The snare is played only once in the pattern. Nava: The really important thing about this is that they had been working on this routine while she was working on other stuff. I get it, just go for it! But in this example, the sounds are used in somewhat unconventional ways. I was going to dance next to Beyoncé Knowles, I was trying to make sure that I was going to figure it out. That character that she was playing, she gave it integrity. Knight: The J-setting just made sense. We all have a huge attention to detail, which was also super important.
Knight: I was there that night. It was something I grew up around -- I knew the fundamentals and the technique and the vibe and could keep it authentic. When I ended up seeing Obama doing the hand move, I definitely was excited that we had done something in the world of dance that had become timeless. I also think that the dynamic of us all being different shades was really cool to see and feel. It seems to have stood the test of time and ended up being something that is a part of culture forever.
Ebony Williams, dancer: I was so used to doing things that were using lines, balletic lines, because I was in a ballet company at the time. She can drop down and get funky with you, but then she can pull it up and make it very ladylike. 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. Having said that, I can't explain exactly what it is about this video, but it is definitely my all-time favorite. Fosse is super musical and is super shape-oriented, and so is J-setting.
Gatson: If you ever look at old musicals, it was always something they bragged about, about how they would do full takes of the routine. Through these events, you see a lot. It was also included on many critics' list of the best songs of the 2000s. We gotta be true to what it is. Gatson: I think every video director is trying to do feature films. That was something that we really wanted to bring forth. We are similar in height.
You don't want to keep the camera in just one place, you want the camera to evolve but keep them in frame, so you choreograph the camera moves in relation to the dance. We put the camera in the best place to appreciate a particular move or motion in a certain moment so it wouldn't be interrupted by edits or a complicated set or lighting. Directed by Jake Nava, the single's accompanying music video was shot in black-and-white. They would come up magically, and I think I had a hundred girls in that, close to a hundred; I forget the number. Jake understands music; he understands choreography; he understands style and aesthetics. It was an incredible night. That was our goal: to create something that was super dynamic but super minimal, something that would catch on like a wildfire.
Certain movements, anyone can do -- anyone can move their hand back and forth. We were all relatable to different audience members. I was also super-exhausted -- I had just finished rehearsal with my ballet company because I was doing dual-jobs at the same time. Justin is someone who has really great taste in artistry and has a good eye for trends, things that are coming and staying and coming and going. It was really early on. We made the glove before we saw the video, but being that the video features only women, it only further signifies these characteristics.
Single Ladies Album I Am. Knight: J-setting was the new thing. Lyrics licensed and provided by Please or to post comments. Here, we flashback ten years for an extended look at how arguably the most legendary video from the 21st century's greatest music video star came together, and why its legacy endures a decade later. But I think that all the stars aligned on that job, and her visual identity was just so powerful, it may have inspired her to recognize how beneficial it was to really go the distance to make great videos. It also says so much about who she is as a person.
. It was a lot to make the video have that thing, and it worked. That was something that was really special and unique to her as an artist. She was perfect for it. We created it in titanium, which is a lightweight metal as well as an extremely difficult metal to create jewelry with. Knight: Everyone started to upload their videos of them doing it. It has my grandma at the cookout; it has my nephews dancing at the family reunion; it has me in the marching band; it has a little bit of this out in the street.
There was no set; there was nothing more than three girls and choreography. Williams: One thing that was super powerful and why it went viral and why it hit me the way it did was how it is so relatable. It's shape-oriented in the fact that one person is copying the other person's shape and the next person's pocket of music, because musicality is so important. We completely drowned ourselves and wanted to create something that was purely focused on the attitude, the performance, and the choreography. But that's a lot easier if you've got Beyoncé and her talent and her music, and that is why I love to work with her more than anyone else.
Anyone with a psychology background feel free to offer your analysis as to how a video made by a performer whose music I think is only in the decent to good range can make a video in a style I can't stand and yet it is my favorite ever. And when I say everyone, it was celebrities down to people in the country, people overseas -- literally everyone was uploading it. At least I wrote something that people laughed at at the table. It served as the jumping-off point for some of her most formative creative partnerships. He took a lot of things from everyday people and made it his own. I was trying to book that job, okay? I just remember walking in and sitting down, and she was so nice and calm and wonderful. Every piece of the movement is perfect.