Who is Dave Meyers? All we know about Jump MV director who previously worked with Ariana Grande, Harry Styles and more
BLACKPINK's Jump MV is directed by Dave Meyers. Who is he?
Dave Meyers is an American director known for his work in music videos, commercials, and films. He's particularly recognized for his innovative and visually striking music videos, often collaborating with top-tier pop and hip-hop artists. He's directed over 200 videos, working with numerous high-profile artists like Missy Elliott, Outkast, Jay-Z, Pink, and many others. In recent years, he directed music videos for contemporary artists, including Ariana Grande.
His most notable works include the following:
no tears left to cry – Ariana Grande
bad guy – Billie Eilish
HUMBLE. – Kendrick Lamar
Firework – Katy Perry
Espresso – Sabrina Carpenter
Havana – Camila Cabello & Young Thug
God is a woman – Ariana Grande
Motivation – Normani
Adore You – Harry Styles
Sweetest Pie – Dua Lipa and Megan Thee Stallion
His latest collaboration is with K-pop stars BLACKPINK, for their first music video of 2025– Jump. The development was confirmed with Dave Meyers' name being credited towards the end of the upbeat song's teaser. The ace director might have been recommended by Lisa, due to their previous work experience together. He directed New Woman (feat. Rosalía) from Alter Ego album.
Dave Mayers' previous works with K-pop artists
Dave Meyers' other works with South Korean artists include music videos of WINNER's EVERYDAY and REALLY REALLY. Dave Meyers' other works with K-pop artists include music videos of WINNER's EVERYDAY and REALLY REALLY. His proven ability to craft cinematic quality and innovative visual storytelling has everyone excited to see what magic he'll create for BLACKPINK's new music.
Jump music video is set to release on July 11 (Friday).
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India Today
an hour ago
- India Today
Ganesh idols: Immersed in ecological uncertainty
(NOTE: This article was originally published in the India Today issue dated August 18, 2025)In a small workshop in Hamrapur village, 60 kilometres from Mumbai, Nitesh Daur stands quietly amid neat rows of white Ganesh idols. Crafted from Plaster of Paris (PoP)—a lightweight, detail-friendly material—the statues have been his livelihood since 2005. 'If I shut down this business, what will I do?' asks the 35-year-old father of two. 'I have no other skills.'advertisementDaur's anxiety stems from a long-running legal battle over the environmental impact of PoP idols, the genesis of which can be traced to a 2005 PIL by the late rationalist Narendra Dabholkar's Maharashtra Andhashraddha Nirmoolan Samiti. On January 30, this year, the Bombay High Court issued an interim order, directing civic bodies across Maharashtra to enforce the Central Pollution Control Board's (CPCB) 2020 guidelines banning the immersion of PoP idols—even in artificial tanks—during the Maghi Ganeshotsav (January-February).The rationale: PoP's adverse effects on aquatic ecosystems. The result: a swift crackdown by municipal bodies and police. On June 9, the court modified its order, allowing the manufacture and sale of PoP idols—so long as they aren't immersed in natural water bodies. A CPCB expert panel has also clarified that its 2020 guidelines were advisory, not mandatory. The partial reprieve has given idol-makers like Daur some breathing room ahead of this year's main Ganeshotsav, which begins in late August and is the most popular festival in Maharashtra. Then, on July 24, came further clarity. The court ruled that PoP idols under 6 feet in height must be immersed only in artificial water tanks, while taller idols may go into natural water bodies. The court also directed the state government to ensure local bodies strictly implement these amended norms and to provide enough artificial tanks for immersions. Additionally, the state was told to form an Expert Scientific Committee within a month to explore ways to recycle and reuse PoP and examine eco-friendly methods for faster dissolution. These directions will remain in force for all immersion-based festivals till March 2026. Accordingly, the state government has issued comprehensive guidelines for the immersion of PoP idols. Even so, not everyone is mollified. Naresh Dahibavkar, president of the Brihanmumbai Sarvajanik Ganeshotsav Samanvay Samiti, welcomes the relief but warns of uncertainty ahead. 'This is only an interim order,' he says. 'Next year, the issue will be back in court.' He wants a 'permanent solution' to the issue of immersion of large idols—installed by more than 3,000 Ganesh mandals in Mumbai alone. Environmentalist Harshad Dhage, a petitioner in the case, too notes the 'temporary' nature of the reprieve. Emphasising the need to strike a balance between faith and sustainability, he says, 'This is not a fight against festivals, but against pollution.'HUBBUB AT THE HUBFor decades, idol-making has been the lifeblood of Hamrapur and neighbouring villages like Kalave, Johe, Tambadshet and Dadar in Pen taluka of Raigad district. Anchored by Pen town, the region is the nucleus of Maharashtra's Ganesh idol industry and even got the Geographical Indication (GI) tag in 2023. Across the taluka, some 250,000 people are said to be employed in the Rs 200-crore industry, collectively shipping out millions of clay and PoP idols each year, not only in India but to diaspora communities as far afield as the United States. Mumbai alone hosts some 12,000 public Ganesh mandals and over 200,000 household idols—most of them made from PoP and sourced from this Ganesh worship in Maharashtra was a modest, private ritual, with small, hand-crafted idols made from local clay. But in the 1890s, nationalist leader Bal Gangadhar Tilak elevated the festival into a public spectacle—an instrument of anti-colonial solidarity. Pen's transformation into an idol-making hub gathered pace in the 1950s, propelled by its location between Mumbai and Pune, and the availability of clay. A crucial shift came when local sculptor N.G. 'Rajabhau' Deodhar experimented with PoP, initially to embellish decorative images with finer detailing. Cultural cues added fuel. In V. Shantaram's 1959 film Navrang, an imposing 11-foot Ganesh idol made of PoP commanded the screen and was later immersed ceremoniously, foreshadowing a trend toward ever-larger images of the deity in households and mandals. The material proved easy to mould, light to transport and ideal for mass production. By the 1980s, Pen housed more than 500 workshops crafting idols from both clay and PoP, according to Shrikant Deodhar, Rajabhau's nephew and a fourth-generation sculptor. In the 1990s, outlying villages, with their cheaper land and abundant labour, joined the fray. In Hamrapur, farmlands long eroded by saline ingress have given way to gleaming bungalows—quiet monuments to the prosperity the idol trade has brought. In this belt, artisans are organically initiated into the craft as January court order, however, had sent tremors through the region. Many workshops suspended work entirely. 'We lost three critical months,' says Jagdish Patil, president of the Shri Ganesh Murtikar Utkarsha Mandal, representing about 600 workshops in Hamrapur. 'We usually produce around a million idols every year. This time, it may drop to 800,000.' THE PoP VS CLAY DEBATEadvertisementThe economics is unforgiving. Most manufacturers take loans to buy raw materials. For, while wholesale buyers settle dues post-festival, vendors supplying PoP, paint and coir insist on advance payments. 'Customers are fewer this year. There's confusion and fear,' says Neeraj Naik, an idol-maker in Hamrapur. In a neighbouring workshop, sculptor Kunal Patil gestures at a half-finished idol. 'One person can make 10-15 PoP idols per shift. Clay? Maybe two or three,' he is a key factor—while the retail rates of clay and PoP idols vary widely depending on the market and locality, a one-and-a-half-foot tall clay idol typically costs around Rs 3,000, compared to Rs 2,000 for a similarly sized PoP idol at the lower end of the product line. Patil and others maintain that PoP idols are not just more durable and cost-effective but more aesthetically consistent. 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The paints often contain toxic metals like lead and cadmium. PoP itself may take months—or even years—to dissolve, raising water hardness and harming aquatic life. Wildlife biologist Anand Pendharkar notes that the material clogs the burrows of fish and crabs and damages mangrove roots. 'It has affected the breeding of Bombay duck, sponges and other marine organisms,' he says. The annual use of PoP across the state is about 4,500 tonnes, with Mumbai alone accounting for 675 tonnes, notes the 2023 study. Gradually, other states, like Goa, are banning the import and sale of PoP Ganesh doubts persist about how viable a large-scale pivot to clay would be. Today, just about 20 per cent of the idols made in Pen taluka are clay-based. The supply chain isn't ready. Nor is the workforce adequately trained, say those in the PoP idol industry. Some stakeholders call for a middle ground. 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Indian man's witty reply on love vs arranged marriage with American wife goes viral
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