{"id":46970,"date":"2025-09-18T21:50:14","date_gmt":"2025-09-18T21:50:14","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2025\/09\/18\/diane-martel-video-director-for-miley-cyrus-mariah-carey-dead-at-63\/"},"modified":"2025-09-18T21:50:14","modified_gmt":"2025-09-18T21:50:14","slug":"diane-martel-video-director-for-miley-cyrus-mariah-carey-dead-at-63","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2025\/09\/18\/diane-martel-video-director-for-miley-cyrus-mariah-carey-dead-at-63\/","title":{"rendered":"Diane Martel, Video Director for Miley Cyrus, Mariah Carey, Dead at 63"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tDiane Martel, the innovative and trailblazing music video director who helmed visuals for some of the biggest artists of the past three decades, including Beyonc\u00e9, Mariah Carey, Justin Timberlake, the Killers, and <a href=\"https:\/\/www.rollingstone.com\/t\/miley-cyrus\/\" id=\"auto-tag_miley-cyrus\" data-tag=\"miley-cyrus\">Miley Cyrus<\/a>, and many more \u2014 died on Thursday in New York. She was 63.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cDiane passed away peacefully at Memorial Sloan Kettering Hospital\u00a0 \u2013 surrounded by friends and family \u2013 after a long battle with breast cancer,\u201d her family said in a statement. \u201cShe is survived by her Aunt, Gail Merrifield Papp (wife of Joseph Papp, founder of The Public Theatre), her three beloved, loyal cats (Poki, PopPop, PomPom) and many loving lifetime friends.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tA born-and-raised New Yorker who came of age in the city\u2019s downtown scene, Martel developed a knack for crafting music videos that were visually striking and filled with thrilling provocations. In 2013, she helmed two of the most discussed and controversial music videos of the past few decades: <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/miley-cyrus-we-cant-stop-video-scene-by-scene-173923\/\">Cyrus\u2019 \u201cWe Can\u2019t Stop\u201d<\/a> and <a href=\"https:\/\/www.rollingstone.com\/t\/robin-thicke\/\" id=\"auto-tag_robin-thicke\" data-tag=\"robin-thicke\">Robin Thicke<\/a>\u2019s \u201cBlurred Lines\u201d with Pharrell and T.I.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tDespite the uproar both videos garnered, Martel never blinked. \u201cMy shit is on point right now,\u201d she boasted to <em>Rolling Stone <\/em>that year, adding: \u201cI do have to admit I like being provocative. That\u2019s punk, that\u2019s rock &amp; roll, that\u2019s hip-hop. It\u2019s passionate. We\u2019re not doing pharmaceutical ads.\u201d\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tPharrell \u2014 who\u2019d worked with Martel before \u2014 added, \u201cDiane is like a 17-year-old girl who never grows up. Her creativity continues to evolve.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tMartel was a high school dropout who began her career making performance and street art during the late Eighties and early Nineties. She also worked as a dancer and choreographer, and one of her first big film projects was <em>Reckin\u2019 Shop: Live From Brooklyn<\/em>, a documentary about hip-hop dancers that aired on PBS in 1992. \u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThat same year, Martel directed her first music video, \u201cThrow Ya Gunz,\u201d for the hardcore hip-hop crew Onyx. She\u2019d work with many other NYC rap luminaries in subsequent years, including Method Man, Gang Starr, Ol\u2019 Dirty Bastard, LL Cool J, and Keith Murray. She also developed a close collaboration with Carey, directing numerous videos for her over the years, including \u201cDreamlover,\u201d \u201cAll I Want for Christmas Is You,\u201d and \u201cMy All.\u201d\u00a0<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Onyx - Throw Ya Gunz\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/mQmfzGf9904?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAs Martel\u2019s profile grew, so did the breadth of artists looking to work with her. Even just a smattering of her credits from the late Nineties on offers a survey of the various shapes pop music took as it entered and settled into the new millennium: Christina Aguilera\u2019s \u201cGenie in a Bottle\u201d and \u201cWhat a Girl Wants\u201d; D\u2019Angelo\u2019s \u201cSend It On\u201d; Khia\u2019s \u201cMy Neck My Back (Lick It)\u201d; Clipse\u2019s \u201cGrindin\u2019\u201d; Justin \u2018Timberlake\u2019s \u201cLike I Love You\u201d; Alicia Keys\u2019 \u201cIf I Aint\u2019 Got You\u201d; Ciara and Timberlake\u2019s \u201cLove Sex Magic\u201d; Britney Spears\u2019 \u201c3\u201d; the Killers\u2019 \u201cRead My Mind\u201d; the White Stripes\u2019 \u201cConquest\u201d; Nicki Minaj\u2019s \u201cPills N Potions\u201d; the 1975\u2019s \u201cGive Yourself a Try\u201d; Addison Rae\u2019s \u201cObsessed.\u201d\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tEven with Martel\u2019s massive filmography, 2013 still sticks out for the moment-defining visuals she crafted for Cyrus and Thicke. \u201cBlurred Lines\u201d and \u201cWe Can\u2019t Stop\u201d even had a <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/miley-cyrus-cant-stop-twerking-at-vmas-2013-twitter-reacts-167744\/\">brain-busting <\/a>moment together when <a href=\"https:\/\/www.rollingstone.com\/music\/music-lists\/32-most-outrageous-mtv-vmas-moments-of-all-time-169564\/miley-cyrus-robin-thicke-and-the-twerk-seen-round-the-world-2013-229080\/\">Thicke and Cyrus performed them<\/a> as a <a href=\"https:\/\/www.rollingstone.com\/culture\/culture-news\/twerk-it-out-miley-and-robins-vma-performance-one-year-later-65286\/\">medley at the 2013 MTV Video Music Awards<\/a> alongside dancing teddy bears, a conspicuously overused foam finger, and so, so much twerking. Martel served as the creative director for the performance (and held the same role for Cyrus\u2019 subsequent <em>Bangerz<\/em> tour).\u00a0<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Miley Cyrus - We Can&#039;t Stop (Official Video)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/LrUvu1mlWco?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhile both videos were plenty provocative, \u201cBlurred Lines\u201d became the bigger cultural flashpoint. The song\u2019s lyrics sparked a pre-#MeToo debate about sexual violence and consent, issues the sexually explicit video \u2014 which starred the models Emily Ratajkowski, Elle Evans, and Jessi M\u2019Bengue \u2014 only compounded.\u00a0<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tMartel, for her part, told <em><a rel=\"noreferrer noopener nofollow\" target=\"_blank\" href=\"https:\/\/grantland.com\/hollywood-prospectus\/qa-veteran-music-video-director-diane-martel-on-her-controversial-videos-for-robin-thicke-and-miley-cyrus\/\">Grantland<\/a> <\/em>that she wanted the video to be a counter to the \u201cmisogynist, funny lyrics in a way where the girls were going to overpower the men.\u201d She added: \u201cIt also forces the men to feel playful and not at all like predators. I directed the girls to look into the camera. This is very intentional and they do it most of the time; they are in the power position. I don\u2019t think the video is sexist. The lyrics are ridiculous; the guys are silly as fuck. That said, I respect women who are watching out for negative images in pop culture and who find the nudity offensive, but I find [the video] meta and playful.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Robin Thicke - Blurred Lines ft. T.I., Pharrell\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/yyDUC1LUXSU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t(Years later, <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/emily-ratajkowski-robin-thicke-groped-her-blurred-lines-my-body-book-1236135\/\">Ratajkowski accused Thicke<\/a> of sexually harassing her on set, claiming in her memoir that he grabbed her \u201cbare breasts from behind.\u201d Martel corroborated Ratajkowski\u2019s account, telling <a href=\"https:\/\/www.thetimes.com\/culture\/music\/article\/blurred-lines-singer-robin-thicke-assaulted-me-on-set-says-emily-ratajkowski-dkgq83cpf\" target=\"_blank\" rel=\"noreferrer noopener nofollow\"><em>The Sunday Times<\/em><\/a>, \u201cI screamed in my very aggressive Brooklyn voice, \u2018What the fuck are you doing, that\u2019s it! The shoot is over!\u2019 Robin sheepishly apologized. As if he knew it was wrong without understanding how it might have felt for Emily.\u201d)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhile Martel\u2019s output slowed a bit in the 2020s, she turned her attention to other pursuits. In 2022, for instance, she was named the Harlan J. Strauss Visiting Filmmaker at the <a rel=\"noreferrer noopener nofollow\" target=\"_blank\" href=\"https:\/\/news.uoregon.edu\/content\/get-skinny-making-music-videos-during-filmmakers-visit\">University of Oregon<\/a>, where she led a series of community events and taught a class on music video production. The last music video Martel directed was for Ciara\u2019s \u201cEcstasy,\u201d which dropped earlier this year.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tDespite her staggering output, Martel was only nominated for Best Direction at the VMAs once: 2005, when she and Francis Lawrence shared the nomination for their work on Jennifer Lopez\u2019s \u201cGet Right.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn a 2003 interview with <em>Vibe<\/em>, Martel laid out a kind of artistic philosophy, saying: \u201cI\u2019m concerned with how wack videos are right now. The art of photography and filmmaking is often neglected in favor of repetitive images. How forture are directors every time we\u2019re given an opportunity to represent the culture? How dare we serve people weak shit when hip-hop was born of such strength. Even if there\u2019s a sexual fantasy involved, it doesn\u2019t have to be a lazy, exploitative mess. Good pop art is extremely well crafted and not disposable.\u201d\u00a0<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/diane-martel-music-video-director-dead-obituary-1235429781\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Diane Martel, the innovative and trailblazing music video director who helmed visuals for some of the biggest artists of the past three decades, including&#8230;<\/p>\n","protected":false},"author":5,"featured_media":46971,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-46970","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/46970","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=46970"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/46970\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/46971"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=46970"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=46970"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=46970"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}