As Meghan Trainor enters the warehouse, her heels clack on the ground floor. Her metallic Isabel Marant metallic coat flows with her while she passes the dials and controls.
The fans are on low speed, which are next to a wire fence warning “High Voltage.” Women hear footsteps and dash out of hiding from their corners.
She stands in the center, wearing a black sequined Veronica Beard blazer, black jumpsuit and embellished bra (both pieces by Maya Krispin) and waits for the women to join her. In unison, they strike their arms to the camera and over their heads.
Against a red background, a single woman in silhouette follows along with the choreography, then three and two different people in their own shots.
The machines power on as she is seen from an aerial view. She rolls her head around. The video shows lines from being used so much. On a platform, the women, including Trainor, strut from both left and right until they form a line.
Against a light blue background, she wears a custom dress by Michael Costello. On faded green carpet, Trainor and the women, decked in fishnets, sit close together, putting their hands on each other and their bodies.
The warehouse lights have become muted. She and the dancers are lit by the spotlights hanging on the farther back wall. The woman in silhouette tugs on her long ponytail.
The women form in a circle around her. She brushes her hair back and poses while the dancers face her. She puts her arms out to them, matching their movements. She walks to each one of them, telling them to stand up for themselves.
The women in silhouettes hold small torches, lighting up their hallways, which are lit in a softer red. She cocks her head, with her hands on her hips.
While the video doesn’t break any new ground, it shatters many personally for Meghan Trainor. Her clothing is suited for her age. It’s a lot tighter and revealing than before. There is more emphasis on the type of clothing she’s wearing (dresses and custom coats). Overall, it’s a welcoming and necessary change for her.
The industrial background is a common setting and the only drawback. As a symbol for empowerment, it’s lacking. Its machinery is cold and archaic, leftover from a manufacurin era that doesn’t exist anymore. It’s suggesting violent confrontation for dissuading sexual advances, which is extreme.
It has a paranoid view of misogny, fearing that it’s everywhere and women are not safe. Men aren’t even around to balance it out. In context of the video, it’s as though it has given up hope on men ever being responsible and trusting human beings. Women must be on their guard at all times.
Directors: Fatima Robinson & Barnaby Roper Year: 2016
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