Camila Cabello and Shawn Mendes fooled everyone with “SeÃ±orita.” The steamy, cinematic video stars the duo as will-they-or-won’t-they lovers whose summer fling plays out over a windy motorcycle ride, a late-night hotel hook-up, and a sexy dancefloor rendezvous. It’s those latter scenes that have gotten fans especially hot and bothered, wondering how the longtime friends made their onscreen love look so real.
“I know it’s tough for Shawn and Camila, because they’re friends and a lot of the moments are super intimate. It was hard to stay focused and not laugh,” choreographer Sara Bivens told MTV News. “That was probably one of the hardest things: to really lock in the chemistry and not be so nervous.”
The video’s steamy dance sequences were dreamt up by Bivens and Calvit Hodge, two L.A.-based choreographers who have worked with Cabello since her solo breakthrough in 2017. In that time, they’ve gotten to watch Cabello grow as an artist and a performer â€” they contend she now has the sensibilities of a professional dancer â€” but working with a dance newbie like Mendes was another story.
“He was super nervous. He was sweating,” Hodge said. “But it was actually really, really, really easy to work with him because he was super eager. The one thing that he kept saying was, ‘I don’t want to look like I’m trying to be a dancer. I want it to feel natural.'”
To keep it organic, Hodge observed Mendes in the studio, taking notes on his mannerisms and body language and using that to create choreography that suited the singer’s energy. It’s an approach Hodge and Bivens use regularly in their work; they create an authentic story through movement, as opposed to mapping out strict dance steps.
“Like, there’s a part where he kind of flicks her hair, and that’s something that he naturally does,” Hodge explained. “So we just took his natural motions and put it to a beat and made a dance out of it.”
He added, “We use the same thing [with Camila]. We spend a lot of time with her, so we know her a lot more â€” what type of movements she likes to do, and we know that her best side is her left sideâ€¦ things like that. It’s almost like little cheat codes to make it work for her.”
Bivens and Hodge didn’t hear “SeÃ±orita” for the first time until they were actually in rehearsals with Cabello and Mendes, meaning they came up with the choreography on the spot. They only had two four-hour rehearsals with the duo before the video shoot, but that tight turnaround ensured that the dance didn’t feel forced or over-rehearsed. Director Dave Meyers â€” whom Hodge and Bivens had worked with on Cabello’s VMA-winning “Havana” video â€” gave the choreographers some reference points, citing Dirty Dancing as aesthetic inspiration. Mostly, though, they were influenced by the song’s sultry, summery sound, and by both Mendes and Cabello’s evolutions as artists and as people.
“I feel like they’re both in the same point in their lives,” Hodge explained. “And we just wanted to tell that story of a young woman starting to become an adult and a young man starting to find his maturity and his sex appeal. We wanted to play on both sides of that.”
Take, for instance, one of the most tantalizing scenes: when Mendes handily and passionately pins Cabello against the wall. Hodge said, “That’s the human in it. And that’s what this song is about â€” it’s about passion and emotion. It was like, what would be a normal thing we would do? ‘Oh my god, I need you so bad, I want to take you against the wall and let’s keep going and making out.’ That’s a normal reaction. So let’s capitalize on that.”
Fans of Mendes and Cabello know the two go way back â€” “SeÃ±orita” is their second collaboration on wax, following 2015’s moody “I Know What You Did Last Summer,” and the two have remained close friends since. That relationship, Bivens said, was both a blessing and a curse when it came time for them to execute the sensual “SeÃ±orita” moves.
Hodge elaborated, “Imagine if you’re not really a dancer, like Shawn. And you have to [dance] in a room of people that just taught you these moves, and act like you’re madly in love with each other. And then once you figure that out, you have to go on set where there’s, like, 50 to 200 people watching you do this, and you try to make it look like you guys are in the room by yourself. That was probably the most complicated [part] for them.”
To shake off the nerves, Bivens came up with an awesome idea where Cabello and Mendes would scream at the top of their lungs before each take (a montage of those moments can be seen in one of the “SeÃ±orita” behind-the-scenes videos released last week).
“I know everybody in the room was like, ‘What in the heck is going on?!’ But it helped them,” she said.
Even so, the chemistry between Cabello and Mendes was palpable and gave everyone on set goosebumps, Hodge admitted.
“From what I saw, the energy on set got awkward. Like, it’s awkward because it was so good,” he laughed. “It was like, ‘Oh my god, this looks real. This is too real.’ So that’s always a good sign, ’cause if we can feel it in the room, you can definitely feel it through the camera.”
Fans have absolutely been feeling it â€” since the video’s release on June 20, it’s racked up a whopping 138 million views (and counting), and the single has shot to No. 2 on the Billboard Hot 100. It’s a testament to Mendes and Cabello’s star power, but also to the opportunity to see both artists in a fresh light.
“The glow-up is real!” Hodge said, with Bivens adding, “I think everybody’s just so shocked that Shawn danced. He’s masculine, and [Hodge] was a perfect match for him, to teach him that choreo and get him to find the grit. And then the woman that Camila is becoming is just ever-evolving. I think the fans are noticing that. Above everything, it was the shock of, ‘Holy shit, the glow-up is happening right in front of us, and we’re getting to watch it.”
Janelle Monáe Leads The Revolution In Stirring ‘Turntables’ Video
YouTube “We are in the middle of a revolution right? What’s a revolution without a song and a song without a revolution.” That’s the question the Grammy-winning artist Janelle Monáe posed to Entertainment Weekly when describing her latest single, “Turntables.” The song was released on and flips between cleverly rapped lines about “liberation, elevation, education” and a harmonic…
“We are in the middle of a revolution right? What’s a revolution without a song and a song without a revolution.”
That’s the question the Grammy-winning artist Janelle Monáe posed to Entertainment Weekly when describing her latest single, “Turntables.” The song was released on and flips between cleverly rapped lines about “liberation, elevation, education” and a harmonic refrain with clear gospel influences. It’s Monáe’s take on a contemporary protest song, a call for a political sea change, in the vein of, say, Billie Holiday’s “Strange Fruit” or Public Enemy’s “Fight the Power.”
Courtesy of Atlantic RecordsAnd on Tuesday (September), Monáe released a moving music video — or, as she calls it, an emotion picture — that solidified that message. The visual opens and closes with the singer walking along the beach in a beige trench coat and military cap. At times, she can be seen singing into a retro microphone before an American flag; in others, she moves through staged breakfast scenes, with a family reading through newspaper headlines as they mouth her lyrics. The visual flashes through archival and contemporary footage depicting inspirational figures past and present: Where one scene shows the model and activist Jillian Mercado at a photo shoot, another depicts a conversation with lifelong activist Angela Davis.
What rings true without is a hopeful cry for change and for equality, and a recognition of those who have been leading that fight for decades. Monáe wrote “Turntables” for the new Amazon Studios documentary, All In: The Fight for Democracy, that shines a light on voter suppression, particularly through the lens of Stacey Abrams’s failed bid for the Georgia governorship. “Right now, I am focused on turning the election in our favor,” Monáe told Entertainment Weekly, “and I hope this song can inspire those who are on the ground doing the work.”
Joe Keery’s Reinvention, Mxmtoon’s Carly Rae Jepsen Collab, And More Songs We Love
Getty Images/April Blum The search for the ever-elusive “bop” is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new? Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn’t discriminate by…
Getty Images/April Blum
The search for the ever-elusive “bop” is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?
Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn’t discriminate by genre and can include anything — it’s a snapshot of what’s on our minds and what sounds good. We’ll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.
St. Vincent ft. Yoshiki: “New York”
St. Vincent, the intuitive musical goddess that she is, must have sensed our collective need for another quarantine ballad. Enter “New York [Feat. Yoshiki],” a classical arrangement of the standout single from 2017’s Masseduction. An added string section courtesy of Yoshiki, a Japanese multi-instrumentalist, beautifully complements the song’s original piano instrumentals. What more can I say? “New York isn’t New York / Without you, love” just hits different in the middle of a pandemic. —Sam Manzella
Djo: “Keep Your Head Up”
Last year, Joe Keery (of Stranger Things fame) released a glossy solo album under the moniker Djo. It was titled Twenty Twenty, and its sparkling arrangements ended up being quite far removed from the overall vibe of 2020 the year, but who could fault him for his optimism? Keery has also long been a contributing member of Chicago psych band Post Animal, but Djo is simply Joe — and latest “Keep Your Head Up” feels like several Joes ripping open a vortex in the funk-time continuum. This is a groove, peppered with buzzy synths and icy falsetto and an honest-to-god sax part. It’s akin to Todd Terje doing Tame Impala, a lightheaded cocktail rush that feels both clubby and bedroom ambitious. Positively galactic. —Patrick Hosken
Mxmtoon ft. Carly Rae Jepsen: “OK On Your Own”
When Mxmtoon’s Maia said she recorded “OK On Your Own” for the girls and the gays, she wasn’t kidding. The mellow bedroom-pop bop soundtracks a journey of self-reflection after a breakup, complete with the soft ukulele instrumentals that put the 19-year-old singer-songwriter on the map. Is it revelatory? No, but with pop icon Carly Rae Jepsen lending her sugary-sweet vocals to the second verse, it doesn’t have to be. Now I’m just waiting for “Party for Two.” —Sam Manzella
Video Age: “Aerostar”
Pleasure Line, the third album from emerging indie pop quartet Video Age, delivers perfectly escapist ’80s new wave vibes for when you need to get outta 2020 for just a moment. “Aerostar” is its punchy center, a hip-twisting, shoulder-shuffling groove that delivers quirky robot dance commands (“Slide to the left, now! Shimmy to the right!”) over hoppin’ funk synths and a kickin’ drum machine. It all harkens to a simpler time, one where dance floors were actually a real thing. Oh, the ’80s! —Terron Moore
Ruel: “As Long As You Care”
About a year ago, Australian middle-part heartthrob Ruel told MTV News that for him, “songwriting is exaggerating to an extent.” On his latest, the technicolor, soulful “As Long As You Care,” his exaggeration is so seamless, you’d be forgiven for believing the 17-year-old is actually a time traveler. The neo-soul groove he rides propels everything upward, even as the sound cheekily looks backward. “As Long As You Care” has one amazing hook, coupled with sonic candy that makes his upcoming third EP, Bright Lights, Red Eyes (out October 23) one to watch. —Patrick Hosken
Alycia Bella ft. Boogie: “Cue the Sun”
Something magical happens two-and-a-half minutes into “Cue the Sun,” the exploratory new collab between striking R&B voice Alycia Bella and rapper Boogie. After piping in the aural equivalent of stage smoke via jazzy piano and gorgeous vocalizations — “It feel like being lost in the right direction” — Bella’s song enters a more sparkly realm for Boogie’s recitations. By the end, you’re lighter, like your mind’s been cleared of all the cobwebs. Cue the sun. —Patrick Hosken
Carly Rae Jepsen
Michael Love Michael’s XO Is A Service To Their Queer Ancestors
Ross Days It can be tempting, as a writer, to compartmentalize, to define by a set of fixed words or parameters. Pinpoint the detail about your subject that most interests you — an unexpected gesture, a prime soundbite pulled from an interview — and flesh it out into a full story. But in the case…
It can be tempting, as a writer, to compartmentalize, to define by a set of fixed words or parameters. Pinpoint the detail about your subject that most interests you — an unexpected gesture, a prime soundbite pulled from an interview — and flesh it out into a full story. But in the case of the New York-based artist Michael Love Michael, who last month self-released their debut album XO, it’s simply not possible, in part because they do so much.
As the former culture editor at Paper magazine, the 32-year-old “Cancer-Leo cusp,” who grew up between Chicago and Gary, Indiana, crafted celebrated profiles of such disparate musicians as Paramore’s Hayley Williams and cyborg sensation Poppy, while also serving up weekly playlists packed with the best bops from Megan Thee Stallion, Yves Tumor, and beyond. One day, it seemed they were stomping a runway in New York in a leather tank top and a cherry pout for the queer designer Willie Norris; the next, they were escaping to a farm to study permaculture at an undisclosed location “out West.”
XO, by design, rejects easy categorization. The collection, which was produced in under a year in collaboration with Michael’s longtime creative partner Rich Dasilva, fluctuates dramatically between glittering power-pop — as on the synth-heavy “6 Jaguars,” which dissolves at the bridge into a biting rap (“They call me bitch if they don’t like me… Does that tell you who I’m voting for, honey?”) — and lush, emotional ballads. Michael’s voice boasts a similarly wide range, whether as a groaning whisper in a spoken-sung segment closing “The Hatred,” or as a looping, crystalline falsetto as they perform as their own backup singer on “Blueberry.”
Their first comprehensive artistic statement, Michael tells MTV News, was intended to dispel any notion of essentialization, particularly as a Black, nonbinary artist making their mark in the industry (in June, they left Paper, citing its treatment of its Black staffers). “I think Black, queer people can sometimes just be lumped together in sort of this really offensive, monolithic way, and it’s just a way of me saying that I have multitudes,” they say. “I am a very tender, spiritual, sensitive person. And I’m also fierce.”
Ross DaysMTV News: Did you record XO while you were on the farm, or was that all done before?
Michael: I basically worked on it from April until late July, so there was part of it that was finished here, but most of it was done during quarantine in New York, four or five tracks. I started recording my vocals on my iPhone and my computer, and I’m really happy with how it all turned out, because, at least in my opinion, none of it sounds like it was done at home. It has a uniformity, and it sounds kind of expansive in a lot of ways.
MTV News: I really connected with the song “Blueberry,” and there was this sound on it that reminded me almost of a dulcimer, though I couldn’t quite make it out. Given that much of it was produced at home, was there a lot of live instrumentation on this?
Michael: So there’s acoustic guitar, there’s whistling, there are actual finger snaps, and then the rest is electronic. So then there’s kind of the 808 bass drone and there’s that sound, which is like a fake electronic guitar. But I’m glad you like “Blueberry.” “Blueberry” is very, very sweet and comes from a sad place.
MTV News: Would you tell me about it?
Michael: OK, so “Blueberry” is about an unrequited love. When I was a teenager, I had this really intense crush on this guy who was closeted and involved with this girl as a way to kind of conceal, as we all do when we’re going through that journey. But we always had a connection, and it was very kind of the teenage lust kind of factor. And then, after high school, he went to the Iraq War and died.
There are lines about going off to war but also being brave and being who you are. There’s this line about purple hearts beating wild with red, red blood — the idea of a Purple Heart for bravery, while also referencing the bravery it requires to be out as yourself. There’s also the idea that both of us are sacrificing something, my jealousy and my self-reflection, and the blueberry gates became a place I would go in my mind when I would think of him. I wanted to find a way to talk about having a closeted relationship full of young lust and love, and to speak about what’s involved when two people sacrifice parts of themselves to make things work that can’t work, ultimately.
MTV News: What are some other songs on the album that feel special for you?
Michael: This is almost like my second coming out, as an artist and sharing my music with everybody. Even though I’ve been making music since I was 16, I’ve never actually had the courage until now to release anything. “XO” is my favorite track, because that’s the thesis of the project. It’s about overcoming some of my own personal demons to love myself enough to realize I had something to share and something to say, like a love letter to a damaged former self.
“Mother’s Day” is another one that I really love, because it’s kind of strange and cryptic. This one is more about people’s relationship to all things maternal, how you have to be a reciprocal give-and-take dynamic with whatever those things are, whether that’s the earth, someone you look up to who is a femme person or a mother figure. It has echoes of my own relationship with my mother and my grandmother. There’s a line about planting a garden — “Every Mother’s Day, I plant a garden for you / Every Mother’s Day, I water your flowers that bloom” — and that was something I used to do for my grandmother as a kid.
MTV News: Do you have a good relationship with your mom and your grandmother?
Michael: With my grandmother, yes. With my mother, that’s something that’s very much in process. It’s a tricky song. It’s really complex, obviously. But I love it for that reason, and I love that I feel like I’m learning how to be really good at writing about things that are personal broader and nuanced ways. I can be descriptive and I can also not be descriptive, and all of it’s intentional. It kind of reminds me of a St. Vincent, Brian Eno vibe. It feels kind of stompy, crunchy, stadium rock or something.
MTV News: What made now feel like a good time to release an album and share this project?
Michael: It was something that I didn’t intend to happen. I was happy with just having some demo recordings and maybe an EP released on SoundCloud, and then I had friends who really encouraged me to think bigger. Also, I had my own aspirations that I buried because I was trying to be realistic and I was trying to hold down full-time jobs and I was trying to be sort of a traditional careerist, and it’s just like, no bitch. Don’t dull your own shine, don’t gaslight yourself just because society gaslights you.
And so, that’s what kind of really motivated me to kind of come out with it all, and I just feel really grateful for the ability to have unlocked this avenue of creativity. Even for this to happening, for us to be talking about my album for MTV is fucking cool. Everything is luxury now, I just get so excited about everything else because creativity begets more creativity. So I don’t take any of it for granted, it’s so fucking cool.
MTV News: Yeah, I can really relate with feeling vulnerable in sharing something creative.
Michael: This is an exercise in proving something to myself. I really do believe, if you see something missing and you have the capacity to provide or be that missing link, then do that. If you feel empowered and you feel like you can and you have the resources and the energy, do that. Where queer voices are sort of becoming less and less marginalized, people want to hear what it is we have to say. Remember that there are so many people who fought and died for so much of the freedom that I and many of us take for granted. Part of being a person with a voice and sharing it is also being in service to your ancestors who came before you.
MTV News: In listening to XO as a whole, there are songs that are very soft and almost indie-leaning in a way, and then you also have these songs that are very fierce and very hard. I wondered what your intention was, or were you expressing different sides of yourself?
Michael: Well, I love that you picked up on the contrast, because that was the exact point. I definitely wanted to present duality. It’s an introduction to me as a musician and, hopefully, if there ever were any expectations, it surprises, maybe it shocks. Maybe it’s exactly what people expect — I have no fucking idea. I called it XO because I thought of X-O as sort of an expression of contrast, because it’s like hugs and kisses are sort of opposite things, but then so is the idea of being open and being closed.
I think Black, queer people can sometimes just be lumped together in sort of this really offensive, monolithic way, and it’s just a way saying that I have multitudes. I’m a complex, fully realized human being. So it was important for me to show a hard edge and a softer, gentler side, because at the end of the day, I am a very tender, spiritual, sensitive person, and I’m also fierce. The Cancer-Leo cusp is really that, it’s very that.