We don’t talk about it much, but we’ve been part of some seminal cultural events in the past decade, from planet-smashing, genre-dysphoriating music videos to the frequent shenanigans of our Dear Leader Greg Selkoe. Led by our resident GURUs @LIL INTERNET and Shomi “Da Homey” Patwary, we’ve ventured into some weird territory and given rise to plenty of SMFHs, but sometimes that shit just really hits and F-ers stop S-ing and start N-ing quick. Here, our head music video director Shomi Patwary sounds off on some of the big moments since our inception.
Dir: Lil’ Internet, DP: Shomi Patwary
Shomi: As soon as we landed in New Orleans, I listened to the track for the first time. I had heard of the bounce scene and was always intrigued about how it had its roots with Cash Money. Lil Internet and I were both influenced by the Juvenile “Ha” video. It’s our favorite music video of all time. That’s New Orleans. It’s a beautiful place but its got a third world feel to it. It reminds me of Bangladesh. I can see why it’s called the Big Easy–no one over-thinks shit. They make art just by living life and that’s what we wanted to capture.
As we went to different locations, we just let the the two main twerkers do their thing. When I’m shooting something, I don’t wait. I just capture them doing what they’re doing. There were no instructions, they just started getting buck wild. Lil Internet told them to do something monumental–the upside down twerk, which started a worldwide trend.
Dir. Shomi Patwary, DP: Thuan Tran
Shomi: My brother produces for Ferg. The first time I met him, he didn’t know I was a director. He just wanted me to make sure everything between my bro and him was good. I showed him a few of my videos at the office. Orginally we were supposed to do a music video trilogy. That didn’t work out, but we went ahead and made “Work.” Ferg took me took this location that looked like a mountain of snow but it was a mountain of salt. I was like, “Yo this looks like coke.” He wanted a ballerina dancing in falling snow. We sent A$AP Lou to go get flour from the store. As Ferg was rapping we were throwing flour. The high shutter speed made it look fucking magical. That was the whole thing–the powder, his Versace shit, the high shutter speed… magic
The basketball court is a reference to Master P’s “Make ’em say UGH.” The girl with the afro playin ferg’s spouce is Kilo Kish. Originally, that was supposed to be Lana del Ray, but she ended up not coming through.
Dir. Shomi Patwary, DP: Thuan Tran
Androosh Bishram: We started off with not having very great footage. Wale wouldn’t give us a lot of takes. He was like “Let’s get this over with.” He made us get a barber for him and he didn’t even use him! So the video seemed like it was doomed, but Shomi figured out a hack to fix it–light writing. Me and the team went out on the street with one-dollar flashlights and spent hours light writing in front of an open shutter. That’s how we made this shit pop.
Dir. Shomi Patwary
Shomi: Spanish rap hasn’t had much high quality shit since Big Pun. Bodega Bamz changed like that. He has that new New York sound like A$AP and Flatbush Zombies and Joey Bada$$, but he brings that Spanish flavor.
Shomi: This is not even a music video, but “Little” Beavis Basington the Godth, known commonly as Lil B, is one of the most influential dudes in modern rap. Heads don’t even realize it. He’s the first transcendental rapper. We look at him like an avatar of post-human rap shit. “Based” has influenced countless people, and he named himself Based God while we watched.