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scarlett-hamiltonf1 · 3 years

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Can we get an imagine where the reader finds Seb really sexy in green?;)

~Green is the New Sexy~

3/24/21

*Smut Warning* *Please read at your own discretion*

Word Count: 1440

Sebastian always looked good. From RedBull to Ferrari and now Aston Martin. You along with what seems like every single female fan agreed with you. Now, let’s not forget, you yourself are a model. A mainstream, famous one at that, who happened to be at the Monaco Grand Prix a few years ago. You were nineteen and he 23 about to win his first WDC, also that day he would propose to you. From the moment your eyes met you knew, Sebastian was going to be a force in your life.

Little did you know how fast you would come to love the Ferrari driver. Being his wife has a lot of perks as well. When you’re not doing a shoot, you’ll be at races with him, trying to be supportive of his demanding career. It wasn’t easy on you or him, to be honest, but it was worth every single second.

When the news broke Sebastian wouldn’t be continuing with Ferrari, you were livid. Sebastian almost had to take away your electronics to stop you from giving Mattia an earful. Of course, you calmed down and were especially proud when Sebastian announced his contract with Aston Martin on Ferrari's 1,000th race day, overshadowing them by a long shot. Besides that small hiccup, all was well in your little world.

While Seb and you didn’t have kids yet, Charles still remained your unofficial love child with Sebastian and you had him and Charlotte over a lot. Then came Lance Stroll to add to your family and finally Mick sealing the deal. You’ll never admit it, but Mick’s your favorite. He’s just a little angel, and you really wanted to see him succeed in Formula 1. Which, brings us to the day before the Aston Martin livery reveal.

“Seb, they’re going to be here soon!” you called from downstairs.

You hear light footsteps and Seb appeared at the base of the steps in your home in Kensington. It was actually closed to Lewis, who was another close family friend.

“Why must we have the children over?” Seb groaned.

“Because you secretly enjoy having the younger drivers look up to you.”

Sebastian hugged you from behind while pressing a soft kiss to your cheek as the doorbell rang. Without hesitation, Sebastion sprang toward the door causing you to laugh at his actions. No matter how much he denies it, he enjoys having the younger drivers

“Y/N!” Mick called as he rushed to give you a big hug.

“Mick Schumacher, I am so proud of you!”

He blushed at your compliment before moving to let Charles and Lance hug me. The trio was invited over to watch a movie before Seb left tomorrow, to Aston Martin F1 headquarters for the launch.

While the drivers watched Ford vs Ferrari, you made your way upstairs and began looking through photo albums that you kept of your very favorite moments. The picture of Seb and you posing together, after your wedding ceremony was your favorite.

One that stood out was the large smile on his face when he won his first Championship. That smile had been gone for a long time since Ferrari. All you want is to see him smile like that again.

“Bye Y/N!” the trio yelled, shaking you out of your thoughts.

Sebastian cleaned up downstairs before crawling in bed with you. He could sense something was off with you, but to his better judgment, he decided to let you bring up the issue with him when you felt ready.

“Seb?”

“Yes, darling.”

You sighed, “We’ve been married ten years, and I can tell when you’re upset. Your love for racing, do you think it will come back now that you’re at a new team?”

Sebastian held onto your hand while looking you in the eye. “It already has come back, and you helped me tremendously,” he replied. “Even though you almost made we mess up my start at the Monaco Grand Prix in 2010.”

You gave Sebastian a dirty look. “Not my fault you couldn’t keep your eyes off of me when I was a grid girl.”

“If they ever brought the grid girls back, would you be mine?”

Sebastian looked at you with a mischievous twinkle in his eyes. You really would say yes, just for him, but you also weren’t ready to give him the satisfaction.

“Goodnight, Seb.”

“Sweet dreams, my love...I’ll be dreaming of my grid girl.”

The next morning you two found yourselves at Headquarters after a long drive. While Sebastian did the presentation, you waited in his room with a bedroom, bath suite, and sitting room. Of all the places to have a suite, the Aston Martin Headquarters was not the first place that came to mind.

Finally, you heard the key swipe and the door swung open, revealing a pleasant surprise. When you saw Seb, a small shiver ran through your spine. Green was definitely his color this year. Might have been red last year, but good by red and a warm welcome to green!

“So, handsome.” You smirked.

Sebastian smirked back at you before giving you a quick kiss. “So, you like the uniform?”

“It’s perfect. I really think green is your color, Seb,” you replied as you sat on his thigh.

Your eyes met as you became very away from the rough fabric rubbing against your own jeans. Sebastian’s hands flew to your waist as he scooted you up his thigh slightly.

“My God, you’re going to kill me woman with those looks.” he groaned as I moved my hips ever so slightly against him. “What do you want, Angel?”

“You.”

“How?”

“Rubbing my clit till I can’t take it anymore.”

Sebastian kissed you passionately on the lips while taking off your jeans and underwear, quickly attaching a finger against your bundle of nerves as you arched your back in response.

You let out a loud moan as Sebastian continued circling your clit with his thumb while two fingers slipped inside you, quickly finding that sweet spot.

“Se––Seb!” You cried out.

Sebastian smirked widely, as he picked up the pace. “You look so beautiful, taking my fingers Angel.”

“Fuck, Sebastian!”

“Yes, that’s the plan.” he quipped playfully.

Leave it to Sebastian to make a joke in the middle. Sending him a glare, he curled his fingers in you as waves of pleasure rolled through you quickly. You gripped his shoulders, as your legs began shaking, signaling to Sebastian you were close.

“Seb...Seb, I’m close.” you moaned softly.

“You like the green uniform?”

All you could do was moan in response as he slowed down his movements only slightly.

“Then I want you to come right on it,” he demanded with an authoritative tone causing another shiver to run down your spine.

Without warning Sebastian picked up speed again while ramming his fingers in you, twisting and curling them to your sweet spot every time. Your moans became louder and needier, as fireworks were going through you.

“Sebastian!” you screamed out as you finally came undone. You grinded down on the rough green fabric of his race suit, only causing more pleasure to roll through you.

Sebastian continued to rub your clit through your orgasm, and soon you felt liquid running down your legs. When you caught your breath, you saw Sebastian looking at you in amazement.

“You squirted, Angel,” he explained.

“Seb, you unlocked that a long time ago, yet you still get so surprised every time.” you chuckled as he picked up, and walked to the bathroom.

Seb chuckled. “Well, if I’d known me wearing green turned you on quickly, I should've shown you the uniform sooner!”

Your eyes flicked up to Sebastian, while you hung onto his like a baby koala bear. “You had this for a while?”

“Yeah, about a month.”

“Well...you should expect every time you put on the suit for this to happen.” You replied with a smirk.

Seb’s pupils were still blown as he kissed you again. “Anytime for you, Angel.”

With a final kiss, Sebastian started a warm bath for you to soak in. Despite being married for a decade, and knowing each other better than the other, you still managed to keep each other surprised. It was just the nature of your relation, and you wouldn’t change it for the world. You were glad the grid girls were gone but thankful they had them at one point because you might’ve not met your man in green. After all, green is the new sexy.

~Hope you enjoyed it!~

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krakowergroup · 6 years

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WATERTOWER MUSIC TO RELEASE TWO ALBUMS OF MUSIC FROM THE ROMANTIC COMEDY CRAZY RICH ASIANS

SOUNDTRACK ALBUM FEATURES NEW MUSIC BY MIGUEL, CHERYL K FEATURING AWKWAFINA, JASMINE CHEN, AND MORE SCORE ALBUM FEATURES THE MUSIC OF AWARD-WINNING COMPOSER BRIAN TYLER (AUGUST 8, 2018 – LOS ANGELES, CA) WaterTower Music is pleased to announce the August 10 release of two albums of music from director Jon M. Chu’s film “Crazy Rich Asians,” a contemporary romantic comedy based on the acclaimed worldwide bestseller by Kevin Kwan, that will be in theaters Wednesday, August 15. One album will be comprised of songs from the film, and the second album will feature composer Brian Tyler’s spirited score.

The 14 song Crazy Rich Asians: Original Motion Picture Soundtrack album features several new recordings made for the film, including Miguel’s song “Vote,” recorded for the end title sequence; and covers of the classics “Money (That’s What I Want)” by Cheryl K Feat. Awkwafina, “Yellow” by Katherine Ho (from The Voice 2016), “Can’t Help Falling In Love” by Kina Grannis, and more. Also highlighted on the soundtrack is the inclusion of several songs performed in Mandarin Chinese. “It all comes together in this eclectic tapestry,” explains director Jon M. Chu about the music. “From old to new and remixed, to rap and hip-hop and jazz—and then, on top of that, we have our amazing composer Brian Tyler, who brings in a giant orchestra like an old Hollywood movie.” The Crazy Rich Asians: Original Motion Picture Score features the music of award winning composer Brian Tyler, who composed a vibrant and varied score blending elements of old school big band jazz music with classic romantic string scores and traditional music from Asia. “Jon and I wanted to really make a splash with this score in a way that touched upon the classic film style of the great romantic comedies of old Hollywood with the charisma and beauty of Asian culture,” explained Tyler. “The idea of combining the spontaneity of jazz with the scope of classic orchestra was a dream. That kind of musicianship on hand combined with such a wide sonic palette enabled me to represent both the sophistication of the crazy rich characters in the film as well as the deep emotional resonance of the central love story,” continued the composer. “The jazz music provided a fun wild throwback tone and the strings brought the main themes to life in a way that articulates both the love and loss in relationships - familial and romantic. This movie makes you laugh and it makes you cry. I adore this film and Jon Chu’s brilliant direction and am so proud of what we made together. I was fortunate to be brought on board to bring this music to life.” The Crazy Rich Asians Soundtrack and Score albums are now available, and the track listings are as follows: Crazy Rich Asians: Original Motion Picture Soundtrack Track Listing: “Waiting For Your Return” – Jasmine Chen “Money (That’s What I Want)” – Cheryl K "Wo Yao Ni De Ai (I Want Your Love - I Want You To Be My Baby)" – Grace Chang “My New Swag” – VAVA feat. Ty and Nina Wang “Give Me A Kiss” – Jasmine Chen “Ren Sheng Jiu Shi Xi” – Yao Lee “Ni Dong Bu Dong (Do You Understand)” – Lilan Chen “Wo Yao Fei Shang Qing Tian” – Grace Chang “Material Girl (200 Du)” – Sally Yeh “Can’t Help Falling In Love” – Kina Grannis “Wo Yao Ni De Ai (I Want Your Love – I Want You To Be My Baby)” – Jasmine Chen “Yellow” – Katherine Ho “Vote” – Miguel “Money (That’s What I Want)” – Cheryl K feat. Awkwafina Crazy Rich Asians: Original Motion Picture Score Track Listing: Love Theme from Crazy Rich Asians Text Ting Swing Approaching The Palace Astrid Solitude  Astrid and the Earrings Arrival in Singapore Rainy Nights in London Rachel’s Story Shopping Spree First Class Hide the Jimmy Choos Cousin Eddie and Cousin Alistair Choices We’ll Get Through It Together Astrid and Rachel Without Reservation Family First Lost in the Jungle Lunch on the Goh Parallel Decisions Running Away Because of Me Jubilee Bop

About The Film Directed by Jon M. Chu, the romantic comedy “Crazy Rich Asians” follows New Yorker Rachel Chu as she accompanies her longtime boyfriend, Nick Young, to his best friend’s wedding in Singapore, where she learns that Nick is not only the scion of one of the country’s wealthiest families but one of its most sought-after bachelors. Being on Nick’s arm puts a target on Rachel’s back, with jealous socialites and Nick’s own disapproving mother taking aim. It soon becomes clear that the only thing crazier than love is family, in this funny and romantic story sure to ring true for audiences everywhere. “Crazy Rich Asians” stars Constance Wu, Henry Golding, Gemma Chan, Lisa Lu, and Awkwafina, with Ken Jeong and Michelle Yeoh; as well as Sonoya Mizuno, Chris Pang, Jimmy O. Yang, Ronny Chieng, Remy Hii, and Nico Santos. It is produced by Nina Jacobson, Brad Simpson, and John Penotti, with executive producers Tim Coddington, Kevin Kwan, Robert Friedland, and Sidney Kimmel. The screenplay is by Peter Chiarelli and Adele Lim, based on the novel Crazy Rich Asians by Kevin Kwan. Music is by Brian Tyler. A Warner Bros. Pictures presentation, in association with SK Global and Starlight Culture, a Color Force/Ivanhoe Pictures/Electric Somewhere Production, a Jon M. Chu Film, Crazy Rich Asians will be distributed worldwide by Warner Bros. Pictures, a Warner Entertainment Company. It is rated PG-13. About Brian Tyler BRIAN TYLER is a composer and conductor of over 70 films and was named Film Composer of the Year at the 2014 Cue Awards. Tyler composed blockbuster hits “Avengers: Age of Ultron,” “Furious 7,” “Iron Man 3,” and “Thor: The Dark World.” He conducted the London Philharmonic, the Philharmonia of London, and the Hollywood Studio Symphony for those films. He also scored “Eagle Eye” for producer Steven Spielberg, and the recent “Fate of the Furious” which had the biggest global box office opening of all time. He was nominated for a 2014 BAFTA Award and was inducted into the music branch of the Academy of Motion Picture Arts and Sciences in 2010. His films have grossed $12 billion worldwide. Tyler began scoring features shortly after he received his master's degree from Harvard University, as well as a bachelor's degree from UCLA. He is a multi-instrumentalist and plays piano, guitar, drums, bass, cello, world percussion, synth programming, guitarviol, charango, and bouzouki, amongst others as being a synth programmer. He showcased many of those instruments for the retro heist film “Now You See Me” and its sequel about a team of illusionists. Tyler arranged and conducted the new film logo music for Universal Pictures and composed a theme for the 100 year anniversary of the studio, as well as composing the music for the Marvel Studios logo. He also scored “The Expendables” films, and “Rambo,” directed by Sylvester Stallone; the crime drama “Law Abiding Citizen,” the 2017 hit “Power Rangers” and the science fiction film “Battle Los Angeles.” Tyler’s score for Bill Paxton’s “Frailty” won him a World Soundtrack Award in 2002, as well as The World Soundtrack Award as Best New Film Composer of the Year. He has received three Emmy Award nominations, 26 BMI Music Awards, five ASCAP Music Awards, and recently won 12 Goldspirit Awards, including Composer of the Year. After composing the score for “The Hunted” for Academy Award-winning director William Friedkin, Tyler composed the score for the turn-of-the-century drama “The Greatest Game Ever Played,” starring Shia LaBeouf. His soundtrack for “Children of Dune” reached #4 on the Amazon.com album charts while “Avengers: Age of Ultron,” “Furious 7,” “Thor: The Dark World,” “Iron Man 3,” and “Fast Five” all hit #1 on the iTunes soundtrack charts. In 2014, Tyler scored the Michael Bay-produced “Teenage Mutant Ninja Turtles” and also wrote the theme song “Shell Shocked” which he wrote and produced under his electronic music alter ego Madsonik. The song featured Wiz Khalifa and Kill the Noise and is a certified gold record by RIAA. He collaborated with Tom Morello on the hit song “Divebomb” for “xXx: The Return of Xander Cage.” Tyler also created the new theme music for ESPN’s NFL shows in 2014 as well composing the theme for the U.S. Open Championships now airing annually on FOX. Tyler wrote the score for the feature film “Truth,” which opened in theaters in October 2015 and stars Cate Blanchett as Mary Mapes and Robert Redford as Dan Rather. For television, his credits include the series “Scorpion,” “Hawaii Five-0,” and “Sleepy Hollow,” for which he received an Emmy nomination for Outstanding Original Main Title Theme Music in 2014. He also received Emmy nominations for “Last Call” and “Transformers: Prime.” He most recently wrote the music for the new epic scripted dramatic series “Yellowstone” starring Kevin Costner and written and directed by Taylor Sheridan which premiered on Paramount Network on June 20, 2018. In May 2016, Tyler made his debut headlining concert conducting his film music with the Philharmonia Orchestra at Royal Festival Hall in London. Tyler recently scored “The Mummy” starring Tom Cruise which opened in June 2017. He also wrote the new Formula 1 theme for global broadcast which debuted this season in late March.

For more information contact The Krakower Group: @KrakowerGroup on Twitter & Instagram

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gossipgirl2019-blog · 6 years

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12 Choreographers on Their Most Iconic Music Video Moves for Lady Gaga, Beyoncé, Robyn and More

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12 Choreographers on Their Most Iconic Music Video Moves for Lady Gaga, Beyoncé, Robyn and More

From ‘Bad Romance’ to ‘Bye Bye Bye,’ ‘Call Your Girlfriend’ to ‘Chandelier,’ these are the stories behind the legendary routines.

This week, Billboard is celebrating the music video with a week’s worth of content that looks at the past, present and future of the video, at a time when it seems to be as relevant as ever. Here, we asked a dozen choreographers to share the inspirations, challenges, and creative processes behind some of the most famous music-video dance routines in the 21st century.

There is no one formula for a great music video. Everything from no-frills performances and emotional close-ups to CGI fantasy worlds and plot-driven mini-movies can move audiences, go viral, and change the course of an artist’s career. But looking at Billboard’s ranking of the 100 Greatest Music Videos of the 21st Century, it’s especially clear that having a sick dance routine does not hurt — six of the top ten videos on that list prominently feature or are entirely based around eye-catching, elaborate choreography.

Below, Billboard asked choreographers on classic videos for Sia, P!nk, OK Go, Justin Bieber, Ciara, and more about how they put those moves together — from the initial conversations with artists to working with directors to capture the magic on camera — and why dance-heavy videos resonate so widely with fans and viewers.

LADY GAGA, “BAD ROMANCE” (2009)

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Laurieann Gibson: I was with Gaga for quite some time to prior to “Bad Romance” as her choreographer and creative director. Her movement catalog was already designed — I actually had a diary of movements that we created through our collaboration. Finding how an artist moves is like finding their sound. I think that’s why all of our videos were so well done: Her style of performing and her particular language of dance was her own. Her rhythm patterns are so offbeat and aggressive. The little movements, the timing — that was really developed prior to “Bad Romance,” so when I heard it, I just elaborated on the style of movement that I had created for her from the beginning.

There is a base of choreography, and then I start to decorate it. I was obsessed with the twist and Chubby Checker, and I was obsessed with the tension that I heard in her voice and the machine aspect of the song, so I took that inspiration. When she takes those tiny steps at the beginning of the chorus and covers her mouth, she’s doing a bourrée — that was her ballerina moment. And Naomi Campbell inspired the “walk, walk, fashion baby” section. The first time I saw Naomi walk down the catwalk in a Tommy Hilfiger show, I was like, “Oh my God, this is dance!” She walked for the gods, honey! It was like a refined horse’s gallop, it was insane. So she inspired the breakdown section.

We had the choreography before we did the video. I had put it on Gaga when we first performed “Bad Romance” on Gossip Girl in 2009. It doesn’t usually happen that way, and I think people don’t know that it informed that video — she let the choreography and the drama of it all lead. To be able to really inspire a lot of the emotion of the “Bad Romance” video was amazing. My creative process was so fulfilled. Then to get someone like director Francis Lawrence — who understood how to light it and shoot it and make it stunning, who got the Chubby Checker twist and the model walk — it was so magical. The choreography drove it, and you don’t always get that opportunity as a choreographer. I count that as a blessing. And I think it’s awesome that her fans and the Little Monsters love the dance and know it’s a part of the experience. I’m touched forever that those kids got that and responded to it.

BEYONCÉ, “7/11” (2014)

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Chris Grant: I had been with Beyoncé as one of her lead choreographers since 2008. She noted that she didn’t really want [“7/11”] to be typical choreography — she wanted it to be fun and organic, just different movements that would repeat and make people want to do the steps.

At first Beyoncé just wanted me to vibe out. She wanted to see what would naturally come out. [When I’m coming up with choreography] I put on the song and just move to the beat like anyone else would at home. Then I adapt my movement to correspond to the lyrics or the emotion I feel she wants to convey with the song. It’s a marriage of movement and expression. The best thing for me to do when I create is not to overthink the vision she gives me. If the choreography feels inauthentic to the song, if it doesn’t give me chills or make me excited, then it’s not right.

I sent her a video of my concept based on her vision, and then I workshopped it and brought in some talented ladies for a few hours to see what the choreography looked like. We truly all had a blast shooting “7/11.” We shot it in one day, and to be honest, it’s my favorite video shoot till this day. I feel like people nowadays just want to be able to relate to one another. “7/11” shows a more down-to-earth side of Beyoncé. She’s just having fun with her girls and showing more of a goofy “not so perfect or polished” Beyoncé. It felt like an actual hotel party with your closest friends. Oh, and the guy wearing the white shirt and black pants that everybody thinks is JAY-Z rolling, flipping, and running around is actually me.

OK GO, “HERE IT GOES AGAIN” (2006)

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Trish Sie: My brother, Damian Kulash, is [the lead singer of] OK Go. Damian and I have collaborated on countless video projects over the years. OK Go and I had already created a dance for their song “A Million Ways,” so we had an existing relationship and process for making stuff together. We knew we wanted to take the band’s dance game up a notch, but we weren’t really sure how. So I pitched them the idea of dancing on treadmills after seeing a bunch of people marching in sync on a bank of treadmills at the gym. It seemed like an untapped resource. The band was a little leery at first — all of us were concerned that there might not be enough you could do with the treadmills, or that the bulkiness of the machines themselves would overshadow the people and the movement. But since no one else had a better idea, we gave it a shot.

We entered the studio with all possibilities wide open. We didn’t even have a song picked out yet. We had eight treadmills but no set plan. The first thing we did was put OK Go’s album on a loop and started moving the treadmills around the room, setting them at different speeds and angles and leaping around on them like kids in a playground. There were a lot of injuries that first day. Treadmills are ruthless beasts. They’ll really chew you up if you’re not careful. And we weren’t careful. We tossed our bodies around like rag dolls. We leaped on and off, ran forward and backward, flipped over the handlebars, jacked up the incline so the treadmills were like a tiny mountain range. We were so young and resilient back then. Looking back on it? Ouch.

By the end of the day, it became clear that “Here It Goes Again” was the song that naturally worked best with the mood and tempo of the song and worked best with the most comfortable speed on the treadmills: 1.8 miles per hour. And our favorite treadmill line-up was the 4+4 configuration that maximized the way the moving belts interacted with each other, giving us the best “stage” to play on. For the next week of rehearsals, it was all about creating a vocabulary of movements that were inventive, impactful, and repeatable. And the final choreographic stage was taking all our favorite tricks and moves and organizing them into a piece that has a satisfying shape — ups and downs, changes in texture, and continual surprises that ramp up as the video goes.

Every member of the band had a different Achilles’ heel when it came to the choreography. And at the same time, every guy had his signature move that he nailed every time — one that really showcased his particular swagger. I’m sure you can pretty much tell which is which when you watch the video. It was very hard to get through the entire dance without someone making a deal-killing error. To preserve everyone’s sanity and energy, we would just stop the minute someone screwed up. We’d drink some water, reset, and start all over again. It may surprise people to learn that probably the hardest move is the “ice skating” maneuver. The guys make it look so effortless, but it’s anything but. That movement goes against every instinct in your body. The treadmills basically rip your legs sideways right out from under you. It took hours and hours of practice to nail that one.

When the video came out, the reaction was humbling and unbelievably gratifying at the same time. We were so lucky to ride the swell of YouTube just as it was gearing up. Who knows if anyone would ever have seen or cared about this video if we had made it five years earlier? Or five years later? And then watching talented people — ice skaters and teenagers in their school variety shows — using our dance as inspiration for their own work, that was a thrill. It’s lovely to realize that the “little guy” can still poke through once in a while. If it encourages other people to get in a room with their trusted buddies and make weird stuff that comes from the heart and doesn’t cost a lot of money, I’m all for that.

JUSTIN BIEBER, “SORRY” (2015)

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Parris Goebel: I was lying in bed, and my dad comes into the room and says, “It’s Scooter [Braun] on the phone” — Justin’s manager. He wanted to see if I could make 13 music videos for Justin’s new album, and the first one he wanted done was “Sorry.” Scooter gave me full creative reign and let me go for it.

I booked a white room, brought a whole lot of clothes that were ‘90s inspired. I always head into the studio and play the song and start moving to it and listening to the words of the song. The beat felt very tropical and great for summer, so it led me to create [that kind of] movement for the song. Everything takes place in the studio — it really is just a matter of pressing play and then starting to choreograph.

The time constraint was a challenge: We rehearsed on Saturday, shot the video on Sunday, and then edited it through the night and sent the video to Scooter on Monday. It’s also been amazing to see how well the video did without the actual artist in the video, which doesn’t really happen much and brought the dance to the forefront of the song. I think it resonated because of the simplicity of everything. The whole video is just girls dancing together and having fun. The video was shot in New Zealand, and all the girls are from ReQuest Dance Crew and my studio, the Palace Dance Studio. The outfits popped, and the video allowed everyone around the world to get up and dance.

ROBYN, “CALL YOUR GIRLFRIEND” (2011)

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Maria “Decida” Wahlberg: Robyn and I had been working together for about a year and a half, and I’d been helping her out with creating a more versatile body language for the Body Talk albums and tour. My ambition from the start with her was to coach her to develop her own way of dancing, rather than pick up a perfect choreography or mimic my style. We’d been watching everyone from Tina Turner to Freddie Mercury: People who weren’t “good dancers” in the typical sense, but rather “body talkers” with their own unique, liberated styles.

Director Max Vitali had an idea to spotlight that work for the “Call Your Girlfriend” video. By then I’d had lots of time to understand Robyn’s own motion spectrum, so for the video I wanted to create something that really looked like freestyle. When I started working with the choreography, I didn’t know it would become a one-take — I think Max wasn’t sure either, because he had booked two weeks of editing that never really came into use. It was just chop-chop because of Robyn’s amazing performance! She just did about seven takes before nailing it, and it was a wrap.

The biggest challenge was being up all night before the shoot while Martin Phillips and Eric Belanger programmed the perfect lighting for every part of the choreography. On set, Max and I were hiding in a very, very small tent — we didn’t want to be seen on camera since Robyn moves around in every angle of the hangar. The director of photography, Crille Forsberg, also did a brilliant deed: He was basically dancing with Robyn and the big camera while filming it, and his assistants were working just as hard to not to get the cables in the frame.

Seeing the reaction has been truly amazing. Remember, this was 2011, so the digital landscape was a bit different. Because algorithms and big data weren’t in our daily vocabulary, it felt like really authentic attention. Seeing somebody other than a trained dancer move like no one was watching seemed to strike a chord for many. A particularly fun moment was when were at SNL, where Robyn was performing, and Taran Killam suddenly said he filmed a little something that he wanted to show us.

CIARA, “PROMISE” (2006) / “RIDE” (2010)

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Jamaica Craft: “Promise” was the first time Ciara and I worked together with director Diane Martel. We wanted to do a video of vignettes, all these cool little moments. For inspiration, we were looking at Bob Fosse choreography and other visuals that were simplistic but iconic. We were in a new album phase, so we also wanted to show Ciara a little more grown with heels, tight jeans, and silhouettes. I wanted to take it to a modern-jazz-meets-hip-hop place.

I won’t take the credit for the microphone scenes — that was Tina Landon’s idea, and she’s a legendary choreographer. We knew Ciara was a superhero dancer, and because of our love of Michael and Janet Jackson, we thought, “How could we make it magical for her audience?” We put one of my friends in a green-screen suit, and he’s holding her. That was super crazy to choreograph because Ciara needed to make it look effortless, not like someone was holding her. But the sky’s the limit with Ciara. She’s like an athlete. She’s always like, “Give me two weeks, and I got it.” That’s the only limitation she’s ever given me. “If I can train for it, I’ll be good.” And she’s always good.

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With the “Ride” video, Ciara and I went to Diane and wanted to do video that was just dance. We rehearsed “Ride” for two and a half weeks, maybe three weeks, the longest we’ve ever rehearsed. We took inspiration from male exotic dancing — when you see her slide out and hit the ground, that’s something a male exotic dancer would do, like Magic Mike. We also wanted it to feel 3-D. Diane had to figure out a way to capture Ciara so that the choreography punched through the screen. It’s not edited because we’re hiding anything; it’s edited because we’re trying to show something. We wanted to show every little piece.

When BET refused to air an unedited version, it hurt our feelings. We thought we were giving you the next level! What did we do wrong? What should we have done? I was like, “Oh shit, did I talk her into a style of movement that got her here? Should we have done something different?” But she was like, “No! We did exactly what the record told us to do.”

DUA LIPA, “NEW RULES” (2017)

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Teresa Toogie Barcelo: Dua had the original idea. She wanted to shoot in Miami, she wanted flamingos to be a part of the video, and she wanted a video that displayed women supporting each other. Director Henry Scholfield had seen a video that I had choreographed and found out that I was from Miami, so it was a perfect fit. He and I met for the first time in L.A., where he brought some ideas about using a hotel room and creating a path for the camera that can be repeated, so by the end, the dancers’ roles are reversed and it’s Dua helping her friends.

When I choreograph, I obsessively listen to the song and pull out every detail — every percussive element, every lyric. I write down the lyrics just to get a sense of the rhythm and flow of the song. For this, I watched as much flamingo footage that exists on the Internet. I love pulling inspiration from non-human places. The jerky head movement and some of the body positions were very much a flamingo inspiration.

I do a lot of site-specific choreography, and I don’t do the moves until I am on the site. I was able to get to Miami to the hotel a couple days in advance. We had a full day of rehearsal with the steadicam guy. We rehearsed the camera blocking with the dancers, and then Dua came in. I am Dua’s stand-in — I make up what she’s going to do, I film it, I send it to her, she watches it, and then she comes into rehearsal. I do it once in-person to show her, and then she jumps in. She picks up blocking really quickly. She’s a bad-ass. I’ve been continuously choreographing for Dua since “New Rules,” and the dancer she’s becoming through the process of working with me is amazing. She works her ass off.

One of the reasons I don’t necessarily link movements together beforehand is that you never know what kind of dancers you’re going to get. When we were casting dancers, I was like, “I’m going to book the best dancers, Miami is where I grew up, I know the cream of the crop.” But through the label having a say in the casting process, I ended up not being able to cast the all the dancers I wanted. I cast a bunch of young girls that fit the look. Two of them were not even professional dancers, they were just models. I was thinking, “The video is going to be cool, but it’s not going to be the thing I imagined.”

But when the video came out, I loved it. In hindsight, I love that they weren’t the “best” dancers, because it would have been a completely different video, and it might not have resonated so much if those girls didn’t look like regular girls.

SIA, “CHANDELIER” (2014)

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Ryan Heffington: Sia and I had worked together before, but she had actually asked another choreographer to be a part of it first. That didn’t work out, so she contacted me, and we went through a series of concepts before landing on the idea of having Maddie Ziegler be the star. Sia hooked us up through a Skype conversation, so we got to know each other, and then Sia and I met at a coffee shop and went over specific details that she envisioned. She wanted physical glitching — repetitive movements as if you were caught in one motion. She also wanted to feed off of the space, and a lot of my work has been inspired by that. Beyond that, though, she really trusted me to create a scenario with Maddie about a younger girl in this room that was dilapidated and abandoned.

The music really drives my choreography a lot, but not the lyrical content or the story per se — it’s more about the emotional quality, the highs and lows of Sia’s voice. During the higher tones when she’s pushing, I want the choreography to be complementary to that. When I present stuff to Sia, I usually pretend like I’m the camera: Where should it go? What is coming next? I work with the cinematographer and making sure they know what a good vantage point is. Sometimes you create a piece of movement that looks great from the front, but then if you shoot it from a three-quarters angle, it doesn’t have the same impact.

It wasn’t an exhausting day filming — we didn’t overshoot it. A lot of the takes were absolutely one-takes, and Maddie could kill it from beginning to end. She’s such a perfectionist and is so damn talented that she was never the reason we needed to keep shooting. Sia wanted other options — different angles, close-ups — so we got those to make sure we captured it fully. It wasn’t a lot of takes, though, I’ll say that. It was the minimal amount to get what she wanted. At the end of the day, we were so happy with all of the elements: the set, the choreography, the performance. It was like, “Okay we did our jobs.” We had a great day.

KIESZA, “HIDEAWAY” (2014)

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Ljuba Castot: I was Kiesza’s backup dancer the year prior to her writing “Hideaway,” when she was on her artist grind in NYC. She asked me to choreograph the video based on a concept she and her producer Rami Samir Afuni had conceived: “Dancing from one corner of the street to the next corner.”

We started working on the video on Monday and shot it Sunday, so I literally had to put one foot in front of the other and go. Kiesza and I went location scouting, and a lot of the video development happened as we were walking up and down streets in Williamsburg, Brooklyn. The choreography was motivated by the song — I like to tap into the first instinctive response and develop from there. The first piece of it I created was the first “drop,” when the choreography goes into that house [breakdown] after Kiesza and the three girls do that canon peel-off. Kiesza requested ballet and locking moves, and that totally fit. I brought in Val “Ms. Vee” Ho, who dances in the video, specifically to help me with a locking phrase for her and Kiesza. Rami, our co-director, insisted on the running man being in there, which was a good call, so I did two variations of the running man.

The day prior [to the shoot], myself and the director of photography almost got robbed on location — we had to literally chase the guy down. Daylight was also a challenge. We only got to shoot six takes.

I think myself, Kiesza, and the dancers underestimated the video’s impact at first, but it was clear that it touched people from seeing all the videos people made of themselves imitating it. People of all ages, genders, and races found it inspiring and approachable. Every time Kiesza got booked for TV, the show would ask me to create a new version specifically for them. Letterman let us travel outside the studio and get Kiesza soaked by a fire hydrant. Ellen wanted her to travel all the way through her set. On Jimmy Kimmel Live, we had Kiesza exit a DeLorean car and make her way down Hollywood Boulevard. The EMAs made a path through the entire venue that I could use. The Much Music Awards drove a yellow cab onstage for us. And the list goes on — everyone wanted a “Hideaway” moment.

FEIST, “1234” (2007)

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Noémi Lafrance: The Feist video was the first music video that I ever did. In my artistic work, I do modern dance that often involves architecture or large groups of people, so I tend to be asked to do things like that. The director, Patrick Daughters, was in a phase where he liked to do one-take videos and use interesting equipment, like the spiderweb camera. I was also compelled to do a one-take videos because it brings in an element of reality and tangibility. You can hide a lot of things when you’re cutting between everything. There is one trick cut at the beginning — well, it’s not really a cut, but the people standing behind her in the beginning were erased in post.

Some of the ideas were mine, and some were Patrick’s. I wanted to do these flock-of-birds movements. I always wanted to reference crowd-surfing. We wanted to do that spiral formation. There were a lot of images, and we found a way to weave them all together. We had moments in the song where we were like, “This is the part when this moment happens, this is when that one happens.” I love when they criss-cross and separate into their colors — it all comes together visually and rhythmically in that section.

I started working with 12 dancers to get some of the moves down, and then I brought in the rest of the people. I always start with a smaller group knowing that it’s going to be echoed by many more people. Working with a lot more people takes time: 50 people need to go to the bathroom, 50 people need to ask questions. You always have to account for that. We practiced for a few days, and then we did 25 takes on the day of the shoot.

As an artist, you don’t come up with ideas like this overnight — sometimes these things have been in your process for a long time and mature, and then something comes out of it, but it depends on the right collaboration. Me and Patrick was a good collaboration, a good moment for us to show our strengths.

*NSYNC, “BYE BYE BYE” (2000)

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Darrin Dewitt Henson: Johnny Wright, who was the manager of *NSYNC at the time, asked me to come up with choreography because they were performing the song at the American Music Awards. I said, “Leave me alone in a rehearsal space for about six hours, and then come back after the sixth or seventh hour.” When I was left alone in the studio, that afforded me the opportunity to just be myself and organically develop the moves. I would play the music over and over and over until a piece of the choreography felt right, and then I would match it with another piece until the choreography was done.

The group came back, and we started working on the choreography for the awards. An intern and I later finished the full choreography in Los Angeles at Alley Cat studios, which is what everybody got to witness in the video.

The choreography simply was a combination of a few things: the puppeteers-style dancing, which came from them singing about feeling like puppets on a string on the original track; then the black power fist — at the time the group did not know where the move come from, they just enjoyed doing the move. This is the first time I’ve actually talked about it. And then there’s the talking hand, which was a quintessentially New York move. When a person was talking too much crap, you gave them the talking hand, the opening and closing of the first. The creation of “Bye Bye Bye” happened from me growing up in the Bronx. It’s the signature move, and it will exist forever — that’s why it’s my favorite.

P!NK, “TRY” (2012)

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Nick Florez and RJ Durell of the GoldenBoyz: P!nk had the idea of doing an emotionally raw, modern-based dance for the video. The director, Floria Sigismondi, thought it would be interesting to fuse that with a French dance style called Apache, which is a physically acrobatic and violent dance that was popular in the early 1900s and is said to mimic a pimp and his prostitute.

We approached the performance from an emotional storytelling standpoint first, beyond just choreography. We studied old Apache dance videos to better understand that style of dance, and how it can encapsulate subtle, beautiful movement that builds into something explosive and unexpected. We planned to use both the structure of the house and the furniture inside it, to [make] the internal struggle [physical]. We love how Floria then took the narrative outside of the house once the dance reached its boiling point — the house could no longer contain the energy.

P!nk was down to try anything and gave us the green light to push her physically and emotionally. We started to build the choreography on dancers in a studio and it took shape very quickly, within a few hours, especially when we explored how anger, frustration, love, vulnerability, and pain would look like as a dance expression. What seems like a graceful dance at first quickly escalates into a fight. We collaborated with Sebastian Stella, a stunt and fight choreographer, who helped us to fuse the dance elements with fight and acrobatic sequences. We met up with P!nk at a sound stage and had our dancers perform it for her. She cried. It was awesome.

Because the choreography and stunts were so physically demanding, P!nk took on a rigorous schedule of training for the video. It wasn’t something you could work on for a couple of days and then shoot, so we rehearsed over a span of two weeks. She is the only artist we have worked with that did that kind of preparation. On set, Floria threw in some colorful explosions of powder as the dance climaxed. It looked amazing, but P!nk and her partner, Colt Prattes, inhaled the powder as they were doing the choreography and could not see or breathe. The struggle was real!

On set, we loved watching P!nk dance and joked that this choreography could never be done while actually singing. Later, after the video was released, P!nk decided to perform the routine in its entirety while singing live on the American Music Awards.

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getyourgossip0-blog · 6 years

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12 Choreographers on Their Most Iconic Music Video Moves for Lady Gaga, Beyoncé, Robyn and More

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12 Choreographers on Their Most Iconic Music Video Moves for Lady Gaga, Beyoncé, Robyn and More

From ‘Bad Romance’ to ‘Bye Bye Bye,’ ‘Call Your Girlfriend’ to ‘Chandelier,’ these are the stories behind the legendary routines.

LADY GAGA, “BAD ROMANCE” (2009)

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BEYONCÉ, “7/11” (2014)

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OK GO, “HERE IT GOES AGAIN” (2006)

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JUSTIN BIEBER, “SORRY” (2015)

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ROBYN, “CALL YOUR GIRLFRIEND” (2011)

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CIARA, “PROMISE” (2006) / “RIDE” (2010)

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DUA LIPA, “NEW RULES” (2017)

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SIA, “CHANDELIER” (2014)

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KIESZA, “HIDEAWAY” (2014)

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FEIST, “1234” (2007)

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*NSYNC, “BYE BYE BYE” (2000)

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P!NK, “TRY” (2012)

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