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Whatever her qualms, her “Stop” video is one small, tentative way of entering what she calls “the big conversation” that video-sharing websites make possible. Marshall, she can do as he does: make a music video and post it online. And though he is unlikely to move into (or even know about) the rarefied dance world of Ms. In his latest work, “Placebo Effect,” he worries about being able to keep delivering to his fans, but the cure the video ingenuously offers is something the video shows he has: imagination. Chbeeb’s version of Macklemore & Ryan Lewis’s “Otherside” combines beautiful, idiosyncratic dancing and some red plastic cups to suggest the perils of addiction.
Chbeeb and his fellow dancers Di Zhang and Hokuto Konishi (another “So You Think You Can Dance” alum) ingenuously pay tribute to Steve Jobs by framing Apple products with the angular hand gestures known as tutting.
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“The stakes are up when your subscriber level is high,” he said, “but that’s nowhere near the pressure of a TV or music-industry job.” His page views are in the hundreds of thousands, and some 160,000 people are subscribed to his YouTube channel. Chbeeb’s creations have aided his career - after appearing in the fourth “Step Up” film he’s been hired as a choreographer for the fifth - but he makes them as experiments. These homemade videos posted on YouTube don’t advertise a song or a singer (or, as many videos seem to, a luxury product) they advertise what traditional industry-made music videos often occlude: the dancer, the choreographer. There wasn’t really an industry, and it was hard to find jobs the traditional way. “YouTube is the platform for my generation,” Mr. Chbeeb has no formal dance training, but he competed on several seasons of Fox’s “So You Think You Can Dance.” His hip-hop dance crew, I.aM.mE, won the 2011 season of “America’s Best Dance Crew.” Sie’s favorite videos are by Phillip Chbeeb, a popper also known as PacMan. (Actually, the more heavily edited “All Is Not Lost” and “Skyscrapers” are anomalous in this regard the live re-creations restored them to the OK Go norm.) Much of the popularity of OK Go videos derives from how they casually defy the music-video convention of beautiful bodies chopped up by fast cuts. If this strategy sidestepped most of the differences between music videos and concert dance - like the challenge of extending a choreographic idea past a couple of minutes - it captured some of the charm of OK Go videos: Usually filmed in a continuous take, they share some of a live performance’s sense of potential accident. Pilobolus, in turn, recreated the video live in some of its performances - a stunt slightly varied the following year with the tango-themed “Skyscrapers.” Members of that company appeared in the video for “All Is Not Lost,” a kaleidoscope of bodies on a glass table filmed from below. Marshall is a fan - led, in 2011, to a collaboration with the venerable dance troupe Pilobolus. More success - the 2006 video “Here It Goes Again,” a clever routine on treadmills, won a Grammy Ms.