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"Make Me Like You" Video (Updated)

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Posted on 00:59, Tuesday, February 16

Billboard -See here three Billboard Articles regarding the recording of "Make Me Like You" Video During the Grammy Awards 2016.

  1. Gwen Stefani Unveils Live Music Video for 'Make Me Like You' During the 2016 Grammys
  2. 2016 Grammys: Behind-the-Scenes of Gwen Stefani's Historic 'Make Me Like You' Video
  3. Down to Brass Tacks: Gwen Stefani's $12 Million Live Music Video for Target New Centerpiece to a Emerging Trend

"The pre-orders at Target have outperformed the overall expectations of where we thought we would be by street date," says Gary Kelly, Interscope's head of revenue and digital. "And then you have a halo effect at Apple and Amazon and on Spotify. Gwen's album has been the number one pre-order on Apple all week." Hall, like everyone interviewed for this article, is similarly blown-away by the scope of the initiative and says it was "absolutely the biggest campaign I've ever been a part of and the most exciting one."  

Variety - Stefani, who performed a four-minute live music video during a commercial break in the Grammy telecast, received a 275% rise in total album sales,

  • Watch the "Make Me Like You" Video Also Here

Gwen Stefani Unveils Live Music Video for 'Make Me Like You' During the 2016 Grammys

Gwen Stefani went where no musician has before -- revealing a live music video on TV.

The singer teamed up with Target for her "Make Me Like You" video, which was broadcast during the 58th annual Grammy Awards.

The video was directed by Sophie Muller of Jesse Dylan's Wondros Collective.

2016 Grammys: Behind-the-Scenes of Gwen Stefani's Historic 'Make Me Like You' Video

"Thank God I found you," were the first words Gwen Stefani screamed when she stumbled into Blake Shelton's arms immediately following her live 4-minute commercial and video shoot for her song "Make Me Like You" sponsored by Target. The elaborate shoot was directed by Sophie Muller, who has worked with Stefani for 20 years and shot live on the Warner Bros lot in Burbank with more than 250 tech hands, seven costumes changes and eleven scene different scenes.

In a rehearsal just before the live take, a perilous skating section didn't go as planned in which Stefani reportedly banged her head and left the crowded set more than a little nervous. When the continuous live shot aired, however, the shot went flawlessly and included a scene with her hair dresser Danilo Dixon, social media star Todrick Hall tending a bar significantly called "Blake's," and roller skating champion Trey Knight. The video ended with an aerial view of the set which formed the Target logo and the announcement of Target's release of Stefani's album on March 18, which will feature four new tracks exclusively with Target. 

This isn't the first time Target has worked with major pop stars: most recently they teamed with Adele to give fans a first look at seven of her singles. Also, the retailer did exclusive albums with Taylor Swift, Justin Timberlake and Luke Bryan. Last year during the Grammys, Target aired an Imagine Dragons song. 

Working creative on the spot was Deutsch with Karen Costello working as the executive VP/executive creative director and production done by Wondros led by Muller's direction and Grant Jue as producer. 

Event television has been a major ratings boost for TV over the past year with live theatrical productions led by Grease, (12.2 million viewers) and The Wiz Live (11.5 million) doing exceptionally well. The Passion will air on March 20.

Gwen Stefani on the 'Fastest 4 Minutes' of Her Life' Making her Live Grammy Video: Exclusive

Gwen Stefani's ambitious live 4-minute video for her new single "Make Me Like You" made in partnership with Target arguably stole Monday night's (Feb. 15) Grammys Awards telecast. As flawless as it appeared, however, don't be fooled -- the shoot was no easy undertaking.

"I was *bleep*ting myself for her," "says Sophie Muller, who directed the spot and who has worked with Stefani for the last twenty years. "It was the most intense thing we've ever done without a shadow of a doubt, times ten." Muller continues, "I can't think of any other artist apart from Gwen who would have the courage to do something like that. To be so courageous and easy-going and fun, she was like, 'I'll be fine, I'm looking forward to it.'"

After the shoot, Stefani was both ebullient and relieved and spent a solid 45 minutes hugging and taking pictures with her 250-person crew (and, of course, Blake Shelton) on the Warner Bros. Studios lot in Burbank where the massive undertaking was produced  Following the shoot, Billboard reached out via email for Stefani's take on the scale of the project, her nerves, and if she thought she nailed it.

What was going through your head just before Sophie yelled action?

There was obviously a moment of nerves and adrenaline with it being live, but then the music started. It really was such a team effort. 

Is this the most ambitious project you've ever worked on? What was it like going through this process?

This entire project with Target has been such an incredible experience, and Im so thankful that they allowed me the opportunity to take this creative risk.

Are you happy with how it turned out? Were there any parts you think you could have done better?

Absolutely! That was the fastest four-minutes. Its so amazing how much goes into one take -- it couldnt have come together any more seamlessly.

What was the most gratifying and special part of this whole project?

This has been an amazing journey -- from sitting down to write this album to tonights final shot, I am truly blessed to have worked with such a great team.

What did you do right after the shoot?

The cast was hugging and celebrating -- it was such a special experience.

Down to Brass Tacks: Gwen Stefani's $12 Million Live Music Video for Target New Centerpiece to a Emerging Trend

The first full day of rehearsal for the live video shoot of Stefani's new single, "Make Me Like You," began just two days before it was set to be performed during the Grammys telecast, and went until 2:30 a.m. Mueller and choreographer Fatima Robinson led some 40 performers through 11 different sets and Stefani's seven live costume changes on a cavernous 32,000-square-foot soundstage on the Warner Bros. Studios lot. The day of the Grammys there were (at least) two flubs: a few hours before Stefani stumbled in the piano lounge scene; the other came during the final scheduled rehearsal -- with just 30 minutes before go-time -- when Stefani missed her roller skating exit cue and banged her head resulting in utter disarray on set as a befuddled stunt double wearing a peroxide wig turned to face the camera. The mistakes were dispiriting, and the ensuing quiet on the enormous Burbank soundstage betrayed an underlying fear and anxiety minutes before the live shoot. 

Billboard estimates Target invested roughly $12 million into the campaign, including $8 million for the airtime alone. Mistakes like the ones in rehearsal would have left egg on faces far and wide -- from Target, Stefani and Muller, to Deutsch (Target's creative agency for the campaign), as well as Stefani's Interscope Records label and Azoff Music Management.

But it didn't. "It was a best-case scenario and a hugely impressive campaign for a number of reasons," says Gabe McDonough of Music and Strategy and who formerly ran the music departments at DDB and Leo Burnett. He cites the risk factor, the huge number of eyeballs amassed for the TV tentpole, the ensuing social media buzz, the script which included a meta moment where Stefani appears to wipe-out and how the creative "wisely incorporated" the TV networks' recent fixation with all things live following the successes of The Wiz, Grease Live and The Passion.

"Absolutely," says Karen Costello, evp and executive creative director at Deutsch, when asked if the commercial concept was influenced by live event television. "If you compare what we were doing to what "Grease Live" was doing, with the condensed amount of time we had for rehearsals, creating a stage, the wardrobe, it is literally astounding what this team was able to accomplish." Costello calls the campaign the most "staggeringly ambitious and audacious" of her career.  

In translating that kind of buzz to consumers, Target, along with Deutsch, Interscope and management propagated a robust social media campaign, which included bringing in YouTube stars Todrick Hall and Meg DeAnglis to the set and devoting an area on the Warner Bros Studio lot across from the shoot to a social media team. The video itself was filled with easter eggs to stimulate discussion (such as naming the piano bar "Blake's," with his actual signature written in neon, a tabloid headline that read "Gwen Pregnant With Alien Baby" and having Hall and Stefani's hairstylist Danilo Dixon included in the video). 

Target, which deployed its first-ever Facebook Live activation, was elated after the shoot. "Weve seen more than 3 billion media impressions to date for the campaign," said Jeff Jones, Target's evp and Chief Marketing Officer. "The conversation and engagement in social has been incredibly positive and continued to build in the days following the live moment." Jones says Target plans to continue leverage the ad's content leading up to Stefani's March 18th album release This is What the Truth Feels Like.

Now Interscope has a fully-paid official video in its back pocket, seen and buzzed about by tens of millions before even being posted online. "It already is successful," said an ebullient Steve Berman, vice chairman of Interscope Geffen A&M, a day after the spot aired. "The response we're getting from the fans, the awareness of the project and the song are incredible."

The momentum from the Target spot could finally return Stefani to the top of the charts since her impressive 2005-06 run with Love. Angel. Music Baby which yielded three top ten  Hot 100 singles including "the chart-topping "Hollaback Girl." Her last two singles Used To Love You and "Baby Don't Lie" stalled at No 52 and No. 46, respectively. "Make Me Like You," however, is already trending toward a debut in the top 20 of Billboard's Digital Songs chart and, as of Sunday (Feb. 21) night, had 1.95 million plays on Spotify and 1.9 million views on Vevo.

"The pre-orders at Target have outperformed the overall expectations of where we thought we would be by street date," says Gary Kelly, Interscope's head of revenue and digital. "And then you have a halo effect at Apple and Amazon and on Spotify. Gwen's album has been the number one pre-order on Apple all week." Hall, like everyone interviewed for this article, is similarly blown-away by the scope of the initiative and says it was "absolutely the biggest campaign I've ever been a part of and the most exciting one."  

With the Target spot's wow-factor and brands and bands continuously upping their spends and creatives the question is how much of a watershed moment is this?  "It's completely amazing what's happening with brands and musicians," says McDonough. "It's not just a transactional thing anymore, brands are really invested." As proof of what brands and artists can potentially reap from these partnerships, the music and branding expert cites Kanye West's partnership with Adidas. "It's wide open right now," he says, "anything is possible."

Variety - Stefani, who performed a four-minute live music video during a commercial break in the Grammy telecast, received a 275% rise in total album sales, and Alabama Shakes saw a 239% spike in total album sales. The group was nominated for four awards and took home three, including best rock song, rock performance and alternative music album for their work on Sound & Color.

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