#Hitsville: The Making of Motown

[filosofablogger]

♫ Heat Wave ♫

♫ Heat Wave ♫

My daughter, who is playing, along with her band, at a St. Andrew’s night event downtown this evening, texted me to say that the hotel where they are playing is so hot … and immediately this song, despite the fact that it is only 40° F (4° C) outside, popped into my head and, as so often happens, refused to vacate!  Ah well, it is the energy of the song that I love, so even if we aren’t…

[reasoningdaily]

Motown legend Martha Reeves sees her star unveiled on the Hollywood Walk of Fame - ABC7 Los Angeles

She's had us dancing in the streets for decades. Now, Motown legend Martha Reeves receives a long over-due honor... a star on the Hollywood Walk of Fame.

"I'm extremely happy today. I found joy a long time ago at Hitsville, U.S.A., and it's overwhelming now," said Reeves.

The honor celebrates her 60+ year career in music. Along the way, her group "Martha and the Vandellas" had many major hits, including "Dancing in the Streets," "Heatwave," and "Nowhere to Hide."

"It's a dream come true but it's a miracle happening. I'm not just talking about Smokey. It's a miracle! This is a miracle for me," said Reeves.

"Martha is one of our profound acts," said longtime friend Smokey Robinson. "She is one of the ones who helped to put Motown on the map all around the world."

Motown founder Berry Gordy agreed. "And when she did her thing, there was truly nowhere to run, nowhere to hide."

"She would encourage me to continue to write and to study and she motivated me in the singing and just being kind to people," said Stevie Wonder.

"I remember working with her on the road," said comedian Willie Tyler. "And people would always hum the songs and, like she said today, it makes people feel good when they hear that kind of music."

"The power of Martha is the fact that she's got longevity," said Freda Payne. "She's got a ton of hits."

Martha Reeves is now 82 and feelin' good!

[legendsofmotown]

The Cultural Significance: Motown Beyond Music

Intro-

The Motown sound, originating from Detroit, has resonated across North American musical landscapes. As we journey from the heart of Hitsville, U.S.A., Canada's embrace of this legendary genre emerges vividly.

Canada's Connection to Detroit's Motown Era

In the spirited 1960s in Detroit, the Motown Records legend began. Berry Gordy Jr. unveiled a musical sanctuary where iconic melodies took life. Across the border, Canada danced passionately to these Motown rhythms. Experience the legacy live at Legends of Motown’s upcoming events.

The Motown Revolution

Motown wasn't merely a musical movement; it was a powerful cultural tide that reshaped society's fabric. Originating from Detroit, this tidal wave quickly reached international shores, including Canada. While it gifted the world with legends like Stevie Wonder and Diana Ross, its significance lay deeper. For instance, did you know that Motown's timeless hit "What's Going On" by Marvin Gaye not only topped the charts but also became an anthem for social justice and change? It was more than a song; it was a call to action, an embodiment of Motown's commitment to addressing societal issues through music. This is just one example of how Motown's influence extended beyond catchy tunes and dance moves, leaving an indelible mark on history.

In the heart of its melodies, Motown carried potent messages, breaking racial barriers and promoting harmony. In North America, with its own mosaic of cultures and races, Motown resonated with this call for unity. One example of how Motown was able to make such a profound impact is through songs like "Dancing in the Street." This Motown classic, originally recorded by Martha and the Vandellas, transcended the dance floor. It became an anthem for civil rights and social change, with its lyrics inspiring people to come together and "put all our differences aside." As Motown songs echoed throughout North American streets and homes, they weren't just tunes; they were anthems of hope and shared humanity. For North Americans, Motown became more than music; it was a beacon in times of change, signaling unity in diversity.

Cherished Icons of Motown

Motown emerged during America's tumultuous civil rights era. Rooted in Detroit's 1960s landscape, it became a beacon of racial integration and harmony. While churning out hit records, Motown's real triumph lay in its ability to transcend racial barriers, offering a platform for Black talent in a segregated industry. In a time of societal upheaval, its melodies offered hope and unity, resonating deeply within communities. As Canada felt these reverberations, it underscored Motown's pivotal role in challenging racial divides and shaping cultural discourse.

Motown's Ripple Effect in Canada

Motown's influence wasn’t restricted to the USA. Canadian cities witnessed Motown stars performing live, and artists such as Joni Mitchell infused Motown elements, acknowledging its profound influence.

Behind Hitsville U.S.A.’s Magic

Hitsville U.S.A., Motown’s birthplace, was where creativity soared. Prolific songwriters sculpted the distinct Motown signature, capturing hearts worldwide, including Canada's.

Motown's Influence Beyond Music

Motown's fashion and dance trends became emblematic of an era. This influence seamlessly seeped into Canadian pop culture, where Motown style and dance became iconic. Dive deeper into its influence with our blog on Motown’s broader impact.

Preserving Motown's Legacy

Canada's love for Motown is undeniable. While global accolades pour in, North Americans continue to relish Motown moments. Legends of Motown strive to keep this vibrant connection alive. Learn more about our Motown-centric offerings.

Conclusion

To Canadians, Motown is a melodic testament, a narrative of inspiration that transcends borders. This sound, deeply rooted in Detroit, found resonance in Canada, and thanks to platforms like Legends of Motown, it continues to thrive.

[popmusicu]

From Nina Simone to Isabel Parra (?)

The truth is that I don't have a great affinity for pop music -or music in general- that was produced before the 90's, so the first classes didn't generate a great interest in me (sorry for the honesty), however, I do have an anecdote related to the "Hitsville - Soul, Motown, Black Culture & Music" class that I would like to share.

By the year 2012, when I was studying another career, I had a somewhat pretentious classmate who liked to play Jazz music while we were in the classroom. One day I heard this classmate playing a jazzman that caught my attention, even though I didn't like that kind of music, it was John Coltrane.

In those days there was no Spotify in Chile, and more than anything out of curiosity and to expand my musical ear I came home to listen to John Coltrane in a YouTube playlist, in those glorious days when YouTube had no advertising. It was interesting to listen to him for a while, but what was really important was when the playlist jumped to another artist, Nina Simone.

The song that appeared was "Ain't got no, I got no Life", and already with the first seconds of the song it captured my attention completely with that sad piano melody, however when Nina started singing it completely destroyed me because of the powerful lyrics and Nina's voice and interpretation capacity. I think it's one of the few songs that makes me want to cry every time I listen to it (in a sort of a good way), even if it's not a genre of music I enjoy very much. The version that I specifically like is not the most known version that you can find in the records, it is the live version that I will leave below.

https://www.youtube.com/watch?v=oOwtHCTIhgE

Maybe I'm getting off topic, but after all it's my anecdote, so I wanted to share that somehow this song gives me a very similar vibe to another song that makes me want to cry, which is "Lo único que tengo" by Victor Jara and Isabel Parra. I understand that the significance and the contexts in which both are extremely different, however there is "something", a feeling that reminds me a lot. And I hope this resonates with someone reading this.

Thank you for reading me

Gabriel Avila Lagos

[gerogerigaogaigar]

Nine Inch Nails - Pretty Hate Machine

Before The Downward Spiral catapulted Trent Reznor to stardom there was Pretty Hate Machine. NIN's debut brings synthpop sensibilities into the world of industrial music. Poppier and possibly more accessible than future records Pretty Hate Machine feels like Reznor's most honest work. Just some teenage angst yelled over chunky synths and drum loops. Even on his debut Reznor shows a real talent for arrangement.

Diana Ross and The Supremes - Anthology

Ok so compilations are kinda the bane of my existence for the purposes of this list. Obviously I love Diana Ross and The Supremes. From now on if you see a compilation from Motown records on here just assume my rebuttal is the Hitsville USA: The Motown Singles Collection 1959–1971 comp. That all you need, it's a perfect compilation.

Roberta Flack - First Take

Ooh what a fucking voice. So good, so beautiful. The whole album sounds like it was recorded in a smokey nightclub. It's so natural, so warm. And the dynamic range is great. Flack goes from low whisper to a pained shout with such ease and such grace that you would be forgiven for not realizing how much skill it must take. And the way she can just bang out a chord on the piano for emphasis and go back to mellow plinking. Aaaaaaa I'm inconsolable. 😭

Paul and Linda McCartney - Ram

Before becoming a banal idiot for dads to masturbate to, but after being a banal idiot for 60s teens to masturbate to Paul McCartney had an actual solo career. Most of that solo career also sucked, but his second solo outing is an unusual thing. It's a very good album. Just absolutely standing in it's own merits. Ram is free and jaunty, filled to the brim with tunes that delight. McCartney seems to have finally made the album he had always wanted to make.

The White Stripes - Elephant

Jack White is not John Lennon. I don't even know why he wants to be when The White Stripes are at their best when they are emulating 60s American garage rock, not britpop. Maybe it's because he doesn't want to acknowledge how essential Meg White was to that sound. This album is really great btw, I just can't hold back with Jack White. The dude bothers me. I promise I will do it again when one of his pithy solo outing inevitably makes this garbage list. Elephant is a fantastic minimalist approach to garage rock though. Highly recommended.

Otis Redding - Complete & Unbelievable The Otis Redding Dictionary of Soul

If Booker T. and the M.G.'s where the backbone of Stax Records then Otis Redding was pretty much the rest of the skeleton. Redding's soulful crooning dances deftly through the sounds of the greatest musicians to play in the M.G.'s lineup.

Bad Bunny - X100PRE

At first glance Bad Bunny's debut seems to be a fairly typical trap album with a strong Latin influence. But any further analysis reveals a wide variety of influences from the worlds of hip hop, latin and electronic music. The synthesis makes for an album that is both cohesive, but also varied enough to stay exciting start to finish. Probably one of the best examples of pop trap I've heard.

Alice Coltrane - Journey Into Satchidananda

Alright which one of you fuckers at Rolling Stone have been peeping my personal top albums list? Featuring Pharoah Sanders on sax and Rashied Ali on drums this album is perfectly designed to appeal to me specifically. Sax and harp float almost aimlessly through a world of thrumming bass and barely restrained drums. The peace within the tension is some of the most beautiful that the jazz world has ever seen. And when all instruments occasionally let loose it just puts that peaceful tension into perspective. A perfect album. 11/10. One of my top ten jaz albums for sure.

Yes - Close to the Edge

70s prog rock was a difficult beast to tackle. Whether you consider it a testament to artistry or pretention is a matter of perspective. Your mileage may vary, but Close to the Edge is so tightly composed and unusually engaging that I think complaints of pretention are going to find it difficult to find footing. This album is a pretty pure expression of musicians trying to hit the limit of their capabilities as artists. And hit it they did. Drummer Bill Bruford actually quit the band after this album citing stress from the recording sessions!

[jjonesin4]

I’m watching the documentary Hitsville: The Making of Motown and all I can think is that TikTok dances should really take a note from the Motown choreography.

[krispyweiss]

“Hitsville” Coming to Showtime Aug. 24

The Supremes. The Miracles. The Jackson 5. Marvin Gaye. Stevie Wonder. Gladys Knight and the Pips. All these artists and others - but mostly the label that made them famous or vice versa - will be the subject of a new documentary coming to Showtime later this summer.

“Hitsville: The Making of Motown” premieres Aug. 24 and features audio and video from the Detroit label’s vaults and Berry Gordy’s archives to tell the story of the recording company, the music it created, the country that spawned it and the impacts that still reverberate thanks to Gordy’s focus on excellence.

A two-minute trailer sets the scene of Motown’s early days:

“We’ve got to maintain our high standards,” Gordy, then a young record executive and now 89, can be heard saying on an archival recording, “because if the records are not created properly, we have a bad image out there.”

Augmented by contemporary interviews with Jamie Foxx, John Legend, Dr. Dre, Smoky Robinson and others, the Benjamin and Gabe Turner-directed documentary covers Motown’s golden era from its 1958 founding in Detroit though its move to Los Angeles in the early 1970s.

“They were actually playing real instruments back then,” Legend says as “I Heard it through the Grapevine” plays.

“No machines needed.”

7/25/19

[yoymialterego]

2020 / Cine desde la pandemia: Hitsville: The making of Motown

No creo exagerar cuando digo que los fundamentos de la trascendencia y significación en la música popular de nuestros días, fueron dictados desde ese improbable, remoto, legendario lugar conocido como Hitsville, en Detroit, Michigan USA, hacia el final de los años 50 del siglo pasado. Así de importante fue la fábrica de hits de Berry Gordy -la compañía de discos Motown- y así de importante es este documental dirigido por Benjamin Turner y Gabe Turner, contado desde las entrañas por su propio autor Berry Gordy, acompañado por uno de los iconos máximos en la historia de la música, y producto neto de la Motown, el gran Smokey Robinson. Ese par es nuestra guía por el universo de remembranzas y evocaciones que enjoyan la cinta de los Turner, porque no sólo hablan ellos -fuente inagotable de anécdotas-, sino que alternan con una cuantiosa lista de nombres estelares de la Motown durante sus años dorados.

Desde el hoy, nos hablan a propósito de aquellas épocas de lucidez y brillo astros totales como Stevie Wonder, los integrantes del fabuloso trío de compositores Holland-Holland-Dozier, las cantantes Mary Wilson, Martha Reeves o los hermanos Jackson (¡hay qué ver esa interpretación de The Jackson Five con un Michael Jackson casi bebé versionando con brío rozagante un temazo de Somkey Robinson... Impagable!). Las anécdotas no sólo tienen el atractivo de la inmediatez espacial y temporal -y de la autenticidad, desde luego- porque nos las cuentan directamente los involucrados, sino porque ilustran de una hermosa forma la historia conocida... y la no tan conocida (verbigracia, el agasajo que significa enterarse sobre las circunstancias y la manera en que fue creado un hit universal como "My Girl" contada por su autor, el mismísimo Smokey). Fotos y filmaciones sacadas de los archivos de la compañía nos convierten en testigos distinguidos de algunos de las más emblemáticos sucesos del pop, como las presentaciones de época de Diana Ross con las Supremes, la lúcida evolución del malogrado Marvin Gaye, la esencia grandiosa y a la vez humilde de Gladys Knight o de los integrantes de los Temptations, etc, etc, etc... (¡cada etcétera es algo soberbio!). La estructura del documental favorece la cronología de los hechos, pero también da cabida a la interacción ligera y juguetona que logran crear Gordy y Robinson. Así, entre bromas y memorias, nos damos cuenta de que la idea de la Motown era realmente hacer una fábrica de hits, tomando como modelo el sistema de fabricación de autos en la compañía Ford, donde trabajó Gordy.

Hitsville se creó como una cadena de producción donde se hacía un trabajo especializado en cada eslabón (composición, ejecución instrumental, grabación, producción, promoción, y así). Todo estaba planeado como una serie controlada de ensamblajes, donde los participantes se convirtieron en verdaderos especialistas... aunque hubo algunos a los que sus talentos les hizo brincarse trancas, y componían, cantaban, tocaban, producían y actuaban, como Smokey Robinson, precisamente. Y más allá de toda esa liviandad y gracia, que, imagino, los autores y productores del documental eligieron, la cinta tiene también su lado turbio. Evoca por ejemplo esa época oscura en la que los artistas de la Motown hicieron una gira por el sur segregacionista de los Estados Unidos, que es como para poner los pelos de punta. Apunto en todo caso que para mí esa idea de hacer una fábrica de hits musicales como si fuera una línea de ensamblaje de coches tiene algo de deshumanizante, de anti-artistico, de indigno incluso, aunque la cinta de los Turner lo ensalsa como un punto culminante de la historia. Y bueno la notoria ausencia de Diana Ross en entrevistas actuales algo significa. Ella, quien fuera una de las máximas estrellas de la Motown y de la historia de música en general, fue esposa de Berry Gordy. Los hechos hablan por sí mismos en todo sentido... Pero bueno, aparte de cualquier cosa que podamos derivar como poco favorable en "Hitsville: The making of Motown", es incuestionable que debemos considerarnos seres tremendamente afortunados desde el momento en que podemos testificar la creación y el desarrollo de un proyecto como el de la compañía de Gordy en voz de los auténticos protagonistas de la historia. El radio de su influencia incluye a los máximos exponentes de la tradición musical popular, desde antes de los Beatles y hasta nuestros días, porque el pop todo, con conocimiento de causa o sin él, lleva en su naturaleza la huella indeleble, definitiva, suprema, de la Motown.

[filosofablogger]

♫ Ain't No Mountain High Enough ♫ (Redux)

♫ Ain’t No Mountain High Enough ♫ (Redux)

Since today is Juneteenth,  I thought it only appropriate to play some Motown — in my book some of the best music produced in the U.S.!  Of course, since I feature Motown songs and artists pretty often in these posts, I’ve already played most of my favourites at one point or another … some of them twice.  This one I’ve played only once twice before, so it will be new to many of you.   And Happy…

[1day1movie]

Hitsville: The Making of Motown (2019) Benjamin Turner, Gabe Turner.

[audioaudacity]

Released 16 Aug, 2019 (Motown) facebook.com/MarvinGaye

[bluecollarfilm]

Hitsville: The Making of Motown (2019)

Documentary film that focuses on the period beginning with the birth of Motown in Detroit in 1958 until its relocation to Los Angeles in the early 1970s. The film tracks the unique system that Berry Gordy assembled that enabled Motown to become the most successful record label of all time. The creation and initial success of Motown was achieved during a period of significant racial tensions in America and amid the burgeoning civil rights movement.

Directed by:   Benjamin Turner, Gabe Turner

Release date:   August 24, 2019

[kubotty]

一人な休日

連休3日目は妻が仕事だったので、いつもの1人まったり家休日モード で夕方から映画館へ。

僕が見たのは、先日公開されたばかりの「メイキング・オブ・モータウン」

モータウン、ソウル好きなら必見のドキュメンタリー映画。

音楽ものの映画は特に好きで色々と見てるんですが、録音・演奏シーンがあるものはやっぱり映画館に限る。実際の録音現場に近い音質・音量で聴いて臨場感を味わってこその音楽映画じゃろう。

内容・感想(一部ネタバレも含む)

ベリー・ゴーディの偉大さ、彼が音楽業界にもたらしたもの、そしてモータウンレーベルの成功が偶発的ではなく、ヒットを連発し、レーベルカラーを統一できるのか、そこにゴーディという天才の揺るがないビジョン・努力・作戦・非常に緻密なブランディングがあってこそ生まれたものであるということが忖度なく、事実ベースに描かれていました。作品のヒットは博打ではなく、非常にロジカルであること。短期的な視点と長期的な視点の使い分け方..他。

劇中で何より印象的だったのは、ゴーディ本人が「私の仕事は、人の力を最大限引き出すことだ」と言ってたとこ。彼自身が最高のクリエイターでありながら自分は前に出ず、人の意見もちゃんと聞く。御大は人の力を最大限に引き出すだけでなく、そのポテンシャルを見出す審美眼も神掛かっていて、古くはスモーキーロビンソン、そしてスティーヴィ、マーヴィン・ゲイ、マイケル・ジャクソン、ダイアナ・ロスなど、名だたる人たちを発掘・育成するなんて常人のなせる技じゃない。かつその才能を正しく導くには確固たる哲学とちゃんと愛情をかけることの大切さを説き、その育てる哲学には今日のレーベルが忘れてしまってる大事なものが詰まってる気がしました。

一方彼はマネージメントだけでなくプロデューサー視点からも、介在する意味、なすべきことなども熱く語っており、プロデューサーのあるべき姿とは何ぞやと考えさせられました。プロデュース業務、レーベル、マネージメント・ブランドに携わる人は見て絶対に損しない映画。

いやー実に良い映画でした。映画を見終わり、自分の姿勢を改めて見直すキッカケに。

それにしても最近音楽映画が目白押し過ぎてあれも見たい、これも見たい状態です。取り急ぎノエルとマイルスはマストで抑えておきたいかな。

久しぶりに一人でゆっくり外出だったので、ワクワクを期待して街ブラしたけど、最近は洋服も全然興味ないし、あてもなく何かを見て回るのは疲れるだけで、愛犬の元に早く帰りたくなったのは秘密。コロナ禍で仕事もリモートになり、プライベートもほぼ全部家周りで完結できる(したい)ので、これから更に住環境を充実させてより快適な毎日を送りたいと心に誓い、帰りのバスに乗り込んだのであった。

[plus-low-overthrow]

Documentary Film: HITSVILLE: The Making of Motown dir. Benjamin & Gabe Turner, 2019.

TRAILER:

[stylesnews]

Like most good stories, Harry Styles’ video for “Treat People With Kindness” starts with Fleabag, specifically with a meeting at Phoebe Waller-Bridge’s hit London theatre run, which became the launchpad for the joyous black and white video, released on New Year’s Day.

Working with a team now synonymous with Styles' videos (choreographer Paul Roberts and stylist Harry Lambert, to name a few), it was directed by brothers Gabe and Ben Turner (part of the production company Fulwell 73), whose work has spanned One Direction videos ("Steal My Girl", “History”) and Styles' solo track “Golden” and who produced the documentaries I Am Bolt (2016) and Hitsville: The Making Of Motown (2019).

Here, Gabe and Ben tell us the story of when Harry met Phoebe and how “Treat People With Kindness” came together.

Gabe, you tweeted that the video was shot at the beginning of last year. How did it come together?

Gabe Turner: Harry and I went to watch Phoebe do her live Fleabag show in London. We met Phoebe and she was the kindest, most delightful person ever. The next day I was watching dance videos randomly and one of them was this Nicholas Brothers video from the 1920s. It was two brothers dancing. I said to Harry, “You and Phoebe, question mark.” And he messaged back saying, “Treat People With Kindness”. Then he called Phoebe and was like, “I've got this song. I want to do a video. What about me and you doing this dance routine?” And she was like, “Great." And then the two of them called Paul Roberts, the choreographer.

Ben Turner: This isn't always how our life is. This isn't the regular process. But once the touchpaper got lit, it just went off. Every now and then something comes along where all the dominoes fall perfectly.

GT: Harry and Phoebe worked with [choreographers] Paul Roberts and Jared Hageman. The four of them rehearsed all the time, remotely, wherever they were. Whatever projects they were doing, the choreographers would go with them and work on their steps. We would get sent video updates for them as they were rehearsing and learning. We were like, “This is amazing.” We had been to the Troxy for the Bugsy Malone Secret Cinema, so we were like, “That would be a great place to do this.”

You make it sound easy.

BT: That momentum that Gabe's describing, that's what made it easy. It was plenty of hard work, but once it started, it just came together.

What was the turnaround like for the video? BT: We just did it fast, in the space of a few months.

GT: There is a process for how music videos get made. Directors pitch for them, they come up with their creative, present it and there’s a process to go through. This one was already happening before any of that process. It was pure art from Harry and Phoebe, going, “We're going to connect and make this amazing thing and it will come out when it comes out.” As a creative to work in that way is totally joyous. You're just facilitating greatness.

What was it like to shoot?

BT: This is also easy, in a way, because the choreography means that [Harry's] going to be here at this point and there at that [point]. You knew exactly where they were going to be in the room. We went back and forward a bit on how to weave the story into the choreography so it wasn't just a dance routine. By the time we got onto set, that was quite well planned. The nice thing is being more prepared, you can try to feed in a bit of latitude to things. I know because we've worked with Harry for a long time that the camera doesn't just love him. The camera wants to marry him and run off with him and probably never come back. So we know to give a little bit of space for that to happen. Obviously to have Phoebe there with him as well is totally bonkers. And, again, the camera loves her. It was exciting for us to talk about how to execute things with someone who we admire so much.

GT: When you go to the Troxy there's a hidden stage at the top. Ben had an idea of coming down from the hidden stage to reveal Harry, then setting a scene up of [Phoebe] at the top. She was brilliantly collaborative in discussing what kind of role she was going to play.

What notes did you talk through with Phoebe about her character? BT: This song's called "Treat People With Kindness”, so it feels like there's a distance to cover in the narrative. You start on the Marsellus Wallace shot, out of Pulp Fiction. We wanted to get a sense that this was a kind of tough guy and there was the opposite of people being treated with kindness around the place. But the conversation went from [Phoebe] being a character that stood up to him to, actually, if you look at it, [she] wipes a tear off of his eye, which is so beautiful.

GT: Ben was just obsessed with casting the back of people's heads for the first shot.

What makes a good back of the head?

BT: I'm talking about how many folds of skin at the top, the optimum shape. Someone [said] that Bruce Willis had a fantastic shaped dome of a head and it really turned me on to the shape of a bald head, because it can be really beautiful.

GT: I find a lot of the music videos that we do, there'll always be a shot from a film that inspires something.

Aside from breaking the fourth wall at the end, the Pulp Fiction shot and the Nicholas Brothers, what other reference points or Easter eggs did you include?

BT: We love the Marx Brothers, Danny Kaye and those physical comedians. I love Ginger Rogers and Fred Astaire. We’re also obsessed by Bugsy Malone. Busby Berkeley... I don't think there was much Busby Berkeley in this. GT: At the end there's a tiny bit, but Busby Berkeley has actually been used as a reference in quite a few music videos. We love that stuff. But we didn't want to go too into that symmetry and the choreography, because it didn't feel as fresh. What have you learned from Harry, after working together for so long?

BT: He's on a really interesting journey and we are lucky to be a bit of that journey with him. It's really rewarding to dip into that and try to facilitate some of that as we go along. There's a lot that he's in touch with that I'm not. I'm quite a lot older than him. I'm not as cool as him.

[mr-styles]

How the joyous ‘Treat People With Kindness’ video came together

Directors Gabe and Ben Turner on how Fleabag became the launchpad for Harry Styles' ‘Treat People With Kindness’ music video

Like most good stories, Harry Styles’ video for “Treat People With Kindness” starts with Fleabag, specifically with a meeting at Phoebe Waller-Bridge’s hit London theatre run, which became the launchpad for the joyous black and white video, released on New Year’s Day.

Working with a team now synonymous with Styles' videos (choreographer Paul Roberts and stylist Harry Lambert, to name a few), it was directed by brothers Gabe and Ben Turner (part of the production company Fulwell 73), whose work has spanned One Direction videos ("Steal My Girl", “History”) and Styles' solo track “Golden” and who produced the documentaries I Am Bolt (2016) and Hitsville: The Making Of Motown (2019).

Here, Gabe and Ben tell us the story of when Harry met Phoebe and how “Treat People With Kindness” came together.

Read More