![]() ![]() “Hopefully this song will not make sense in a year,” Apatow, who executive-produced the video, said upon its June release, but sadly, it now makes all too much. Michael Moore knew better, and perhaps so did folk singer, Judd Apatow pal and apparent prophet Loudon Wainwright III (father of Rufus, Martha and Lucy), who released an eerily prescient one-off song over the summer that satirically played up Trump’s prospects. But then again, it felt safe to say that Donald Trump would never be elected president, and that turned out to be dead wrong. ![]() It feels safe to say that this is the only Funny or Die video you’ll find on this list. The video intertwines its tear-jerking conclusion with a montage of PUP and each one of their pets, a reminder of just how personal the love is between human being and beast, and how deeply felt are those losses. As things take a turn from raucous to somber, Wolfhard’s character eventually gives up his most prized possession-and therefore his spot in the band-out of love for his sickly four-legged friend. #Song that inspired ori lost in the storm skinStealing and scrimping to get by while out on the road, Wolfhard’s Babcock and his band pick up a pup of their own, a big, loyal lug who quickly gets under their skin and into their van. Wolfhard says that, over ramen in PUP’s hometown of Toronto, he suggested a sequel set to “Sleep in the Heat,” his favorite song from the Canuck quartet’s The Dream Is Over, and thus this heartbreaking blast of a video was born. The song is an emotional ode to fallen friends-specifically, lead singer Stefan Babcock’s dearly departed chameleon, Norman-and its visual is a narrative continuation of PUP’s “ Guilt Trip which starred a 12-year-old Wolfhard as a young Babcock. PUP’s “Sleep in the Heat” video was Stranger Things star Finn Wolfhard’s idea, or so the story goes. It’s a bleak look at humanity’s darker hours, yet, the contrasting visuals of Baptismal cleansing and familial strength serve as a reminder of the power of love. But as the narrative moves away from them on the road and seeking refuge in a motel room, Irvin begins to peer into the lives of locals stricken by poverty and crime and violence and protest against unjust police brutality. Shot on location in Baltimore by cinematographer Chayse Irvin, the video opens with Bridges and regular collaborator and vocalist Brittni Jessie humming in harmony. As a result, the accompanying music video draws on deep spiritual imagery, as well as popular R&B visual tropes. The closing track from Leon Bridges’ 2015 debut Coming Home is the closest this Texan new-soul singer gets to a hymn. Falling on both sides of those extremes, as well as somewhere in between, we’ve found the 20 best music videos of 2016. These days, especially, videos seem to embody either over-the-top extravagance or showcase creative minimalism with limited resources. Although a fixture of the 1980s, when music gained a visual component unrelated to live performances, the days of TRL have long since passed. The state of the music video is in flux these days. ![]()
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