images.<\/span><\/div>\n<\/div>\n<\/figure>\n<\/div>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n
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In the 2010s, music videos were more creative than ever\u2014visual albums, anyone?\u2014and keeping up with them was more than a full-time job. Pitchfork\u2019s staffers tried, anyway, and came away with some clear favorites. Here are our personal, unranked picks for the most stunning, most amusing, and most essential videos of the decade.<\/p>\n

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ANOHNI: \u201cCRISIS\u201d<\/h2>\n
September 2016<\/div>\n
Director: ANOHNI<\/div>\n

Sometimes, all you need is a face. In the stark one-shot video for ANOHNI\u2019s \u201cCRISIS,\u201d that face belongs to actress Storm Lever, whose performance embodies an entire universe of helpless sorrow. Against a pitch-black backdrop, she stares into the camera, mouthing ANOHNI\u2019s words, trying to withhold tears until she no longer can. The song is a plea for understanding and forgiveness directed at both the victims of U.S. drone-bomb attacks in the Middle East and complicit Americans whose tax dollars fund such mechanized carnage. But \u201cCRISIS\u201d doesn\u2019t point fingers as much as it uncovers a common empathy. In Lever\u2019s heavy breaths and watery eyes, you can see the cascading cost of atrocities that so often feel unreachable, worlds away. \u201cI\u2019m sorry,\u201d she pleads, knowing it\u2019s not enough. She is us; we are her. \u2013Ryan Dombal<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Grimes: \u201cOblivion\u201d<\/h2>\n
March 2012<\/div>\n
Director: Emily Kai Bock\/Grimes<\/div>\n

Grimes sets the video for \u201cOblivion,\u201d a song about the paranoia that lingers after an assault, at two extremely testosterone-heavy events: a football game and a motorbike rally. Its undercurrent of fear is established immediately: As she enters the stadium, someone flips up her hood from behind, suggesting the inescapable threats that loom beyond her vision. Yet she radiates quiet confidence as she drifts around with massive headphones and a boombox.<\/p>\n

While the video has many gleeful shots of Grimes moshing in the bleachers and mugging with frat dudes, one particular moment lingers. It\u2019s a brief image of her standing in a strobe-lit locker room, flanked by towel-clad and weightlifting men. As the song promises that she will \u201csee you on a dark night,\u201d Grimes looks over her shoulder, grins, and slowly nods. A new power balance is born. \u2013Quinn Moreland<\/p>\n

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Mashrou\u2019 Leila: \u201cRoman\u201d<\/h2>\n
July 2017<\/div>\n
Director: Jessy Mousallem<\/div>\n

The lyrics of \u201cRoman,\u201d by the Lebanese rock band Mashrou\u2019 Leila, balance vulnerability and confidence. \u201cWorms sculpt my body now\/The earth cradles my skin\/Why\u2019d you sell me to the Romans?\u201d they lament, before a defiant chorus that orders, \u201cCharge!\u201d The video is also a show of strength that celebrates Muslim women: Clad in bright hijabs, abayas, and niqabs, they dance while gazing into the camera, asserting their autonomy. Stunning aerial shots show dozens of women forming concentric circles and walking towards the ocean, underscoring the beauty and power in their unity. The video builds a utopia free from the male and white gaze, allowing its women to be fierce and feminine, communal and individual, joyous and angry. \u2013Vrinda Jagota<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Ski Mask the Slump God: \u201cCatch Me Outside\u201d<\/h2>\n
July 2017<\/div>\n
Director: Cole Bennett<\/div>\n

When a rapper arrives in New York, the unofficial rule is that they have to shoot a music video in Times Square. Most of them turn out the same: They take pics with fans or roll up with Minnie Mouse. But Ski Mask the Slump God\u2019s clip for \u201cCatch Me Outside\u201d uses the madness of Times Square as a foundation, not the focus, as he parades around the zoo of tourists in a surreal purple haze, gripping a Chucky doll. Director Cole Bennett\u2019s animations are crisp and underplayed, turning Ski Mask into an intoxicated anime character.<\/p>\n

Since Bennett\u2019s rise in 2016, criticisms have been leveled against him, and fairly\u2014his Lyrical Lemonade empire takes heavy influence from Chicago\u2019s drill directors. But Cole always takes the time to make videos that reflect his rappers\u2019 personalities, and on \u201cCatch Me Outside,\u201d the twisted mind of Ski Mask gets a warped city playground to match. \u2013Alphonse Pierre<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Billie Eilish: \u201cbad guy\u201d<\/h2>\n
March 2019<\/div>\n
Director: Dave Meyers<\/div>\n

Here\u2019s a video script we\u2019ve seen a million times: A rosy young woman is seduced and made submissive by a powerful older man. In \u201cbad guy,\u201d you can feel Billie Eilish smirking as she upends this trope. To this defiantly dead-eyed teen in androgynous clothes, men are merely household objects: an ottoman, a cereal bowl, a tray for her saliva-filled Invisalign. Eilish murmurs lines about subservience (\u201cbruises on both my knees for you\u201d) while dominating these adults physically, as if to mock anyone who\u2019d dare sexualize her. \u201cbad guy\u201d shows a 17-year-old girl less interested in falling prey to men than claiming the supremacy they\u2019ve long held. \u2013Cat Zhang<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Drake: \u201cHYFR\u201d [ft. Lil Wayne]<\/h2>\n
April 2012<\/div>\n
Director: Director X<\/div>\n

As a Jew who takes great pleasure in making fun of just about anything having to do with being Jewish, of course<\/em> this is my favorite video of the 2010s. I mean, it\u2019s Drake getting \u201cre-Bar Mitzvahed\u201d! He wears a tallis and a yarmulke! He reads the Torah! He dances the hora! There\u2019s a challah and gefilte fish spread! However, unlike the countless lame, boring Bar or Bat Mitzvahs I\u2019ve been to (including my own), this one also features Lil Wayne rapping in a panda mask and going apeshit with a skateboard. Birdman and Trey Songz are also there\u2014and so, too, is DJ Khaled, partying in the synagogue\u2019s aisles, surely one of the high-water marks for Palestinian\/Jewish relations this decade. L\u2019chaim! \u2013Amy Phillips<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Aimee Mann: \u201cLabrador\u201d<\/h2>\n
September 2012<\/div>\n
Director: Tom Scharpling<\/div>\n

The Best Show<\/em> host Tom Scharpling spent the 2010s directing videos that highlighted the absurdity in band biopics and musicals, that satirized sponsorship deals and dramatized the struggle in finding an original band name. This one\u2014his simplest display of music nerdery\u2014may be his masterpiece. There\u2019s Jon Hamm with a penciled-in mustache, mispronouncing the word \u201ccollaborative\u201d (\u201ccollamberative\u201d). There\u2019s rock drummer and Scharpling\u2019s comedic partner Jon Wurster in the scene-stealing role-within-a-role of a lifetime (as a hotshot actor on a music video set). And, of course, there\u2019s Aimee Mann\u2014one of rock\u2019s most consistently creative voices, hellbent on never repeating herself\u2014forced to recreate her biggest MTV hit from the \u201980s shot-for-shot. \u201cI want to make it completely clear,\u201d she deadpans in the intro, \u201cI had no choice in this video. I was legally bound to do it.\u201d The joke is in how terrible an idea this would be, but the result proves iconic, too. \u2013Sam Sodomsky<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Jay-Z: \u201cMoonlight\u201d<\/h2>\n
August 2017<\/div>\n
Director: Alan Yang<\/div>\n

\u201cMoonlight\u201d never stood out for me among the many legacy-defining songs on Jay-Z\u2019s 4:44<\/em>. It seemed muddled, aiming its criticism at too many targets: rap posturing, lack of black ownership in the entertainment industry, racially unbalanced scales of justice. The title, a nod to that all-black film\u2019s Oscar night debacle, didn\u2019t tie it together as much as Jay seemed to think.<\/p>\n

It wasn\u2019t until the Alan Yang-directed video that these ideas gelled. The brilliant, nearly seven-minute film casts Tiffany Haddish, Issa Rae, Tessa Thompson, Jerrod Carmichael, Lakeith Stanfield, and Lil Rel Howery as the leads of an all-black Friends<\/em> reboot. Through scenes recreated shot-for-shot from the original show and faux behind-the-scenes commentary from Hannibal Buress, \u201cMoonlight\u201d comes into focus. When Carmichael becomes aware that the whole endeavor is bullshit, and abandons the set to venture outside in what feels like a fever dream, the video becomes illustrative of the song\u2019s points about posturing, ownership, and what representation and success mean\u2014and on whose terms they become realized. \u2013Sheldon Pearce<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Fiona Apple: \u201cEvery Single Night\u201d<\/h2>\n
June 2012<\/div>\n
Director: Joseph Cahill<\/div>\n

Fiona Apple made just one request to her director, Joseph Cahill, for \u201cEvery Single Night\u201d: She wanted to be covered in snails. Her wish was granted, alongside many other striking images: Anonymous hands rearrange the octopus tentacles on her head. She is a marionette feeding fish to an alligator. She wears a grass skirt and soaks in a tub with a live turtle clutched in each hand. In this unforgettable clip, Apple performs the act of falling apart, singing deliriously about how she contends with the unwelcome thoughts that rattle around inside her head. Singing her famous refrain\u2014\u201cI just wanna feel everything\u201d\u2014she shows how exhausting that desire can be. When she finally crawls next to a bull-headed man to take her rest, we know it won\u2019t be for long. \u2013Colin Lodewick<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Girl Talk: \u201cGirl Walk \/\/ All Day\u201d<\/h2>\n
December 2011<\/div>\n
Director: Jacob Krupnick<\/div>\n

For an innocent moment in the early 2010s, it looked like social media and smartphones might transform the world for the better. In music, that meant enabling innovative DIY artists to find their audience. There\u2019s no better realization of that potential than \u201cGirl Walk\/\/ All Day,\u201d a 71-minute video set to mash-up maven Girl Talk\u2019s free album, All Day<\/em>. Shot guerilla-style across New York, the film follows actress Anne Marsen and two other improvisational dancers as they shimmy their way from dawn to dusk, from the Staten Island Ferry to Yankee Stadium, from Soulja Boy vs. Aphex Twin to Fugazi vs. Rihanna. Exuberant and endlessly replayable (and similar to Pharrell\u2019s later 24-hour video for \u201cHappy\u201d), it\u2019s a testament to how the next great music video can come from a few dedicated souls, willing the everyday into something sublime. \u2013Marc Hogan<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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FKA twigs: \u201cCellophane\u201d<\/h2>\n
April 2019<\/div>\n
Director: Andrew Thomas Huang<\/div>\n

After the removal of six fibroid tumors in late 2017, FKA twigs could have taken time away from music to regroup. But instead, she spent a year training her body back into peak shape, rigorously studying pole dancing in order to execute a vision she\u2019d dreamed up in recovery. The resulting video for \u201cCellophane\u201d is a master class in the beauty and physical demands of such dancing, joined with ornate, thought-provoking motifs from director Andrew Thomas Huang. After twigs twists through a stunning routine, she is beset by a CGI sphinx bearing her own face, takes a terrifying plummet to earth, and rises from the loam of a dark cave, born anew. You could pore over the portents and meanings in this imagery for weeks, but seeing \u201cCellophane\u201d for the first time is its own rare, arresting experience. \u2013Eric Torres<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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PUP: \u201cDVP\u201d<\/h2>\n
February 2016<\/div>\n
Director: Jeremy Schaulin-Rioux<\/div>\n

The lyric video is no longer a homely little placeholder; it\u2019s an art form unto itself, and \u201cDVP\u201d is the best in class. What a concept: The lyrics to a self-loathing punk song show up as dialogue in retro video games. It looks deceptively basic but I\u2019m guessing it was quite complicated to design. The minute attention paid to fonts, the clever pairing of scenes with lyrics, the fact that the opening guitar riff does kind of sound like an 8-bit intro to some forgotten action game for Super Nintendo: It\u2019s the most fun you can have watching words on a screen. \u2013Jeremy D. Larson<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Robyn: \u201cCall Your Girlfriend\u201d<\/h2>\n
June 2011<\/div>\n
Director: Max Vitali<\/div>\n

Robyn dances in a dim warehouse, clad in a fuzzy, cropped sweater and perfect platform sneakers. She skates and twirls and punches the air, then lands an immediately legendary backwards tumble. The crucial part is that she\u2019s alone.<\/p>\n

\u201cCall Your Girlfriend\u201d is a song of perilous unknowns: Robyn is coaching her new potential partner on how to empathetically end another relationship, but who knows if they will? The uncertainty gives \u201cCall Your Girlfriend\u201d that stomach-twisting feel of nascent love; it\u2019s all a fantasy, a disco ball sparkling over a web of ambiguity. But the \u201cCall Your Girlfriend\u201d video is another story: Here is Robyn emboldening herself, one inspired move at a time. \u201cI wouldn\u2019t say that making music is my therapy,\u201d she said last year, \u201cbut music does makes me feel like I want to be alive.\u201d This iconic video makes me feel the same way. \u2013Jenn Pelly<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Oneohtrix Point Never: \u201cProblem Areas\u201d<\/h2>\n
August 2013<\/div>\n
Director: Takeshi Murata<\/div>\n

In making his song \u201cProblem Areas,\u201d Oneohtrix Point Never said he \u201cwanted to characterize a linear world with cracks in its edifice.\u201d For its video, he tapped the artist Takeshi Murata to drive this point home. Murata used compositions from two of his own shows featuring 3D-rendered still lifes that dance between the possible and impossible.<\/p>\n

The video feels emblematic of the time in which it was created, a post-internet era when everyday objects were able to gain new meanings online. Its readymade sculptures of a cracked iPhone and tangled earbuds suggest banal frustration, and a hyper-realistic McDonald\u2019s cup and a cartoonishly foam-like trumpet are paired together in goofy contrast. A model ship inside an empty Gatorade bottle plays with the notion of craftsmanship during late-capitalism. There\u2019s humor beneath these objects\u2019 stillness and mundanity, and Oneohtrix Point Never\u2019s triumphant yet comical MIDI orchestra heightens the absurdity. \u2013Arjun Srivatsa<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Holly Herndon: \u201cHome\u201d<\/h2>\n
September 2014<\/div>\n
Director: Metahaven<\/div>\n

With \u201cHome,\u201d Holly Herndon captures the paranoia of post-Patriot Act America. Blocked by a camera, she cranes her neck around it, blankly making eye contact with the viewer. \u201cI feel like I\u2019m on my own\/And it feels like you see me,\u201d she sings over crackling digital effects, as the sky rains mysterious icons. Turns out, those are NSA symbols\u2014or as directors Metahaven, the radical Dutch design collective, described them: \u201cCode names, acronyms, icons and graphics from a shadow world designed to never be publicly exposed.\u201d No other video captures our shiny, grotesque, technocratic era so well. \u2013Drew Litowitz<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Danny Brown: \u201cGrown Up\u201d<\/h2>\n
June 2012<\/div>\n
Director: Greg Brunkalla<\/div>\n

Impeccably mouthing Danny Brown\u2019s origin story, and styled to be his mini-me, 9-year-old actor Dante Hoagland runs amok through a full day of pint-sized adventures. He starts by speeding off on training wheels en route to trashing an elementary school, flexing atop a coin-operated horsey ride, and popping killshots with a squirt gun. The irrepressible actor\u2019s presence is a perfect foil to Brown\u2019s song and self: \u201cGrown Up\u201d is an origin story, its salvos to Hot Pockets and Tommy Hilfiger delivered in Brown\u2019s excitable rubber flow, as it highlights the guileless joy that anchors his music. \u2013Stacey Anderson<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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M.I.A.: \u201cBad Girls\u201d<\/h2>\n
February 2012<\/div>\n
Director: Romain Gavras<\/div>\n

M.I.A.\u2019s clip for \u201cBad Girls\u201d transforms a plotless, pretty-girls-and-fast-cars video trope and a featureless stretch of Moroccan desert into a visual celebration of tafheet<\/em> (Middle Eastern-style drifting and street racing). But there is a subversive reversal: The women are the drivers here, and they carry rifles and wear flashy, animal-print hijabs. Intended as an irreverent protest of Saudi Arabia\u2019s longtime ban on women drivers, which finally ended in 2018, \u201cBad Girls\u201d stands as a testament to how M.I.A. saw herself then: filing her nails with a pocketknife, perched in the window of a car riding on its left-side wheels, a wild card in a world where no woman can fully escape judgement. \u2013Anna Gaca<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Blockhead: \u201cThe Music Scene\u201d<\/h2>\n
May 2010<\/div>\n
Director: Anthony F. Schepperd<\/div>\n

\u201cThe Music Scene\u201d is exactly the kind of trip that opens a teenager\u2019s mind to the soul-crushing consumerist culture we live in. The animated video doesn\u2019t have any lewd imagery, or even many words; there are only two lyrics in the entire song, repeating like a sacred mantra: \u201cThe music scene has got me down\/\u2019Cause I don\u2019t want to be a clown\u201d and \u201cWe call that a joint.\u201d But even still, the video drips with symbolism and stimulation: Animals ooze with rainbow goo as they run from an all-absorbing force, then become swept into a distorted, colorful ribbon as humans sit in front of the TV, watching them passively. It certainly inspired me to start asking questions that still stand: Is anyone else depressed about the music scene? What happens when we\u2019re eternally plugged in? Is capitalism evil? Is anyone going to roll a joint? \u2013Bailey Constas<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Paramore: \u201cRose-Colored Boy\u201d<\/h2>\n
February 2018<\/div>\n
Director: Warren Fu<\/div>\n

In Paramore\u2019s video for \u201cRose-Colored Boy,\u201d the pop-punk stars force grins as they host an \u201980s morning TV show, their robotic motions underscoring the malaise of lyrics like \u201cjust let me cry a little bit longer.\u201d Singer Hayley Williams is interrupted by a wall of TVs that display a version of her younger self: \u201cHayley, what are you doing? This isn\u2019t you!\u201d young Williams pleads from the screen. The voice multiplies into an overwhelming clamor, exuding disdain and uncertainty that feels startlingly intimate, as if we\u2019re hearing Williams\u2019 deepest doubts about herself. As Paramore turn the show\u2019s set into their stage, it feels like they\u2019re surrendering a decade\u2019s worth of pent-up woes, amplifying the song\u2019s cathartic message: It\u2019s OK not to smile if you don\u2019t want to. \u2013Abby Jones<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Radiohead: \u201cLotus Flower\u201d<\/h2>\n
February 2011<\/div>\n
Director: Garth Jennings<\/div>\n

Who is the \u201cking of limbs?\u201d Some Radiohead fans might quip it\u2019s Thom Yorke himself, spasming across the stage in a fit of\u2026 musical passion? Discomfort under the spotlight? The first Radiohead music video of the 2010s, \u201cLotus Flower,\u201d took those charmingly awkward moves to their logical conclusion. Working with the renowned choreographer Wayne McGregor, Yorke looks sometimes like he\u2019s improvising how his body writhes and contorts, reacting to rhythms only hinted at in the studio recording. The result humanized the famously terse frontman in a way we\u2019d never seen before, and gave us the first hints of the physical comedy we\u2019d see from him years later.<\/p>\n

That\u2019s not to say he enjoyed filming the clip. \u201cI was deeply uncomfortable,\u201d Yorke said later. \u201cIt was like paparazzi footage of me naked or something. It was fucked up. But if it\u2019s a risk, that\u2019s probably a good thing.\u201d Indeed, it was. \u2013Noah Yoo<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

Source URL: https:\/\/pitchfork.com\/features\/article\/2010s-best-music-videos\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Lists & Guides 20 Pitchfork Staffers on Their Favorite Music Videos of the 2010s Our personal picks for the best clips of the decade By Pitchfork October 25, 2019 Illustration by Drew Litowitz and Arjun Ram Srivatsa. Images via Getty Images. In the 2010s, music videos were more creative than ever\u2014visual albums, anyone?\u2014and keeping up […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[54],"class_list":["post-1254006","post","type-post","status-publish","format-standard","hentry","category-politics","tag-pitchfork-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1254006","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1254006"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1254006\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1254006"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1254006"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1254006"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}