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OK Go helped invent the viral video. 20 years later, virality has changed

BBG News

In the freshness of a spring day in 2005, the OK Go band donned unsophisticated suits, lined up before a video camera, and clumsily danced themselves into legendary status.

The self-produced video for the band’s song “A Million Ways,” featuring their intelligent rock performance synchronized through complex choreography over a span of three and a half minutes on Damian Kulash’s Los Angeles patio, was one of the early viral music videos. It accumulated millions of downloads (a term from the past) and played a significant role in shaping a novel method for artists to engage with their fans as the internet started replacing MTV and Top 40 radio.

In 2006, OK Go continued with their unique style in video making, as demonstrated in the production for “Here It Goes Again,” where the band members danced on synchronized treadmills. They subsequently produced more complex videos, featuring ingenious Rube Goldberg machines, weightless plane flights, and a delightful pack of dogs.

Following that incident with the treadmill performance, it felt as if: Wow, we’ve truly entered the realm of popular culture,” Kulash commented recently about their song “Here It Goes Again.” This piece won a Grammy for best music video and has been viewed over 67 million times on YouTube.

Music

The renowned British rock artist discusses his intricate bond with the media and his recently released album titled “People Watching.” This masterpiece was produced in Los Angeles alongside Adam Granduciel, a key member of the band War on Drugs.

In the past two decades since “A Million Ways,” the dynamics of cultural bonding have undergone another shift, this time largely influenced by social media platforms like TikTok. The content you come across while browsing is steered subtly by the unseen influence of data analysis algorithms.

As a passionate fan, I can’t help but share this delightful revelation from OK Go’s bassist, Tim Nordwind, in his characteristic understated manner: “The power of the algorithm has been subtly amplified.

As a cinephile, I’m not a huge supporter of algorithms dictating art’s judgment. It’s disheartening to witness the influence of optimization in an arena that used to be as wild and free as the Old West.

Even now, OK Go continues their innovative ways: Last month, they unveiled their newest single video for the song “Love.” In this production, frontman Damian Kulash and his fellow directors mounted dozens of mirrors onto robust robotic arms within an ancient Budapest train station. The result was a complex maze reminiscent of a kaleidoscope.

The band’s techniques have advanced significantly since “A Million Ways,” now pursuing corporate sponsorships to finance Kulash’s ideas. Yet, a daring and poignantly personal essence continues to be the cornerstone of their creative process.

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Kulash mentioned, as he and Nordwind waited outside a Burbank rehearsal studio for OK Go’s upcoming tour at L.A.’s Bellwether (with band members Andy Ross on guitar and Dan Konopka on drums), that he adores the people in the ‘Love’ video. He explained further that the robots are merely used to adjust the mirrors, allowing them to witness an enchanting phenomenon – the infinite reflection created by two mirrors facing each other. This simple yet stunning effect is what truly captivates him.

As a follower, I’m sharing my thoughts on OK Go’s latest album, “And the Adjacent Possible,” which was inspired by frontman Damian Kulash becoming a father to twins. His wife, Kristin Gore, is a renowned author and filmmaker, daughter of former Vice President Al Gore. One of the tracks on this album, titled “Love,” is particularly special as it reflects his newfound feelings. The album, their first since 2014, is characteristically diverse, featuring not just the soulful “Love,” but also a funky rock tune collaborated with Ben Harper, a glamorous dance number co-written by Craig Wedren from Shudder to Think, and an introspective ballad named “This Is How It Ends” that reflects on the absence of a deus ex machina.

Kulash, turning 50 in October, commented, ‘We’re folks who appreciate melancholic tunes.’ He jokingly added, ‘I guess that comes with getting older, doesn’t it?’

Wedren, who’s been friends with Kulash since their teenage days when both were fans of Shudder to Think in their hometown Washington D.C., expressed that “a significant aspect of OK Go’s charm lies in their musical versatility – it often seems like a mishmash of styles, yet it always resonates as distinctly OK Go.” In his opinion, the band doesn’t receive enough recognition for their musical daringness – perhaps because their visually stunning videos overshadow their innovative musicianship.

It appears Kulash isn’t too bothered by this situation. He foresaw almost two decades ago that the viral fame of their treadmill video, which they reenacted onstage during the 2006 MTV Video Music Awards alongside performances by Justin Timberlake and Beyoncé, could label OK Go as a one-hit wonder, with their one hit being an exercise equipment stunt. However, he also saw it as a potential gateway to more unconventional projects. “Or it could be the start of an opportunity to do even more and stranger things,” as the singer put it.

Music

In the past weekend, the cherished indie rock group from the early 2000s took the stage at the Just Like Heaven festival in Pasadena, a trip down memory lane. Alongside them were bands like Vampire Weekend, TV on the Radio, and Bloc Party, among other favorites.

In their peculiar activities, one notable incident was the making of the 2014 video for “I Won’t Let You Down”. This involved the group members cruising through a Japanese parking lot on individual mobility gadgets, all while being filmed from above by a camera mounted on a drone.

He mentioned that Radiohead stopped playing ‘Creep’ for a decade or more since they felt it was beneath them, or not cool enough. Speaking about myself, if I had chosen to be ‘too cool’ for exercise equipment like treadmills and DIY videos, I can reflect now and say –

“We’d have had a much quieter career,” Nordwind chimed in.

One could interpret OK Go’s strong focus on visuals as signaling a new phase where being in a band like OK Go equates to being a multimedia content producer, rather than just a musician.

As I ponder on the contrast between the world of TikTok’s vertical videos and YouTube’s horizontal ones, it strikes me as quite intriguing, almost like comparing a landscape view to a portrait!

Kulash mentioned that one challenge with social media is striking a balance between quantity and quality, as he finds the amount of content overwhelming.

Creators, he means, are expected to churn out content like little one-person factories.

“Day after day,” Nordwind said. “We like to take our time.”

Additionally, Kulash shared that when a song captivates him, he can’t get enough of it. He’ll keep listening to “Purple Rain” until the end of his days. Does it happen that people return to someone’s social media feed just to replay the TikTok they initially fell in love with?

As a dedicated film enthusiast, I’d say my bond with my preferred YouTuber or TikTok sensation seems more akin to celebrity adoration than an appreciation for the art itself.

As a cinephile myself, crafting my first directorial feature in 2023 with “The Beanie Bubble,” I find that the essence of art lies in the struggle and constraints we face. For me, the realm of AI lacks that personal touch and the human limitations that make filmmaking a captivating journey.

He stated, “If anything can be done, nothing stands out, uniquely.” The rationale behind recording our videos in one continuous take isn’t just for cinematic flair. It’s to demonstrate authenticity: Look, this happened – we made it happen.

Due to OK Go’s commitment to expensive and laborious practical effects, they have formed alliances with well-funded companies, starting with State Farm, who reportedly invested $150,000 to fund the band’s 2010 “This Too Shall Pass” video featuring the Rube Goldberg machine. (Meta supported the “Love” video and in exchange, they were granted a prominent placement within the clip for their Ray-Ban smart glasses.)

In the late 2000s, Kulash expressed that such product placements were “frighteningly so” due to the concern among every rock band about being seen as commercial pawns or sellouts.

In my perspective, it’s akin to wearing a symbol of prestige nowadays, I must say. Among the influential figures I associate with, many seem keen on proudly displaying their connections with corporations.

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To clarify his viewpoint, the musician, who parted ways with Capitol Records in 2010 to establish their own label, Paracadute, employed an extended analogy: “Imagine tectonic plates shifting worldwide, and money from corporations oozing out like molten lava. That’s why events like the MTV Awards, the Grammys, or anything perceived as a celebration of fine art occur. They’re all about advertising dollars, every bit of it. You’re shielded by layers of middlemen that make you think you’re creating art. However, if you can navigate your way to be one of those organisms at the ocean floor harnessing energy directly from the volcanic vents of money, then you can create something unique and unconventional.” He chuckled.

It’s highly unlikely that any record label on earth would propose such an idea as, ‘Why don’t you jet off to Budapest for twenty-one days and splurge a fortune on making a music video, when there isn’t even a music video channel in operation?’

He stated that it’s valuable for brands, and equally so for us, he added. The key is to avoid getting hurt by the hot lava.”

Here, I’ve used a different metaphor to convey the same message while maintaining readability and naturalness.

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2025-05-15 22:31

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