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Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: I'm Rob Lamb and I'm Joe McCormick, and we've got

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Speaker 3: a special treat for you today because we are being

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Speaker 3: joined on Mike by our cherished and always dependable excellent

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Speaker 3: producer Seth Nicholas Johnson to give you a little taste

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Speaker 3: of a new podcast that Seth himself is a host of.

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Speaker 4: Hello everyone, it's excellent to see you all here on

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Speaker 4: this side of the microphone. And yeah, it's a show

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Speaker 4: I do called Record Store Society, and Robert and Joe

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Speaker 4: have been very kind enough to want to do a

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Speaker 4: nice little crossover episode where we break down some music

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Speaker 4: videos in both these shows. So I'm grateful and I'm

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Speaker 4: happy to be here. It's gonna be fun.

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Speaker 2: Now, before we get go in here, first of all,

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Speaker 2: we said it's a new podcast, but you've been out

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Speaker 2: for a little bit, so you have a number of

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Speaker 2: eppisodes under the belt. So that's important to drive home.

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Speaker 2: So if anybody goes to the feed, they're not just

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Speaker 2: going to find one or two episodes to choose from.

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Speaker 2: There's going to be a wider selection. Can you go

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Speaker 2: ahead and tell everyone out there how they can find

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Speaker 2: record store society?

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Speaker 5: Yeah?

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Speaker 4: Absolutely, I guess. First of all, the premise of the

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Speaker 4: show is very straightforward. It's basically just a talk show,

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Speaker 4: but amongst music nerds. Like the show quote unquote takes

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Speaker 4: place inside a record store where myself and my co

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Speaker 4: host Tara Davies, we work at the record store and

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Speaker 4: then quote unquote customers come into the store and we

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Speaker 4: talk about music. So it's a glorified talk show, but

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Speaker 4: we talk about music and we're very nerdy about it.

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Speaker 4: We do a lot of top five countdown lists, We

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Speaker 4: do a lot of like album of the Month club,

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Speaker 4: let's really deep dive into this album. We'll play certain

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Speaker 4: games where like we'll play a record backwards you have

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Speaker 4: to identify it, you know, just like the kind of

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Speaker 4: goofy stuff you would do if you were a clerk

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Speaker 4: in a record store killing time by just talking to

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Speaker 4: your customers and you know, being real nerdy specifically about music.

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Speaker 4: An iHeart radio podcast on the same network as you guys,

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Speaker 4: and if you just go to any of the podcast

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Speaker 4: catchers such as Spotify, iHeart, Stitcher, all those apple just

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Speaker 4: type in record store society.

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Speaker 5: You'll find it right.

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Speaker 3: Away, now, Seth, I should have asked you this before.

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Speaker 3: Does this come from personal experience? Did you ever actually

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Speaker 3: work in a record store?

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Speaker 4: I did, but I have to say it was a

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Speaker 4: very uncool way of having that job. When I was

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Speaker 4: in my very early college years and actually, oh and

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Speaker 4: late high school years, late high school, early college, I

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Speaker 4: worked in the music department of a best Buy. So

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Speaker 4: I will say, in all fairness to myself, it was

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Speaker 4: an enormous music section because this was in Portland, Oregon,

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Speaker 4: and for some reason, I would say half of our

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Speaker 4: store was just our CD department. And I don't know

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Speaker 4: if that was special because of its location or or what,

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Speaker 4: but at least for me, it was a wonderful experience

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Speaker 4: inside this best Buy.

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Speaker 3: So now, what half of a best Buy today has

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Speaker 3: got to be just like iPhone screen covers?

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Speaker 4: Right, yeah, Yeah, last time I was at a best Buy,

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Speaker 4: I think I saw like, what maybe one rack of

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Speaker 4: CDs tops like it's shrunk enormously, But at least when

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Speaker 4: I worked there in the I guess this would have

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Speaker 4: been the late nineties, early two thousands, it was an

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Speaker 4: enormous section of the store was the CD and DVD section,

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Speaker 4: which is where I worked.

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Speaker 3: I can't say I ever did much CD shopping at

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Speaker 3: best Buy. I think I got my copy of Elton

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Speaker 3: John Madman Across the Water at a best Buy. Yeah.

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Speaker 4: Well, the thing I'll never know, because obviously I only

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Speaker 4: worked at the one best Buy. There were some extremely

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Speaker 4: deep cut choices there, Like you could get some moldy peaches,

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Speaker 4: you could get some Danny Cohen, you could get some

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Speaker 4: Coco Rosie at this best Buy in Portland, Oregon. And

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Speaker 4: I presume we just happened to have, like I don't know,

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Speaker 4: a supplier that was catering to our audience.

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Speaker 5: But I don't know.

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Speaker 4: It was a really good best Buy for some reason.

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Speaker 3: But so you didn't like hang around with your best

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Speaker 3: Buy colleagues talking about bad brains and stiff little fingers

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Speaker 3: and stuff.

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Speaker 4: We actually kind of did, oh wow, I know, all right, Yeah, yeah,

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Speaker 4: it was a nice experience. However, it was at a

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Speaker 4: best Buy, so not really that cool. You had the

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Speaker 4: blue shirts, yes, most definitely.

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Speaker 3: That is the uniform of the gods.

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Speaker 2: All right. Well, basically the idea for this episode then

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Speaker 2: is we want to talk a bit about weird music videos.

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Speaker 2: Normally on Weird House Cinema we talk about weird films

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Speaker 2: and what is a music video to some degree, but

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Speaker 2: a short weird film or a short film. Anyway, Seth,

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Speaker 2: you and I were talking about this a little bit off, Mike,

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Speaker 2: I guess yesterday we're chatting back and forth about how

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Speaker 2: you kind of have this. There's this, there's a wavelength,

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Speaker 2: there are the varying degrees between just footage like like

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Speaker 2: live footage of a performance or concert footag, and then

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Speaker 2: you can go all the way into actual short film

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Speaker 2: territory where what you have created is no longer really

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Speaker 2: a music video, like I guess a lot of us,

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Speaker 2: or at least for my part, I think of music videos.

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Speaker 2: I think of those those those video packages that were

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Speaker 2: put out to promote the album, and so you would

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Speaker 2: see it, you'd hear it, and then you would go

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Speaker 2: to say Camelot Music and you would have to PLoP

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Speaker 2: down what twenty bucks on this album and this would

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Speaker 2: be for in my case, it would be my album

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Speaker 2: for the month.

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Speaker 4: I completely agree. But here's my question to you, Robert,

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Speaker 4: what would you say thriller is? And I'm talking the

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Speaker 4: full length thriller with the you know all the narrative.

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Speaker 4: Is that a short film or is that a music video?

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Speaker 2: I'd say it's still a music video, but it's certainly

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Speaker 2: approaching that gray area. You know.

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Speaker 5: Yeah, for sure.

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Speaker 3: Did either of you guys ever buy a video single?

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Speaker 3: This was a thing that was briefly a sort of

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Speaker 3: media product that you could pay money for. I once

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Speaker 3: bought a v HS tape that was the video cassette

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Speaker 3: single of Ninja Rap by Vanilla Ice, which was so

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Speaker 3: it was the video for Ninja Rap from I guess

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Speaker 3: it was Teenage Mutant Ninja Turtles two. Yeah, but then

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Speaker 3: also it had interviews with Vanilla Ice on the on

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Speaker 3: the you know, the behind the scenes details for Ninja Rap.

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Speaker 4: I definitely owned some of these, and I actually really

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Speaker 4: really enjoyed it. I'm going to say maybe like five

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Speaker 4: years after the cassette video single was when they started

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Speaker 4: basically putting out like the collected music videos of such

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Speaker 4: and such artist on a DVD. Do you remember those

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Speaker 4: those years?

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Speaker 2: Yeah, there were some really nice ones like we we

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Speaker 2: used to have the one ones for like Michelle Gandry

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Speaker 2: and yeah, I think Spike Jones.

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Speaker 4: Yes, yes, those were the Director's label series of DVDs

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Speaker 4: and I had the complete collection.

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Speaker 5: I loved those so good.

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Speaker 3: A lot of those Michelle Gandry videos are so good

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Speaker 3: that like the one for b York hyper Ballad is

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Speaker 3: that always sticks in my brains.

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Speaker 2: Even if you're not that in the tracks themselves, like

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Speaker 2: you know, they're just such nice pieces of a filmmaking

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Speaker 2: for sure. And I think that's the ultimate thing, like

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Speaker 2: when a music video is really good, like it makes

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Speaker 2: you like a song you wouldn't otherwise be into. You know,

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Speaker 2: it could actually successfully shape and mold your musical interests

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Speaker 2: based on the visuals associated with the sound. And I

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Speaker 2: think one of the most like I remember like watching

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Speaker 2: rap videos and like the weirder rap videos were very

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Speaker 2: interesting in that it felt like they they almost gave

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Speaker 2: a wider audience, you know, permission to get into rap

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Speaker 2: in an interesting way. I think of stuff like, you know,

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Speaker 2: like some of the ones like Dean Carr directly, he

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Speaker 2: directed one music video for this track puppet Masters by

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Speaker 2: DJ Muggs, and it had Doctor dre and be Real

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Speaker 2: in it, you know, and it's like super weird video

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Speaker 2: with like a demonic pope and it's raining mun and

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Speaker 2: be Real as a Golden Demon. You know, stuff like

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Speaker 2: that would just really set me in.

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Speaker 3: Yeah, you can really tell the difference between music videos

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Speaker 3: that are themselves a sort of you know, a fully

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Speaker 3: realized artistic or at least entertainment product and those that

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Speaker 3: are just kind of an afterthought. I think a lot

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Speaker 3: of those came later on in the history of music videos,

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Speaker 3: where it's like, we need a video for the single,

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Speaker 3: and so it would just be like footage of the

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Speaker 3: band playing the song, cutting back and forth between that

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Speaker 3: and weird things just like oh, you know, here's like

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Speaker 3: a head going mat mat maw or something.

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Speaker 2: Yeah.

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Speaker 3: Well, the nineties were full of these.

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Speaker 2: Yeah, but you know, some of those were great, that

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Speaker 2: could be well done. But I think when I think

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Speaker 2: of like a proto music video, like one example that

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Speaker 2: instantly comes to mind is Black Sabbaths iron Man m. Yeah, well,

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Speaker 2: it's basically like a staged concert performance with like some

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Speaker 2: you know, kind of psychedelic graphics in the background.

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Speaker 3: You all know the music video for Kansas dust in

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Speaker 3: the Wind.

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Speaker 5: Yes, yes, I do.

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Speaker 3: I would say that's an early example of a category

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Speaker 3: that I'm going to talk about in this episode called

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Speaker 3: normy weird, which is a music video that is weirder

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Speaker 3: than it meant to be because it just has the

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Speaker 3: members of Kansas standing around looking like they're ready to

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Speaker 3: go to prom. They're dressed in like frilly shirt tuxedos,

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Speaker 3: and they're playing this very cheesy song about time passing

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Speaker 3: and mortality, but the way it pans over their expressionless

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Speaker 3: faces is really alienating.

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Speaker 4: Well, I think with what both of you just said,

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Speaker 4: there is a very real bell curve when it comes

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Speaker 4: to the quality of music videos and whether or not

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Speaker 4: MTV is actively playing music videos because the proto music

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Speaker 4: video they were low budget and just no one really

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Speaker 4: knew what they were doing. No one was really trying

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Speaker 4: to do anything. And then post MTV playing music videos,

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Speaker 4: suddenly it dips down again and they're made for YouTube now,

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Speaker 4: which is fine, but the budget is clearly not there anymore.

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Speaker 4: Like almost no one is putting the same monetary, you know,

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Speaker 4: investment into a music video now as they did in

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Speaker 4: like let's say two thousand and three. You know, like

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Speaker 4: it's it's a completely different world. And here's here's an

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Speaker 4: example of I guess where the money is going now.

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Speaker 4: If someone wants a really good music video, there's an

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Speaker 4: amazing I guess I'll call this a short film for Anima,

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Speaker 4: the Tom York music video directed by Paul Thomas Anderson.

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Speaker 4: It went direct to Netflix. So that's how they still

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Speaker 4: got that money. That's how they That's how you know,

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Speaker 4: Paul Thomas Anderson still got his paycheck. Was Netflix had

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Speaker 4: had to write the right, right, right, the right the

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Speaker 4: check for him instead of it just going to YouTube.

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Speaker 2: You know, I guess it's kind of like what was

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Speaker 2: once what would could once be? Uh, you know, you

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Speaker 2: could you could say there's an expense in promoting the material.

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Speaker 2: Now it's just an expense in part of the artistic

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Speaker 2: expression itself.

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Speaker 3: Right, Yeah, yeah, Rob, you want to jump right in

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Speaker 3: with the Wild Boys?

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Speaker 2: Yeah? My my pick, my first pick here for a

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Speaker 2: favorite weird music video and probably probably just my favorite

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Speaker 2: music video in general. It's hard to distinguish between the

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Speaker 2: two classifications. It is the nineteen eighty four music video

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Speaker 2: for Wild Boys by Duran Duran, directed by Russell McKay.

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Speaker 2: Russell McKay, some of you might remember the director of Highlander, Highlander,

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Speaker 2: two various other films, but also just a ton of

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Speaker 2: music video work. He did total eclips of the heart,

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Speaker 2: often just you know, really visually interesting, often high energy

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Speaker 2: or just you know, just multiple things going on at

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Speaker 2: once in the music video, and this is a prime

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Speaker 2: example of it.

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Speaker 3: He directed a nineteen eighty four horror movie that I

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Speaker 3: just watched earlier this year called Razorback, which is absolutely

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Speaker 3: disgusting but is also peak Russell mulkayhy. It really needs

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Speaker 3: to be seen. It is. It's a cross between an

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Speaker 3: Australian Texas chainsaw massacre and Jaws, but with a pig

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Speaker 3: instead of a shark.

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Speaker 5: Huh. Now how big is that pig?

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Speaker 3: It's a very large pig. I mean, I would say

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Speaker 3: at least two horses size pig.

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Speaker 2: Yeah, it's a monster movie, so you gotta have a

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Speaker 2: monster pig.

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Speaker 3: Right right, And so part of it's a vendetta you know,

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Speaker 3: you got you gotta quint type character who's on the

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Speaker 3: hunt for this pig that killed his wife I think,

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Speaker 3: and so the pig must pay. But also it's set

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Speaker 3: in Australia, and it's full of the Australian you know,

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Speaker 3: the outback equivalent of the Sawyer family.

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Speaker 2: Yeah. So I haven't seen that one yet, but I

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Speaker 2: really need to. There there are several key films on

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Speaker 2: his filmography that I haven't gotten to yet, but I didn't. Likewise,

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Speaker 2: I haven't seen anywhere near all of his music videos,

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Speaker 2: some of which I think are lower budget affairs. But this,

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Speaker 2: this is a big budget music video, and in my opinion,

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Speaker 2: this is music video perfection. Molkay takes us on a rich,

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Speaker 2: sort of thunderdomey subterranean, post apocalyptic journey through a world

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Speaker 2: that has cyborg worship, windmill based torture of lead singer

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Speaker 2: Simon Labon, automotive, crucifixion, hang gliding, It has mutant monsters

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Speaker 2: living in like the sewer water. There's primal dance. It's

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Speaker 2: like it's essentially like a big circus, so let kind

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Speaker 2: of number as well. But there's this loose narrative structure

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Speaker 2: that isn't completely apparent, And this is what I love

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Speaker 2: about a good music video, where you're not completely sure

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Speaker 2: what the story is, but there's a sense of the

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Speaker 2: story there. You know, you have to sort of you

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Speaker 2: pull the narrative out, you kind of meet the music

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Speaker 2: video halfway.

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Speaker 3: Yeah, this is this is such a great video and

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Speaker 3: it strikes me, as you said, Thunderdome, and I guess

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Speaker 3: that could be true. But I'd say by the timing,

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Speaker 3: the thing that really struck me here would be The

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Speaker 3: Road Warrior as an influence. Like, so the Duran Duran

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Speaker 3: guys are dressed like Mad Max, with leather jackets and

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Speaker 3: asymmetrical gloves, and the wild Boys, the titular wild Boys

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Speaker 3: are dressed like the soldiers of Lord Humongous. They're all

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Speaker 3: sort of that Vernon Wells character, you know, be still

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Speaker 3: my Dog of War, and they really prefigure the war

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Speaker 3: Boys from Fury Road. Now, of course that movie wouldn't

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Speaker 3: come until many, you know, decades later, but they're so similar.

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Speaker 3: I almost wonder if the war Boys in George Miller's

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Speaker 3: movie were inspired by the people dancing in this Wild

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Speaker 3: Boy's video, which was probably inspired by George Miller's The

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Speaker 3: Road Warrior.

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Speaker 2: Yeah, I mean, I love George Miller, but imagine if

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Speaker 2: Russell McKay he had gotten to make his own post

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Speaker 2: apocalyptic film. I mean, he did do some films later

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Speaker 2: on that I think you can classify as post apocalyptic,

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Speaker 2: but apparently with this. The genesis of this video is

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Speaker 2: that Malka was interested in directing an adaptation of william S.

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Speaker 2: Burrows The Wild Boys, a book of the Dead, which

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Speaker 2: I have not read, but I have read that it's

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Speaker 2: supposed to be like an apocalyptic tale of a homosexual

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Speaker 2: youth rebellion against Western civilization. I'm not sure, I say,

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Speaker 2: I haven't read it, so I don't know exactly how

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Speaker 2: all that pans out, or you know, given the work

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Speaker 2: of Burrows, like how much that needs to be then

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Speaker 2: recreated to take on anything like a narrative form. But

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Speaker 2: it would seem that much of this music video reflects,

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Speaker 2: you know, some of the esthetic ideas and maybe some

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Speaker 2: of the plot elements associated with that never realized project.

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Speaker 4: This actually kind of ties into my impressions of this

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Speaker 4: music video as a child when I first saw it,

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Speaker 4: which was if I'm sure you'll remember in anyone listening remembers,

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Speaker 4: there were often a lot of movie tie in music

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Speaker 4: videos where they would show clips from the movie he

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Speaker 4: kind of embedded into the music video. When I saw

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Speaker 4: this as a kid, I was convinced it was some

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Speaker 4: sort of movie tie in for a film that I

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Speaker 4: had never heard of. And watching the full length version,

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Speaker 4: because like there's like the MTV version, which is what

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Speaker 4: maybe four minutes or so, and then the full length

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Speaker 4: version which Rob shared with us, which is at least

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Speaker 4: twice as long.

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Speaker 2: Wow.

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Speaker 4: So many elements feel like just chunks out of a movie.

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Speaker 4: And it's astonishing how much money they spent on this

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Speaker 4: with no actual narrative or actual I guess through line

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Speaker 4: or tie in. It just seems like money for money's

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Speaker 4: sake and a big pile, and I think it's beautiful

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Speaker 4: for that.

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Speaker 2: You know, this was a great waste of money.

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Speaker 3: I yeah. So the version that we were looking at

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Speaker 3: this like longer than just I guess what would you

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Speaker 3: call it?

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Speaker 2: I don't know.

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Speaker 3: The video edit the long version is known as the

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Speaker 3: Long Arena version now on YouTube, and it has all

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Speaker 3: this stuff in it. It has this Pat Benatar looking woman

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Speaker 3: in a water world cage being menaced by a robot

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Speaker 3: that looks like one of those Boston Dynamics four legged robots,

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Speaker 3: but up on stilts. And it's got Yeah, it's got

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Speaker 3: the the leather masochistic windmill water torture device, which is great.

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Speaker 2: Which I understand almost drowned Simon Labon like it was

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Speaker 2: Oh no, Yeah, he's in interviews he's talked about that

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Speaker 2: where or I don't know, it depends. I think he's

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Speaker 2: also kind of downplayed the idea that he almost drowned,

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Speaker 2: but it sounds like it was. It was not pleasant

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Speaker 2: to film, right.

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Speaker 3: So they've got him on one of the what would

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Speaker 3: you call the thing, one of the flags, one of

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Speaker 3: the wings of a windmill going around, and every time

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Speaker 3: he goes to the bottom of it, his head goes

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Speaker 3: under the water.

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Speaker 2: Yeah, and he's still got to sing too.

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Speaker 3: Yeah, but he's actually he's getting tortured a lot. In

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Speaker 3: the extended version of the music video. You already mentioned

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Speaker 3: that there's automotive crucifixion that you met that literally like

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Speaker 3: at one point he's being crucified on the roof of

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Speaker 3: an upturned car.

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Speaker 2: Yep. Yeah, it has a lot of I guess ultimately

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Speaker 2: there's some there's some some BDS elements to this one.

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Speaker 2: There's a's a very erotic video in many respects, but

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Speaker 2: also with you know, with just all this beautiful weirdness.

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Speaker 2: It's it's Yeah, it's quite a video to have watched

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Speaker 2: when you were young. I watched it as a kid

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Speaker 2: and I was I just remember not really knowing what

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Speaker 2: all was going on here, but I was in I

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Speaker 2: loved it. I loved the weirdness, the darkness, the erotic

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Speaker 2: charge of the whole thing, and it's a precursor to

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Speaker 2: Highlander two because Joe, I know you probably noticed that

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Speaker 2: we have these feathered, leather bound, hang gliding guys in this.

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Speaker 2: That really reminded me a lot of the immortal assassins

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Speaker 2: Coorda and Reno who pop up in the future of

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Speaker 2: Highlander two.

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Speaker 3: Now, when you call them immortal assassins, I think you

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Speaker 3: may be somewhat coowtowing to the later cuts of Highlander two,

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Speaker 3: because what you should say is the assassins from the

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Speaker 3: planet Zeist. That is what they are in the original cut.

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Speaker 2: Right, But once they're on Earth, they're immortal, right, isn't

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Speaker 2: that how it?

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Speaker 3: Oh well maybe it is, okay, I can see that point.

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Speaker 3: I'm sorry.

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Speaker 2: Then he cuts their heads off and he gets the quickening, right.

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Speaker 3: That's true. Yes, so, Seth, you've seen Highland or two

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Speaker 3: the quickening? Oh of course, yes, the original cut, right,

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Speaker 3: not any of that redone crap.

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Speaker 4: I have to presume it's the original cut, but I

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Speaker 4: would have to, like, you know, really investigate to make sure.

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Speaker 3: The original cut is the one where they're on the

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Speaker 3: planet Zeist, and that is where the immortals originally come from.

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Speaker 5: That is the version I've seen.

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Speaker 3: Yes, okay, yes, that's the only one worth seeing. Okay.

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Speaker 3: So the situation in Highland or two, the quickening is

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Speaker 3: that Connor McLeod, the survivor of the first Highlander movie,

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Speaker 3: the winner of the prize, you know, he's growing old.

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Speaker 3: I guess in the future he's become a scientist. And

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Speaker 3: the world is now very blade runnery that they've like

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Speaker 3: clouded over the atmosphere with some kind of thing that

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Speaker 3: they had to put up there because the ozone layer

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Speaker 3: was gone, and so Earth is just crap now. It

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Speaker 3: just sucks to be here. And for some reason, Michael

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Speaker 3: Ironside on the planet Zeist decides, well, I'm sick of

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Speaker 3: waiting around for Connor MacLeod to get killed on Earth

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Speaker 3: since he was banished there millions of years ago. I'm

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Speaker 3: going to send assassins to get him now, like he

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00:20:09,040 --> 00:20:11,080
Speaker 3: got tired of waiting for millions of years. And the

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Speaker 3: assassins show up and they're these flying bird men who

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Speaker 3: have this horrible clown laughing, and one of their heads

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Speaker 3: gets chopped off when Connor MacLeod knocks them under a

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Speaker 3: train and the train wheel rolls over their neck.

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Speaker 2: It's a great set piece and a great, great action sequence.

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Speaker 3: But then you get to see Christopher Lambert in old

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Speaker 3: man makeup turn back into young, vigorous, healthy, thirty Somethingter Lambert,

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Speaker 3: and it's a sight to see. Sorry, I went on

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Speaker 3: a Highland or two tangent.

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Speaker 2: No, No, it is to be expected when we're talking

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Speaker 2: about Russell McKay's work, especially again since this music video

408
00:20:53,840 --> 00:20:56,199
Speaker 2: there are there is some connective tissue between this and

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Speaker 2: Islander too, and even with Highlander, because I was reading

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Speaker 2: like some of the people behind this film. Not all

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Speaker 2: music videos have that robust of an IMDb profile, but

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Speaker 2: this one lists Nick Malley as one of the makeup

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Speaker 2: artists on it. And Nick worked on a ton of

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Speaker 2: films and including Like The Man with the Golden Gun,

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Speaker 2: the first two Star Wars films, The Shining Clash of

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Speaker 2: the Titans, Life Force Krall, and then his final film

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Speaker 2: was Highlander. One.

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Speaker 3: Ah yeah, I can absolutely see that. I mean, I

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Speaker 3: just will say again, this is a movie.

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Speaker 2: Movie.

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Speaker 3: It's not a movie. This music video looks great. It

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Speaker 3: has like, you know, top top shelf movie level costumes

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Speaker 3: and special effects. There's one part where the people get

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Speaker 3: attacked by a worm with teeth that comes out of

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Speaker 3: the sewer water, and it's like this big, kind of bizarre,

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Speaker 3: phallic creature that latches onto your face and buites your

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Speaker 3: face off. That would have been at home in any

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Speaker 3: a list sci fi horror movie of the eighties.

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Speaker 2: Yeah, it looks good. It still holds up today, I mean,

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Speaker 2: and also, I mean, how many music videos can you

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Speaker 2: think of that have a great monster in them?

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Speaker 5: Yeah, fair point, I would say.

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Speaker 4: The only part to me that did not hold up

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Speaker 4: that well, mostly just because like it was very obvious

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Speaker 4: how it was happening. I'm sure you guys noticed this too,

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Speaker 4: the animated segment where suddenly their tongues are coming out

437
00:22:12,400 --> 00:22:14,879
Speaker 4: and their tails are growing on the dancers, it no

438
00:22:14,960 --> 00:22:17,280
Speaker 4: longer quite matched up. And that was fine. Yeah, I

439
00:22:17,359 --> 00:22:19,439
Speaker 4: like it in the context of the music video. But

440
00:22:19,480 --> 00:22:21,920
Speaker 4: I think their practical effects were a little bit better

441
00:22:21,960 --> 00:22:23,040
Speaker 4: than their special effects.

442
00:22:23,200 --> 00:22:25,960
Speaker 2: Yeah. I was a little surprised to catch that on

443
00:22:26,040 --> 00:22:29,720
Speaker 2: a on a reviewing of it, to notice the the

444
00:22:29,760 --> 00:22:32,399
Speaker 2: digital effects on this, because I did not really expect

445
00:22:32,400 --> 00:22:33,640
Speaker 2: there to be any digital effects.

446
00:22:33,840 --> 00:22:37,600
Speaker 4: They were very cartoony, like literally like hand drawn cells cartoony,

447
00:22:37,880 --> 00:22:39,880
Speaker 4: and it was just wasn't necessary. They had so much

448
00:22:40,200 --> 00:22:43,960
Speaker 4: good practical effect work happening they didn't need it. They

449
00:22:43,960 --> 00:22:45,080
Speaker 4: would have been fine without it.

450
00:22:45,200 --> 00:22:47,119
Speaker 3: They were in post and they were like, Man, I

451
00:22:47,200 --> 00:22:49,960
Speaker 3: wish I'd put some prehensile tails on these, on these

452
00:22:49,960 --> 00:22:50,639
Speaker 3: wild boys.

453
00:22:51,200 --> 00:22:53,359
Speaker 2: We still have some money, we still have time.

454
00:22:56,800 --> 00:22:59,360
Speaker 3: Okay. I wonder if either of you guys have thoughts

455
00:22:59,400 --> 00:23:03,000
Speaker 3: on the following question. Why are so many music videos

456
00:23:03,000 --> 00:23:08,240
Speaker 3: of the nineteen eighties set inside industrial spaces? I'm sure

457
00:23:08,240 --> 00:23:10,000
Speaker 3: you know exactly what I'm talking about, you know, just

458
00:23:10,000 --> 00:23:15,119
Speaker 3: some random rock song that lyrically thematically has nothing to

459
00:23:15,160 --> 00:23:19,320
Speaker 3: do with oil refineries or steel manufacturing, and yet that's

460
00:23:19,359 --> 00:23:22,040
Speaker 3: where they are for the video. Is there a reason

461
00:23:22,240 --> 00:23:25,240
Speaker 3: that so many of these videos had the rockers singing

462
00:23:25,280 --> 00:23:27,879
Speaker 3: amidst pipes and chains and sparks.

463
00:23:28,320 --> 00:23:31,920
Speaker 4: I have a theory, which would be in the early days. Again,

464
00:23:31,960 --> 00:23:35,679
Speaker 4: we're discussing the Bell curve of production value for music videos.

465
00:23:36,240 --> 00:23:38,440
Speaker 4: Early in the Bell curve, before people really knew that

466
00:23:38,520 --> 00:23:40,879
Speaker 4: MTV was worth putting all this money and energy into.

467
00:23:41,440 --> 00:23:44,480
Speaker 4: Someone quote unquote shot the Rodeo where they went, hey,

468
00:23:44,520 --> 00:23:48,400
Speaker 4: what do we have? We have access to this strange

469
00:23:48,440 --> 00:23:52,040
Speaker 4: steel mill instant production value. We'll have the band hang

470
00:23:52,080 --> 00:23:55,280
Speaker 4: out in there, throw on a fog machine. Perfect, We're

471
00:23:55,320 --> 00:23:57,280
Speaker 4: good to go. But here's where I bet it gets

472
00:23:57,359 --> 00:24:00,240
Speaker 4: really funny. This is all speculation, but I would bet

473
00:24:00,480 --> 00:24:03,760
Speaker 4: that not that long after that, someone would see that

474
00:24:03,840 --> 00:24:07,040
Speaker 4: original you know, steel mill video and go that's the

475
00:24:07,080 --> 00:24:09,119
Speaker 4: place all music videos got to take place in a

476
00:24:09,160 --> 00:24:09,720
Speaker 4: steel mill.

477
00:24:09,840 --> 00:24:14,720
Speaker 5: So they then built a fake steel mill and then completely.

478
00:24:14,400 --> 00:24:17,560
Speaker 4: You know, negated the the the entire production saving you know,

479
00:24:17,720 --> 00:24:21,679
Speaker 4: value of being in a steel mill. So I'm just

480
00:24:21,760 --> 00:24:23,120
Speaker 4: guessing that's my guess.

481
00:24:23,640 --> 00:24:27,320
Speaker 2: And then maybe like lines up the decline of American

482
00:24:27,359 --> 00:24:30,560
Speaker 2: factories and the rise of the music video, Like everything

483
00:24:30,800 --> 00:24:32,240
Speaker 2: was just in the right place at the right time.

484
00:24:32,440 --> 00:24:34,200
Speaker 5: Video killed the steel industry.

485
00:24:34,840 --> 00:24:39,040
Speaker 3: Yeah, a lot of abandoned industrial spaces and factories. It's like,

486
00:24:39,040 --> 00:24:40,640
Speaker 3: what can we do with them now? While you can

487
00:24:40,680 --> 00:24:42,800
Speaker 3: at least, you know, like rent them out to a

488
00:24:42,840 --> 00:24:43,400
Speaker 3: film crew.

489
00:24:43,800 --> 00:24:54,560
Speaker 2: Yeah, it's still pretty much the case. All right, Joe,

490
00:24:54,920 --> 00:24:57,640
Speaker 2: I think you have a selection here for us, and

491
00:24:57,680 --> 00:24:59,680
Speaker 2: basically it's a great way to get into this because

492
00:24:59,680 --> 00:25:04,360
Speaker 2: we talked in this previous selection about what happens when

493
00:25:04,440 --> 00:25:06,360
Speaker 2: a few little digital effects.

494
00:25:06,800 --> 00:25:10,720
Speaker 3: Yeah, okay, Okay, So for this selection, first of all,

495
00:25:10,760 --> 00:25:12,600
Speaker 3: I feel like I need to preface this by saying

496
00:25:12,880 --> 00:25:15,720
Speaker 3: I often get the impression I've seen far fewer music

497
00:25:15,800 --> 00:25:18,480
Speaker 3: videos than a lot of people my age. Like a

498
00:25:18,480 --> 00:25:20,560
Speaker 3: lot of people my age bring up some video they

499
00:25:20,560 --> 00:25:22,239
Speaker 3: saw when they were a kid, and I'm like, oh,

500
00:25:22,320 --> 00:25:23,879
Speaker 3: I never saw that. I guess I was just not

501
00:25:24,000 --> 00:25:27,240
Speaker 3: a big MTV or VH one viewer as a child.

502
00:25:27,320 --> 00:25:30,520
Speaker 3: And most of the music videos I know I saw

503
00:25:30,720 --> 00:25:32,960
Speaker 3: as an adult like later, you know, looking them up

504
00:25:33,000 --> 00:25:35,280
Speaker 3: on YouTube and stuff. I mean, I remember a few things,

505
00:25:35,320 --> 00:25:38,800
Speaker 3: but so it's not as deep in my brain as

506
00:25:38,880 --> 00:25:42,000
Speaker 3: it is for many other people. But for my first

507
00:25:42,080 --> 00:25:44,280
Speaker 3: choice here, I do want to admit I never saw

508
00:25:44,280 --> 00:25:46,360
Speaker 3: this when I was younger. I only discovered it as

509
00:25:46,400 --> 00:25:46,920
Speaker 3: an adult.

510
00:25:47,200 --> 00:25:47,880
Speaker 2: But what a.

511
00:25:47,840 --> 00:25:52,400
Speaker 3: Discovery it was. So there are lots of music videos

512
00:25:52,480 --> 00:25:55,560
Speaker 3: that are explicitly intentionally weird.

513
00:25:55,680 --> 00:25:55,840
Speaker 2: You know.

514
00:25:55,880 --> 00:25:57,879
Speaker 3: We're going to talk about many more as we go

515
00:25:57,960 --> 00:26:01,120
Speaker 3: on today. But for my first selection of the two,

516
00:26:01,280 --> 00:26:03,040
Speaker 3: I would like to start with a category that I

517
00:26:03,040 --> 00:26:08,760
Speaker 3: would call normy weird, and this is videos for extremely mundane,

518
00:26:09,119 --> 00:26:12,919
Speaker 3: middle of the road mainstream music that clearly we're not

519
00:26:13,200 --> 00:26:16,480
Speaker 3: supposed to be exceedingly strange, and yet they are.

520
00:26:17,119 --> 00:26:20,320
Speaker 2: This is an interesting category, and yeah, I see where

521
00:26:20,320 --> 00:26:21,760
Speaker 2: you're going at this, because I think a lot of great,

522
00:26:22,520 --> 00:26:24,760
Speaker 2: great or at least weird music videos come out of this.

523
00:26:25,480 --> 00:26:28,919
Speaker 3: Yes, and so my prime example here. The year is

524
00:26:29,000 --> 00:26:33,160
Speaker 3: nineteen eighty five. The artist is Mick Jagger, the song

525
00:26:33,720 --> 00:26:44,320
Speaker 3: hard Woman from the album She's the Boss, She's a

526
00:26:47,760 --> 00:26:50,439
Speaker 3: I think this was directed by a guy named John

527
00:26:50,520 --> 00:26:55,480
Speaker 3: Whitney Junior. This video actually has very little easily accessible

528
00:26:55,520 --> 00:26:57,920
Speaker 3: online information about it, but I'm pretty sure this guy

529
00:26:58,000 --> 00:27:02,080
Speaker 3: was the director. I'MDB contends that he was a producer

530
00:27:02,240 --> 00:27:04,960
Speaker 3: on the movie The Last Starfighter, which I had a

531
00:27:05,280 --> 00:27:08,879
Speaker 3: tape of as a kid and greatly enjoyed, has a

532
00:27:08,920 --> 00:27:11,960
Speaker 3: lot of good aliens in it. That he got special

533
00:27:12,000 --> 00:27:15,159
Speaker 3: thanks for working on Tron. I'm not sure what he did,

534
00:27:15,320 --> 00:27:17,080
Speaker 3: or maybe maybe he was just a friend of Tron,

535
00:27:17,720 --> 00:27:20,960
Speaker 3: and that he did some visual effects for Westworld, the

536
00:27:21,000 --> 00:27:24,080
Speaker 3: old one, not the new one, and that he worked

537
00:27:24,080 --> 00:27:27,119
Speaker 3: on something called The Jupiter Menace, which I had to

538
00:27:27,160 --> 00:27:29,720
Speaker 3: look up and it appears to be some kind of

539
00:27:29,880 --> 00:27:34,159
Speaker 3: doomsday documentary predicting the imminent end of the world on

540
00:27:34,280 --> 00:27:37,520
Speaker 3: the basis of a passage in the Bible and what

541
00:27:37,600 --> 00:27:41,200
Speaker 3: some psychics say and expert talking heads just like saying

542
00:27:41,240 --> 00:27:44,240
Speaker 3: things about cataclysm and nuclear war and all.

543
00:27:44,080 --> 00:27:46,440
Speaker 2: That involving Jupiter. Yeah.

544
00:27:47,160 --> 00:27:49,000
Speaker 3: So I haven't watched the whole movie. I just skipped

545
00:27:49,040 --> 00:27:51,040
Speaker 3: around in it a bit, but it looks like a

546
00:27:51,040 --> 00:27:51,520
Speaker 3: lot of fun.

547
00:27:51,600 --> 00:27:51,800
Speaker 5: You know.

548
00:27:51,920 --> 00:27:55,240
Speaker 3: So this in the seventies and eighties people often forget,

549
00:27:55,280 --> 00:28:00,960
Speaker 3: like a hugely, hugely popular genre of books and films

550
00:28:01,040 --> 00:28:03,879
Speaker 3: like this were about the coming apocalypse. I mean, I

551
00:28:03,880 --> 00:28:06,240
Speaker 3: think this was really one of the best selling books

552
00:28:06,240 --> 00:28:09,639
Speaker 3: in the world, was that the Late Great Planet Earth book,

553
00:28:09,680 --> 00:28:12,840
Speaker 3: which was like an evangelical Christian you know, the world

554
00:28:12,920 --> 00:28:15,840
Speaker 3: is going to end in the year nineteen eighty something

555
00:28:15,920 --> 00:28:19,960
Speaker 3: or nineteen seventy something, like a hugely, hugely popular genre,

556
00:28:20,359 --> 00:28:22,960
Speaker 3: and I think this fit into that at least partially.

557
00:28:23,400 --> 00:28:25,280
Speaker 2: Yeah, because they were turning on the TV. They were

558
00:28:25,280 --> 00:28:28,480
Speaker 2: looking at MTV music videos and they said, surely the

559
00:28:28,520 --> 00:28:29,960
Speaker 2: Second Coming is at hand.

560
00:28:29,880 --> 00:28:32,560
Speaker 3: Right they saw Wild Boys and they were like, oh, no,

561
00:28:32,840 --> 00:28:35,960
Speaker 3: Jupiter is coming to smash the Earth. And I got

562
00:28:36,160 --> 00:28:39,760
Speaker 3: so this movie hosted by George Kennedy, George.

563
00:28:39,480 --> 00:28:45,960
Speaker 2: Kennedy, woh, George Kennedy got to eat. I was looking

564
00:28:46,000 --> 00:28:48,080
Speaker 2: up this video as well on IMDb and did a

565
00:28:48,120 --> 00:28:49,960
Speaker 2: little bit more digging it. Seeah, it seems like John

566
00:28:50,000 --> 00:28:54,240
Speaker 2: Whitney Junior and this guy named Gary Dimos that they

567
00:28:54,240 --> 00:28:57,719
Speaker 2: had a company called Digital Productions, And I guess they

568
00:28:57,720 --> 00:28:59,600
Speaker 2: were like the go to people at the time if

569
00:28:59,600 --> 00:29:02,360
Speaker 2: you want to some sort of a digital effect in

570
00:29:02,400 --> 00:29:05,840
Speaker 2: your film or music video, or in this case, if

571
00:29:05,880 --> 00:29:07,400
Speaker 2: you just wanted to build the entire thing out of

572
00:29:07,440 --> 00:29:08,200
Speaker 2: digital effects.

573
00:29:08,520 --> 00:29:12,120
Speaker 3: Yeah, and that's clearly the the the orientation here. This

574
00:29:12,280 --> 00:29:16,200
Speaker 3: was a technology first music video production. Now, as for

575
00:29:16,280 --> 00:29:20,200
Speaker 3: the song itself, I love Mick Jagger, but this is

576
00:29:20,320 --> 00:29:23,920
Speaker 3: this is not good. The song is a crooning, slow

577
00:29:24,040 --> 00:29:28,120
Speaker 3: jam rock lament about a breakup with a hard hearted

578
00:29:28,240 --> 00:29:32,240
Speaker 3: gold digging woman who unsentimentally leaves Mick Jagger alone with

579
00:29:32,320 --> 00:29:35,320
Speaker 3: his tears and his regrets. And I believe that the

580
00:29:35,400 --> 00:29:37,440
Speaker 3: song and the video are also supposed to be kind

581
00:29:37,440 --> 00:29:41,200
Speaker 3: of steamy. But this is deeply undercut by everything about it.

582
00:29:42,160 --> 00:29:44,680
Speaker 3: As I said, you know, I do love the Rolling Stones.

583
00:29:44,680 --> 00:29:46,959
Speaker 3: I'm not trying to be mean, but yeah, this is

584
00:29:47,040 --> 00:29:49,000
Speaker 3: this is not Mick Jagger's finest hour.

585
00:29:50,360 --> 00:29:53,720
Speaker 2: Yeah, this is not a good song. Like I prefer

586
00:29:53,800 --> 00:29:55,880
Speaker 2: Keeddy Bear from The Last Weird House.

587
00:29:55,840 --> 00:29:59,000
Speaker 3: To the Janet Agrn, Yeah, which I've not listened to

588
00:29:59,120 --> 00:29:59,880
Speaker 3: many times.

589
00:30:00,080 --> 00:30:03,240
Speaker 4: That's uh, it's something, it's something specific.

590
00:30:03,800 --> 00:30:07,200
Speaker 3: Yeah, but this song is just like slow, you know,

591
00:30:07,480 --> 00:30:13,520
Speaker 3: oh I gave her laughter, she wanted diamonds and he

592
00:30:14,000 --> 00:30:16,240
Speaker 3: and it's just one of those complaining songs, right.

593
00:30:16,520 --> 00:30:17,000
Speaker 2: Yeah.

594
00:30:17,120 --> 00:30:19,239
Speaker 3: The problem is he was really good to her, but

595
00:30:19,360 --> 00:30:21,840
Speaker 3: she didn't love him enough and and then she went

596
00:30:21,880 --> 00:30:24,160
Speaker 3: on went on her way and that was so mean

597
00:30:25,000 --> 00:30:27,880
Speaker 3: and uh so like but.

598
00:30:27,880 --> 00:30:30,440
Speaker 2: He's writing and dancing the whole time, right Yeah, It's

599
00:30:30,440 --> 00:30:32,240
Speaker 2: like it's hard to really buy it his complaining because

600
00:30:32,280 --> 00:30:35,400
Speaker 2: he's like I'm unhappy, I'm I'm having a bad to know.

601
00:30:35,640 --> 00:30:37,680
Speaker 2: I mean, you look, you look really pleased with yourself.

602
00:30:38,040 --> 00:30:41,560
Speaker 3: Yeah he does. He's like he's really like got the

603
00:30:41,640 --> 00:30:45,719
Speaker 3: strutting posture when they showed the actual Mick Jagger. Like

604
00:30:45,960 --> 00:30:48,719
Speaker 3: so at some points in this music video he's animated

605
00:30:49,040 --> 00:30:53,280
Speaker 3: and other points it's just him in this brand new

606
00:30:53,440 --> 00:30:55,840
Speaker 3: pink collared shirt that's like they just took it out

607
00:30:55,840 --> 00:30:59,200
Speaker 3: of the wrapper. The caller is really starchy, and he's

608
00:30:59,280 --> 00:31:01,280
Speaker 3: like he's doing that thing where like the neck is

609
00:31:01,360 --> 00:31:04,160
Speaker 3: really stiff. He's holding his head super high up while

610
00:31:04,160 --> 00:31:08,920
Speaker 3: he's singing, and so I guess they were encountering the problem. Okay,

611
00:31:08,920 --> 00:31:11,400
Speaker 3: how do we animate a video for this song? It's

612
00:31:11,520 --> 00:31:14,040
Speaker 3: just a standard sort of break up lament that woman

613
00:31:14,160 --> 00:31:17,680
Speaker 3: was mean to me, And what they decided to do

614
00:31:18,280 --> 00:31:21,600
Speaker 3: was set it in a nineteen eighty five computer animated

615
00:31:21,640 --> 00:31:26,400
Speaker 3: polygon village of Adobe architecture, where the titular hard Woman

616
00:31:26,480 --> 00:31:30,000
Speaker 3: appears to be a kind of psychic modular robot made

617
00:31:30,040 --> 00:31:33,840
Speaker 3: out of neon gas just discharge tubes, and she does

618
00:31:34,040 --> 00:31:38,360
Speaker 3: acts of telekinesis on bowls and kitchen wear. And then

619
00:31:38,360 --> 00:31:41,520
Speaker 3: there is also a neon tube version of Mick Jagger,

620
00:31:41,800 --> 00:31:45,040
Speaker 3: who for some reason is wearing a basketball jersey and

621
00:31:45,080 --> 00:31:49,280
Speaker 3: at one point decapitates himself, juggles his own head, and

622
00:31:49,320 --> 00:31:53,160
Speaker 3: then immediately grows the antlers of a stag out of

623
00:31:53,160 --> 00:31:55,680
Speaker 3: his head. And I was trying to understand that. I

624
00:31:55,720 --> 00:31:58,440
Speaker 3: don't think it's supposed to be a Windigo type thing.

625
00:31:58,640 --> 00:32:00,800
Speaker 3: I think maybe it's supposed to be that now that

626
00:32:00,880 --> 00:32:03,920
Speaker 3: she has left him, he is single, meaning he's going stag.

627
00:32:04,800 --> 00:32:07,160
Speaker 2: Oh, I thought maybe, because this was probably the best

628
00:32:07,160 --> 00:32:09,760
Speaker 2: part of the whole thing for me, and I thought

629
00:32:09,800 --> 00:32:12,200
Speaker 2: maybe it was like a green man thing and then

630
00:32:12,240 --> 00:32:15,880
Speaker 2: he becomes this primal chaos god of the hunt or something,

631
00:32:15,920 --> 00:32:18,000
Speaker 2: But I think your interpretation is probably correct.

632
00:32:18,160 --> 00:32:20,600
Speaker 3: Yeah, No, that would have been better, like the antlers

633
00:32:20,640 --> 00:32:22,440
Speaker 3: come out and he's like, I am now lord of

634
00:32:22,440 --> 00:32:25,720
Speaker 3: the forest, and aren't you sad you left me because

635
00:32:25,720 --> 00:32:28,080
Speaker 3: I could have given you endless mushrooms and mosses in

636
00:32:28,120 --> 00:32:32,800
Speaker 3: the dark. But this video seth. I'm very interested in

637
00:32:32,840 --> 00:32:34,600
Speaker 3: your point of view on this, because of course you

638
00:32:34,640 --> 00:32:38,120
Speaker 3: have experience with film production and animation. But this video

639
00:32:38,200 --> 00:32:42,480
Speaker 3: seems to me very much like the kind of obscene

640
00:32:42,520 --> 00:32:46,640
Speaker 3: weirdness that can result from technology first filmmaking. And I'm

641
00:32:46,680 --> 00:32:49,880
Speaker 3: open to being told I'm wrong here, but it seems

642
00:32:49,920 --> 00:32:51,479
Speaker 3: like the kind of thing where a lot of the

643
00:32:51,560 --> 00:32:56,800
Speaker 3: animation in it is not because it fit their artistic

644
00:32:56,920 --> 00:33:00,320
Speaker 3: vision for what the video should be, but because here

645
00:33:00,320 --> 00:33:03,120
Speaker 3: are some animations we know how to do, or that

646
00:33:03,160 --> 00:33:05,880
Speaker 3: we've already put together and we can just sort of

647
00:33:05,920 --> 00:33:09,280
Speaker 3: slot them in here, which could explain things like the

648
00:33:09,680 --> 00:33:12,120
Speaker 3: hard woman doing telekinesis on bowls.

649
00:33:14,080 --> 00:33:16,840
Speaker 4: Yes, no, I fully agree with you, and I think

650
00:33:16,840 --> 00:33:20,400
Speaker 4: it also it also explains some of his wardrobe choices. So,

651
00:33:20,520 --> 00:33:24,440
Speaker 4: for example, a tank top is much easier to animate

652
00:33:24,880 --> 00:33:27,160
Speaker 4: because you don't need to show the cloth of the

653
00:33:27,200 --> 00:33:30,600
Speaker 4: shoulder of an arm actually interacting with the cloth of

654
00:33:30,680 --> 00:33:33,080
Speaker 4: like the body of like the jacket or whatever. Oh

655
00:33:33,080 --> 00:33:35,760
Speaker 4: my god, it's much easier, much easier, And in fact,

656
00:33:35,760 --> 00:33:37,680
Speaker 4: I think that explains why he's also kind of a

657
00:33:37,720 --> 00:33:41,680
Speaker 4: wireframe as opposed to a full blown three D figure, because, like,

658
00:33:42,000 --> 00:33:45,720
Speaker 4: especially when digital animation, when an arm, leg, head, neck,

659
00:33:45,760 --> 00:33:48,720
Speaker 4: whatever is moving, one of the hardest parts is disguising

660
00:33:48,800 --> 00:33:52,320
Speaker 4: the clipping of the arm, you know, physical three D

661
00:33:52,480 --> 00:33:56,560
Speaker 4: form going inside of the actual shoulder blade or or

662
00:33:56,600 --> 00:33:58,840
Speaker 4: you know whatever. You don't want it to look like

663
00:33:59,160 --> 00:34:02,120
Speaker 4: there's a bunch of poly gun interacting and splicing into

664
00:34:02,120 --> 00:34:04,120
Speaker 4: one another. You want to you want to hide it.

665
00:34:04,360 --> 00:34:07,120
Speaker 4: So if they just have this, you know, neon stick

666
00:34:07,240 --> 00:34:10,640
Speaker 4: man with with a with a basketball jersey, they don't

667
00:34:10,680 --> 00:34:12,880
Speaker 4: have to hide any of that. It can be just

668
00:34:13,040 --> 00:34:15,880
Speaker 4: that is what's happening. And almost like in do you

669
00:34:15,880 --> 00:34:17,680
Speaker 4: guys remember that video game ray Man? Do you guys

670
00:34:17,680 --> 00:34:20,720
Speaker 4: remember that guy? Remember he has no arms and no legs,

671
00:34:20,760 --> 00:34:23,600
Speaker 4: but he has hands and feet, And that's for the

672
00:34:23,640 --> 00:34:27,520
Speaker 4: same purpose. So you can just animate those hands gesticulating

673
00:34:27,560 --> 00:34:30,960
Speaker 4: everything that's happening, full of life, full of energy. But

674
00:34:30,960 --> 00:34:33,880
Speaker 4: you don't have to worry about that arm accidentally clipping

675
00:34:33,960 --> 00:34:36,440
Speaker 4: into the body and ruining the illusion of life.

676
00:34:36,680 --> 00:34:36,880
Speaker 2: You know.

677
00:34:38,080 --> 00:34:40,240
Speaker 3: Now, I'm so glad we have you here for this insights.

678
00:34:40,320 --> 00:34:40,920
Speaker 2: Yeah.

679
00:34:41,040 --> 00:34:44,840
Speaker 4: And then in addition to that, I would presume that

680
00:34:44,880 --> 00:34:48,600
Speaker 4: this Adobe village was already on some animator's hard drive,

681
00:34:48,880 --> 00:34:51,080
Speaker 4: that they had built it either as like a test

682
00:34:51,360 --> 00:34:54,560
Speaker 4: of the capabilities their software, or perhaps they had another

683
00:34:54,719 --> 00:34:58,239
Speaker 4: production in mind. I can say from my own personal experience,

684
00:34:59,080 --> 00:35:02,320
Speaker 4: there was a forest scene that I was animating for

685
00:35:02,400 --> 00:35:06,080
Speaker 4: a music video, and to draw something from scratch obviously

686
00:35:06,320 --> 00:35:08,400
Speaker 4: takes a lot of time of forest. This was a

687
00:35:08,400 --> 00:35:11,800
Speaker 4: pine forest, so lots of little, you know, crackly edges

688
00:35:11,840 --> 00:35:14,040
Speaker 4: of course, to every single tree, et cetera, et cetera.

689
00:35:14,400 --> 00:35:16,920
Speaker 4: By the time I finished with it, around the same time,

690
00:35:16,960 --> 00:35:19,480
Speaker 4: I also needed an album cover that I was working on,

691
00:35:19,800 --> 00:35:22,000
Speaker 4: and there was a tattoo that I was designing, and

692
00:35:22,040 --> 00:35:25,879
Speaker 4: I thought, hey, this is all three now, and one

693
00:35:25,960 --> 00:35:30,000
Speaker 4: thing I drew became elements of all three of those projects.

694
00:35:30,480 --> 00:35:33,520
Speaker 4: Because I had it on hand, it fits and I

695
00:35:33,520 --> 00:35:36,040
Speaker 4: had already done the work, and I think a lot

696
00:35:36,080 --> 00:35:39,000
Speaker 4: of animators do that, and I would bet that that's

697
00:35:39,000 --> 00:35:40,279
Speaker 4: what happened in this video too.

698
00:35:40,840 --> 00:35:43,319
Speaker 3: So the video for hard Woman is sort of like

699
00:35:43,360 --> 00:35:48,200
Speaker 3: a cleaning out of the drafts folder in the animation process.

700
00:35:48,080 --> 00:35:48,600
Speaker 5: I would think.

701
00:35:48,640 --> 00:35:52,120
Speaker 3: So, yeah, well, I don't know how clear we were

702
00:35:52,120 --> 00:35:56,440
Speaker 3: about this already, but this is absolutely computer animation, and

703
00:35:56,480 --> 00:36:01,360
Speaker 3: that's very pivotal. Because this is nineteen eighty five. Computer

704
00:36:01,400 --> 00:36:05,280
Speaker 3: animation was not very advanced at this point. This video

705
00:36:05,400 --> 00:36:09,480
Speaker 3: is roughly contemporary with the also computer animated video for

706
00:36:09,560 --> 00:36:13,879
Speaker 3: Dire Straits Money for Nothing, which also looks terrible, and

707
00:36:14,400 --> 00:36:17,000
Speaker 3: on a strict technical level, I would say that the

708
00:36:17,040 --> 00:36:20,680
Speaker 3: animation for hard Woman is actually better, but I think

709
00:36:20,760 --> 00:36:24,600
Speaker 3: the result somehow is an even stranger video experience.

710
00:36:25,120 --> 00:36:28,200
Speaker 2: Yeah, the I mean Money for Nothing. I mean, I

711
00:36:28,239 --> 00:36:30,200
Speaker 2: think you can easily make a case for it being

712
00:36:30,320 --> 00:36:32,920
Speaker 2: a better song, even if, oh yeah, some of the

713
00:36:33,000 --> 00:36:38,440
Speaker 2: lyrics are gross, but it's it's it's one of those

714
00:36:38,520 --> 00:36:42,440
Speaker 2: videos that that if you grew up watching MTV and

715
00:36:42,600 --> 00:36:46,319
Speaker 2: VH one, Money for Nothing was always like put out

716
00:36:46,400 --> 00:36:50,399
Speaker 2: there next to Video Killed the Radio Star as being

717
00:36:50,440 --> 00:36:53,400
Speaker 2: an example of like the look at the treasures in

718
00:36:53,440 --> 00:36:56,320
Speaker 2: our vault, like, look at look at this fabulous video.

719
00:36:56,719 --> 00:36:59,839
Speaker 2: So you you kind of like, I don't even think

720
00:36:59,880 --> 00:37:04,239
Speaker 2: of that being bad animation in Money for nothing, not

721
00:37:04,320 --> 00:37:06,160
Speaker 2: that I've watched it in a very long time, but

722
00:37:06,200 --> 00:37:09,880
Speaker 2: I was kind of programmed by the channels to believe

723
00:37:09,920 --> 00:37:10,520
Speaker 2: in it, you know.

724
00:37:11,560 --> 00:37:14,000
Speaker 4: Robert, will you be sharing links to these videos on

725
00:37:14,080 --> 00:37:15,719
Speaker 4: somemmutomusic dot com.

726
00:37:16,040 --> 00:37:17,879
Speaker 2: Yes, I will, and make sure I have them all

727
00:37:17,920 --> 00:37:22,120
Speaker 2: embedded on a post there at semuta music dot com.

728
00:37:22,239 --> 00:37:25,799
Speaker 4: I would highly recommend people check out this video. In fact,

729
00:37:26,239 --> 00:37:28,640
Speaker 4: both these videos we've talked about so far, I had

730
00:37:28,640 --> 00:37:32,640
Speaker 4: only seen the shortened version of the Duran Durand video.

731
00:37:33,000 --> 00:37:36,359
Speaker 4: Seeing the full length version really is special. It's it's

732
00:37:36,400 --> 00:37:38,719
Speaker 4: a it's a treat, it's an epic. And then this

733
00:37:38,840 --> 00:37:42,880
Speaker 4: video too. I felt like I understood what this video was,

734
00:37:43,239 --> 00:37:46,000
Speaker 4: but until Joe shared it, It's.

735
00:37:47,480 --> 00:37:48,040
Speaker 5: It's wild.

736
00:37:48,480 --> 00:37:51,399
Speaker 3: Yeah, can I read a brief? So I was trying

737
00:37:51,400 --> 00:37:53,400
Speaker 3: to find something about the production of this video, and

738
00:37:53,440 --> 00:37:55,759
Speaker 3: I found a short write up in PC mag by

739
00:37:56,120 --> 00:37:59,560
Speaker 3: k Thor Jensen that talks a little bit about the

740
00:38:00,120 --> 00:38:04,560
Speaker 3: processing power that went into making this gym. Jensen writes quote.

741
00:38:04,680 --> 00:38:07,640
Speaker 3: CBS Records was eager to get the first ever solo

742
00:38:07,719 --> 00:38:10,759
Speaker 3: album from Rolling Stones frontman Mick Jagger, and part of

743
00:38:10,800 --> 00:38:13,640
Speaker 3: the deal was a sizeable budget for music videos to

744
00:38:13,719 --> 00:38:16,960
Speaker 3: promote She's the Boss Again. That was the album. The

745
00:38:17,000 --> 00:38:20,560
Speaker 3: clip for the single hard Woman was in nineteen eighty five,

746
00:38:20,760 --> 00:38:25,040
Speaker 3: one of the most expensive music videos ever produced, in

747
00:38:25,080 --> 00:38:29,080
Speaker 3: part because of its advanced technology. Animators John Whitney Junior

748
00:38:29,120 --> 00:38:33,000
Speaker 3: and Gary Dimos, along with ex Disney animator Bill Kroyer,

749
00:38:33,560 --> 00:38:38,879
Speaker 3: used a kray x MP supercomputer. At the time, there

750
00:38:38,880 --> 00:38:43,200
Speaker 3: were only six units in operation, with five being permanently

751
00:38:43,239 --> 00:38:46,719
Speaker 3: in the employe of the US government and the defence industry.

752
00:38:47,280 --> 00:38:50,680
Speaker 3: They used this computer to create a Southwestern Adobe house

753
00:38:50,680 --> 00:38:53,640
Speaker 3: for a pair of Pastel line CGI figures to dance

754
00:38:53,680 --> 00:38:58,960
Speaker 3: through with Jagger's visage composited into a flying diamond. Is

755
00:38:59,000 --> 00:39:00,400
Speaker 3: it in the diamond? I think I thought it was

756
00:39:00,440 --> 00:39:02,799
Speaker 3: in the vase? Like that, his face shows up on

757
00:39:02,840 --> 00:39:08,320
Speaker 3: a vase and then expands, Yeah, it looks unbelievably bad.

758
00:39:09,000 --> 00:39:10,759
Speaker 3: And I do want to make clear I'm not just

759
00:39:10,920 --> 00:39:13,480
Speaker 3: here to rag on really bad music videos today. My

760
00:39:13,520 --> 00:39:15,719
Speaker 3: next piece is going to be on a music video

761
00:39:15,719 --> 00:39:18,400
Speaker 3: that I really love but but I guess that's it

762
00:39:18,440 --> 00:39:21,000
Speaker 3: for me and for Hard Woman, unless you guys have

763
00:39:21,040 --> 00:39:22,000
Speaker 3: anything else to add.

764
00:39:22,160 --> 00:39:23,880
Speaker 2: My only question is, Joe, do you think all this

765
00:39:23,920 --> 00:39:26,600
Speaker 2: could have been fixed if they released an arena edition?

766
00:39:27,760 --> 00:39:32,279
Speaker 3: Yeah, Hard Woman, it had some more automotive crucifixion in it.

767
00:39:32,360 --> 00:39:34,320
Speaker 2: Yeah. Well, if we just had like five more minutes

768
00:39:34,360 --> 00:39:35,520
Speaker 2: of this, it would all make sense.

769
00:39:35,880 --> 00:39:39,680
Speaker 3: Yeah. But I think, especially now with Seth's insights, I

770
00:39:39,680 --> 00:39:42,799
Speaker 3: feel like I really understand this one. This video is

771
00:39:42,960 --> 00:39:45,680
Speaker 3: just a calamity that must be witnessed.

772
00:39:46,239 --> 00:39:46,479
Speaker 5: Now.

773
00:39:46,600 --> 00:39:49,120
Speaker 2: The thing is with with your selection, Joe. I can

774
00:39:49,200 --> 00:39:52,239
Speaker 2: understand why I never saw it because of the problems

775
00:39:52,600 --> 00:39:56,680
Speaker 2: inherent in it, but I'm really surprised that I have

776
00:39:56,880 --> 00:40:01,200
Speaker 2: never seen Seth's selection, not even like a like Beavis

777
00:40:01,200 --> 00:40:02,560
Speaker 2: and butt Head. It seems like that would have been

778
00:40:02,600 --> 00:40:05,200
Speaker 2: prime TERRITORYD because they watched a lot of weird music videos.

779
00:40:05,200 --> 00:40:07,279
Speaker 2: But Seth, go ahead and tell everybody about this one,

780
00:40:07,320 --> 00:40:08,680
Speaker 2: because this this suckers weird.

781
00:40:09,440 --> 00:40:12,240
Speaker 4: I was so so happy that when we first started

782
00:40:12,239 --> 00:40:14,160
Speaker 4: talking about this that you two had told me you

783
00:40:14,200 --> 00:40:18,120
Speaker 4: had never seen this before, because I think everyone who

784
00:40:18,160 --> 00:40:21,359
Speaker 4: loves this video feels like a sort of like a

785
00:40:21,680 --> 00:40:24,680
Speaker 4: personal kind of like debt that must be paid by

786
00:40:24,719 --> 00:40:28,200
Speaker 4: sharing it with everyone else in the world because it

787
00:40:28,239 --> 00:40:32,359
Speaker 4: does feel so incredibly special to me. So the video

788
00:40:32,480 --> 00:40:35,840
Speaker 4: itself is called Possibly in Michigan, but the song is

789
00:40:35,880 --> 00:40:38,759
Speaker 4: called Animal Cannibal by Karen Sklatteny.

790
00:40:39,200 --> 00:40:41,799
Speaker 1: How do I Meet the strangest men?

791
00:40:42,320 --> 00:40:44,600
Speaker 3: They always seem to find me?

792
00:40:45,560 --> 00:40:48,359
Speaker 5: Remember that time way back when I.

793
00:40:48,840 --> 00:40:52,560
Speaker 4: Kid and the year was nineteen eighty three. So the

794
00:40:52,560 --> 00:40:54,759
Speaker 4: director of this video was actually the person who kind

795
00:40:54,800 --> 00:40:57,600
Speaker 4: of like put it all together. Her name was Cecilia Condit,

796
00:40:58,160 --> 00:41:01,640
Speaker 4: and more or less, she is artist. She makes video art,

797
00:41:01,760 --> 00:41:04,680
Speaker 4: visual art, et cetera, et cetera. In fact, she used

798
00:41:04,680 --> 00:41:08,840
Speaker 4: to be the director of graduate Studies in the Department

799
00:41:08,880 --> 00:41:12,280
Speaker 4: of Film, Video Animation and New Genres at the University

800
00:41:12,320 --> 00:41:16,000
Speaker 4: of Wisconsin, Milwaukee and also a professor at the school.

801
00:41:16,239 --> 00:41:19,879
Speaker 4: So I mean she knows exactly what she's doing, and

802
00:41:20,160 --> 00:41:24,680
Speaker 4: in fact, if you go into her filmography, she's made

803
00:41:24,840 --> 00:41:28,440
Speaker 4: many videos along the same lines of this video. But

804
00:41:28,440 --> 00:41:29,960
Speaker 4: I guess I should kind of explain what it is

805
00:41:30,000 --> 00:41:33,680
Speaker 4: before we get to too much deeper. Here's a description

806
00:41:33,760 --> 00:41:38,000
Speaker 4: of the video from Electronic Arts Intermix, which is a

807
00:41:38,080 --> 00:41:40,840
Speaker 4: host of a lot of her video works on the Internet.

808
00:41:41,040 --> 00:41:41,360
Speaker 2: Okay.

809
00:41:42,320 --> 00:41:46,760
Speaker 4: Possibly in Michigan is an operatic fairy tale of cannibalism, desire,

810
00:41:47,040 --> 00:41:50,680
Speaker 4: and dread in Middle America. A densely collaged narrative in

811
00:41:50,719 --> 00:41:54,000
Speaker 4: which beauty meets the beast in the surreal landscape of

812
00:41:54,040 --> 00:41:57,480
Speaker 4: shopping mall suburbia, two women with a pension for violence

813
00:41:57,480 --> 00:42:01,279
Speaker 4: and perfume take revenge on their animal mass male persecutor.

814
00:42:02,160 --> 00:42:06,280
Speaker 4: In this contemporary rendering of Gothic enchantment, victim becomes aggressor

815
00:42:06,400 --> 00:42:11,120
Speaker 4: and the familiar becomes the fantastic Condit reworks popular narrative conventions,

816
00:42:11,200 --> 00:42:16,040
Speaker 4: using black humor, singsong, dialogue, and ironically gruesome images, constructing

817
00:42:16,080 --> 00:42:20,480
Speaker 4: a comically grim fairy tale of dreamlike pursuit and sexual violence.

818
00:42:21,360 --> 00:42:25,680
Speaker 4: She inverts traditional Freudian metaphors to impart a subversive voice

819
00:42:25,960 --> 00:42:29,959
Speaker 4: to her transgressive heroines. Quote I bite at the hand

820
00:42:29,960 --> 00:42:33,160
Speaker 4: that feeds me end quote. Possibly in Michigan is a

821
00:42:33,200 --> 00:42:37,480
Speaker 4: classic tale of psychosexual horror, retold as an irreverent fantasy

822
00:42:37,600 --> 00:42:38,080
Speaker 4: of the other.

823
00:42:38,600 --> 00:42:41,240
Speaker 3: I think you could look at this as a short

824
00:42:41,360 --> 00:42:44,440
Speaker 3: subversive slasher film set to music.

825
00:42:44,880 --> 00:42:50,080
Speaker 4: Yeah, yeah, but the music is so odd. In such

826
00:42:50,080 --> 00:42:53,360
Speaker 4: an appealing way. Oh yeah, it's so good because this

827
00:42:53,440 --> 00:42:56,760
Speaker 4: was nineteen eighty three. It's got a very synth heavy

828
00:42:56,880 --> 00:43:01,719
Speaker 4: soundtrack to this. The artist we mentioned before, Karen Sclatteny.

829
00:43:01,840 --> 00:43:04,520
Speaker 4: She is the writer of the song. She also is

830
00:43:04,560 --> 00:43:09,279
Speaker 4: one of the stars inside this music video. Basically, there

831
00:43:09,320 --> 00:43:13,759
Speaker 4: are two women, Jill Sands and Karen Sclattiny, and then

832
00:43:13,800 --> 00:43:16,920
Speaker 4: they are being followed by an odd man in a

833
00:43:17,120 --> 00:43:22,359
Speaker 4: very strange mask played by Bill Bloom. And here's how

834
00:43:22,400 --> 00:43:24,120
Speaker 4: I was introduced to this video, which I think helps

835
00:43:24,160 --> 00:43:27,560
Speaker 4: explain it. Someone sent this to me and said, hey,

836
00:43:27,600 --> 00:43:29,520
Speaker 4: do you like tim and Eric And I said yes,

837
00:43:29,920 --> 00:43:33,040
Speaker 4: and they said, then you should like this, and they

838
00:43:33,080 --> 00:43:34,839
Speaker 4: sent it to me and that was all I knew

839
00:43:34,840 --> 00:43:37,440
Speaker 4: to begin with. And it has that feel. It has

840
00:43:37,480 --> 00:43:40,040
Speaker 4: the feel of a timineric sketch, except for the fact

841
00:43:40,080 --> 00:43:43,440
Speaker 4: that it's real. You know that this is an actual

842
00:43:43,520 --> 00:43:46,320
Speaker 4: thing that was put out into the world, made for enjoyment.

843
00:43:47,000 --> 00:43:50,240
Speaker 4: And let's see, Joe, you and I were talking about

844
00:43:50,600 --> 00:43:55,000
Speaker 4: basically the difference between something made intentionally bad versus something

845
00:43:55,000 --> 00:43:57,880
Speaker 4: that is just kind of bad. Sure, I feel like

846
00:43:58,400 --> 00:44:03,040
Speaker 4: because she has executed this version of creepy and strange

847
00:44:03,160 --> 00:44:05,280
Speaker 4: and so many of her other videos, which I highly

848
00:44:05,280 --> 00:44:08,440
Speaker 4: suggest that people should go check them out. I think

849
00:44:08,480 --> 00:44:10,840
Speaker 4: she knows exactly what she's doing. I think she is, perhaps,

850
00:44:10,960 --> 00:44:16,840
Speaker 4: oh yeah, leaning into the creepier aspects of her limited

851
00:44:16,840 --> 00:44:24,160
Speaker 4: budget and limited perhaps technological you know, tools at her availability,

852
00:44:24,200 --> 00:44:26,600
Speaker 4: and so she's leaning into those things. So like when

853
00:44:27,120 --> 00:44:30,719
Speaker 4: they're telling the story of a poodle being microwaved and

854
00:44:30,760 --> 00:44:33,640
Speaker 4: then they cut to like a woman tearing apart a chicken,

855
00:44:34,440 --> 00:44:38,280
Speaker 4: It's like, I see what you're doing, and your it works.

856
00:44:38,360 --> 00:44:41,320
Speaker 4: You're You're making me feel creeped out to this entire time.

857
00:44:42,080 --> 00:44:45,239
Speaker 4: And I'd like to hear your guys' opinions. What did

858
00:44:45,280 --> 00:44:47,560
Speaker 4: you think seeing this for the first time, I.

859
00:44:47,920 --> 00:44:50,279
Speaker 3: Thought this video is a home run. I thought it

860
00:44:50,320 --> 00:44:53,279
Speaker 3: was fantastic. Yeah, I see exactly what you're saying with

861
00:44:53,320 --> 00:44:57,200
Speaker 3: the Tim and Eric type sensibility that a humor based

862
00:44:57,239 --> 00:45:02,279
Speaker 3: on awkwardness and very limited commitment to the reality of

863
00:45:02,360 --> 00:45:08,399
Speaker 3: the premise, but executed with an infectiously enjoyable style. So yeah,

864
00:45:08,600 --> 00:45:09,960
Speaker 3: I would call this a home run.

865
00:45:10,600 --> 00:45:13,279
Speaker 2: I see, I see what you're saying with the Tim

866
00:45:13,280 --> 00:45:15,480
Speaker 2: and Eric comparison, and I do enjoy some of the

867
00:45:15,560 --> 00:45:18,600
Speaker 2: humor of Tim and Eric, But it's like with with

868
00:45:18,600 --> 00:45:20,880
Speaker 2: with Tim and Eric, like they're going to throw the

869
00:45:20,920 --> 00:45:24,000
Speaker 2: cabbages into the audience, you know, and and this film

870
00:45:24,080 --> 00:45:27,040
Speaker 2: keeps the cabbages on stage, if that makes sense. So

871
00:45:27,320 --> 00:45:29,800
Speaker 2: this feels a little more to me like Self Contained

872
00:45:29,880 --> 00:45:32,239
Speaker 2: is a piece that you can find humor in but

873
00:45:32,320 --> 00:45:38,640
Speaker 2: also has an inherent seriousness to it, you know. So

874
00:45:39,400 --> 00:45:41,160
Speaker 2: I really liked it, and it has it does have

875
00:45:41,200 --> 00:45:43,520
Speaker 2: a lot of disturbing imagery in it in a way

876
00:45:43,560 --> 00:45:45,760
Speaker 2: that I think a lot of people would not expect

877
00:45:45,800 --> 00:45:49,239
Speaker 2: from a music video because I you know, you know,

878
00:45:49,239 --> 00:45:51,480
Speaker 2: it's having done most of my music videos in the nineties,

879
00:45:52,360 --> 00:45:54,319
Speaker 2: I think of stuff like Dean Carr when I think

880
00:45:54,360 --> 00:45:59,239
Speaker 2: of disturbing moments in music videos, which is very has

881
00:45:59,280 --> 00:46:01,879
Speaker 2: a different energy. It's a little more throwing cabbages into

882
00:46:01,920 --> 00:46:05,960
Speaker 2: the audience versus this. But yeah, this is great. Like

883
00:46:06,000 --> 00:46:09,160
Speaker 2: I say, I'm kind of surprised this did this ever

884
00:46:09,200 --> 00:46:09,920
Speaker 2: air on MTV.

885
00:46:10,360 --> 00:46:13,440
Speaker 4: I can't imagine it did. Here here's a brief history

886
00:46:13,520 --> 00:46:16,120
Speaker 4: of this kind of making it into the world. So

887
00:46:17,640 --> 00:46:20,360
Speaker 4: I'm sure in nineteen eighty three it probably like played

888
00:46:20,360 --> 00:46:22,600
Speaker 4: the art house scene, played the gallery scene, you know,

889
00:46:22,800 --> 00:46:25,920
Speaker 4: like it stayed to the art world. But in nineteen

890
00:46:26,000 --> 00:46:30,040
Speaker 4: eighty five, suddenly this was put on The seven hundred Club.

891
00:46:30,400 --> 00:46:32,200
Speaker 4: Do you guys, you guys more or less know what

892
00:46:32,239 --> 00:46:33,840
Speaker 4: that is, right, It's like, yeah.

893
00:46:33,520 --> 00:46:35,120
Speaker 3: Chris pat robertson, right, Yes.

894
00:46:35,000 --> 00:46:37,720
Speaker 4: Chris Christian centric talk show, you know, giving out news

895
00:46:37,719 --> 00:46:38,880
Speaker 4: and advice and all that stuff.

896
00:46:38,880 --> 00:46:39,920
Speaker 3: Complaining about culture.

897
00:46:40,000 --> 00:46:42,360
Speaker 2: Yeah, oh okay. They didn't do like a music video

898
00:46:42,360 --> 00:46:46,279
Speaker 2: section where they're like this music videos today, here's here's no.

899
00:46:46,400 --> 00:46:48,880
Speaker 3: I think a standard part of that type of media

900
00:46:49,080 --> 00:46:51,920
Speaker 3: is complaining about other media, saying like, can you imagine

901
00:46:51,960 --> 00:46:54,759
Speaker 3: how you can look at how depraved this music video

902
00:46:54,840 --> 00:46:55,719
Speaker 3: or TV show is?

903
00:46:56,040 --> 00:46:56,719
Speaker 2: Oh? I see.

904
00:46:56,800 --> 00:46:59,439
Speaker 4: So the first time that this, this this short film,

905
00:46:59,480 --> 00:47:02,319
Speaker 4: this music made it on television was on The seven

906
00:47:02,440 --> 00:47:04,920
Speaker 4: hundred Club. As they were doing exactly what Jojo said.

907
00:47:05,320 --> 00:47:10,000
Speaker 4: They were particularly upset by the fact that this used

908
00:47:10,760 --> 00:47:13,319
Speaker 4: funds from the National Endowment for the Arts and the

909
00:47:13,360 --> 00:47:16,040
Speaker 4: Ohio Arts Council because she was living in Cleveland at

910
00:47:16,040 --> 00:47:21,160
Speaker 4: the time, and the director, Cecilia Condit and so they

911
00:47:21,200 --> 00:47:23,719
Speaker 4: played it and they like freeze framed on that part

912
00:47:23,760 --> 00:47:26,799
Speaker 4: in the credit it's like, look at this government spending.

913
00:47:27,200 --> 00:47:32,000
Speaker 4: You know, this was during that moral panic Reagan era,

914
00:47:32,200 --> 00:47:34,560
Speaker 4: you know, where anything that was provocative with art, in

915
00:47:34,600 --> 00:47:39,240
Speaker 4: particular government funded art was just unheard of and needed

916
00:47:39,280 --> 00:47:41,400
Speaker 4: to be tisked, tisked and all that kind of stuff.

917
00:47:41,440 --> 00:47:44,920
Speaker 4: So I think that's where it first got attention, was

918
00:47:44,960 --> 00:47:46,920
Speaker 4: as a, oh, we need to ban this.

919
00:47:47,200 --> 00:47:47,440
Speaker 5: You know.

920
00:47:48,760 --> 00:47:51,440
Speaker 3: I find it hard to imagine that the pat Robert

921
00:47:51,520 --> 00:47:54,920
Speaker 3: Synkroud also would really sort of like would really get

922
00:47:54,960 --> 00:47:56,680
Speaker 3: this video right.

923
00:47:56,920 --> 00:47:59,560
Speaker 4: Yes, because caause I mean, like you said too, it

924
00:47:59,600 --> 00:48:03,800
Speaker 4: is very similar to just a standard horror film in structure,

925
00:48:03,920 --> 00:48:06,840
Speaker 4: you know, and not too dissimilar from the standard like

926
00:48:06,920 --> 00:48:11,040
Speaker 4: DIY kind of bootleg cassette kind of thing that you

927
00:48:11,040 --> 00:48:13,799
Speaker 4: would get and just be fascinated with in a pure

928
00:48:13,840 --> 00:48:18,719
Speaker 4: cinematic sense too. The story continues. So that was when

929
00:48:18,719 --> 00:48:20,440
Speaker 4: it first kind of broke into the world, was in

930
00:48:20,520 --> 00:48:23,000
Speaker 4: nineteen eighty five on the seven hundred Club, and then

931
00:48:23,040 --> 00:48:25,520
Speaker 4: you know, it went away, as all things do, and

932
00:48:25,560 --> 00:48:29,360
Speaker 4: then on Reddit in around the early twenty tens, suddenly

933
00:48:29,400 --> 00:48:34,600
Speaker 4: you started being passed around again, and it was kind

934
00:48:34,640 --> 00:48:38,320
Speaker 4: of I'm not sure I entirely understand when the youth,

935
00:48:38,440 --> 00:48:41,560
Speaker 4: when the young culture gen z refers to things as

936
00:48:41,640 --> 00:48:44,759
Speaker 4: cursed you guys have heard this and seen this around before.

937
00:48:45,200 --> 00:48:47,040
Speaker 2: Yeah, I've seen it on Reddit before.

938
00:48:47,280 --> 00:48:50,399
Speaker 4: I can't say I entirely understand the meaning behind when

939
00:48:50,400 --> 00:48:52,640
Speaker 4: someone says that something is cursed. Perhaps they mean that

940
00:48:52,680 --> 00:48:55,480
Speaker 4: it like it sticks with you, or that like it

941
00:48:55,520 --> 00:48:57,239
Speaker 4: now has become a part of you, whether you want

942
00:48:57,239 --> 00:49:00,319
Speaker 4: it to or not, and it's inside of you.

943
00:49:00,760 --> 00:49:03,280
Speaker 2: But anyway, that's what I always think. I always imagine

944
00:49:03,719 --> 00:49:06,640
Speaker 2: like a different ring video, right that would have this

945
00:49:06,719 --> 00:49:09,480
Speaker 2: in it. Instead of like strange wells and people with

946
00:49:09,760 --> 00:49:13,280
Speaker 2: towels pointing at things, it would be clips from stuff

947
00:49:13,320 --> 00:49:13,600
Speaker 2: like this.

948
00:49:14,000 --> 00:49:16,120
Speaker 3: I could be wrong, but my impression of the meaning

949
00:49:16,160 --> 00:49:20,200
Speaker 3: of cursed is that it is a stimulus which provokes

950
00:49:20,280 --> 00:49:23,839
Speaker 3: a strong negative response, but one that is difficult to

951
00:49:23,960 --> 00:49:28,160
Speaker 3: explain the reasoning behind. So you can't just say, like,

952
00:49:28,360 --> 00:49:31,600
Speaker 3: you know, oh, strong negative response because it's violent or

953
00:49:31,640 --> 00:49:34,520
Speaker 3: because you know the standard things. It's a kind of

954
00:49:34,760 --> 00:49:36,880
Speaker 3: difficult to define revulsion.

955
00:49:37,520 --> 00:49:40,040
Speaker 4: I like all these definitions. But that's how it first

956
00:49:40,040 --> 00:49:42,640
Speaker 4: started making its rounds on reddits, was as a quote

957
00:49:42,680 --> 00:49:45,840
Speaker 4: unquote cursed video that the folks would pass around and

958
00:49:45,880 --> 00:49:47,160
Speaker 4: show to each other, and it got a lot of

959
00:49:47,160 --> 00:49:51,000
Speaker 4: popularity on there, and then very recently. I'm talking about

960
00:49:51,000 --> 00:49:55,160
Speaker 4: twenty nineteen. Part of this video, specifically, part of the

961
00:49:55,200 --> 00:50:00,359
Speaker 4: audio soundtrack for it, became extremely popular on TikTok And

962
00:50:01,600 --> 00:50:04,400
Speaker 4: do you know the part where okay, so the video begins,

963
00:50:04,480 --> 00:50:07,279
Speaker 4: you see the stalker man following the two women as

964
00:50:07,320 --> 00:50:10,000
Speaker 4: the song is playing, you know, and then at a

965
00:50:10,000 --> 00:50:12,120
Speaker 4: certain point whenever they have a lot of just kind

966
00:50:12,160 --> 00:50:14,759
Speaker 4: of like in between dialogue in this music video, they

967
00:50:14,760 --> 00:50:15,880
Speaker 4: often sing it.

968
00:50:15,800 --> 00:50:17,040
Speaker 5: In a very strange way.

969
00:50:17,120 --> 00:50:18,719
Speaker 3: Oh yeah, my favorite parts.

970
00:50:18,800 --> 00:50:19,640
Speaker 5: Yeah, absolutely.

971
00:50:19,719 --> 00:50:22,000
Speaker 4: So one of the first instances of that, they're standing

972
00:50:22,040 --> 00:50:24,680
Speaker 4: at a perfume calendar and they're like, it's like here

973
00:50:24,719 --> 00:50:25,360
Speaker 4: it is.

974
00:50:25,440 --> 00:50:27,160
Speaker 5: That's my favorite perfume.

975
00:50:28,360 --> 00:50:32,520
Speaker 4: Like all those parts that audio has been clipped out

976
00:50:32,920 --> 00:50:36,719
Speaker 4: and reused as these like reoccurring trends and challenges on

977
00:50:36,760 --> 00:50:43,239
Speaker 4: TikTok so. Currently as of now, at least, the hashtag

978
00:50:43,400 --> 00:50:47,920
Speaker 4: possibly in Michigan has over twelve million views on TikTok

979
00:50:48,200 --> 00:50:51,440
Speaker 4: Oh wow, And I've watched some of these. They're fascinating. So, Like,

980
00:50:51,480 --> 00:50:56,480
Speaker 4: for example, a big reoccurring theme I saw was discussing shoplifting.

981
00:50:56,960 --> 00:51:00,200
Speaker 4: So while they're saying like it's like I'll wait for

982
00:51:00,480 --> 00:51:05,080
Speaker 4: you buy the door now it's my favorite perfume. And

983
00:51:05,360 --> 00:51:09,000
Speaker 4: like the children will like lip sync these words as

984
00:51:09,040 --> 00:51:11,880
Speaker 4: they're like kind of miming stealing something from Sephora, Like

985
00:51:11,920 --> 00:51:15,799
Speaker 4: that's that's something very strange. And then if you have

986
00:51:15,840 --> 00:51:18,799
Speaker 4: like an unconventional favorite scent, like let's say you're, oh,

987
00:51:18,840 --> 00:51:21,880
Speaker 4: I don't know at like a car wash and like

988
00:51:21,920 --> 00:51:25,040
Speaker 4: that hot wax smell is coming while you're washing your car,

989
00:51:25,360 --> 00:51:27,480
Speaker 4: and then they'll mime it's going, that's.

990
00:51:27,320 --> 00:51:29,320
Speaker 5: My favorite perfume.

991
00:51:30,360 --> 00:51:33,640
Speaker 4: Like that's that becomes a reoccurring theme, like in that

992
00:51:33,760 --> 00:51:39,760
Speaker 4: standard TikTok and social media of videos. It has become

993
00:51:40,000 --> 00:51:42,440
Speaker 4: like mutated again and again and again to have all

994
00:51:42,480 --> 00:51:46,440
Speaker 4: these different meanings in different uses, all from this very

995
00:51:46,480 --> 00:51:49,480
Speaker 4: strange video. And I saw in an interview with the

996
00:51:49,719 --> 00:51:53,080
Speaker 4: director Cecilia kndit and she's ecstatic about this. She loves it.

997
00:51:53,160 --> 00:51:55,359
Speaker 4: She's like, this is this is great. It's like I'm

998
00:51:55,600 --> 00:51:57,879
Speaker 4: I'm very happy that the kids are having a good time.

999
00:51:57,960 --> 00:52:00,840
Speaker 4: I love this video too good automn.

1000
00:52:01,560 --> 00:52:03,399
Speaker 3: Well, it makes me want to check out her other work.

1001
00:52:03,840 --> 00:52:06,840
Speaker 4: You'll enjoy anyone who looks up any Cecilia Conda. It

1002
00:52:06,920 --> 00:52:11,000
Speaker 4: all has this same vibe and in fact, she has

1003
00:52:11,080 --> 00:52:13,200
Speaker 4: been and was doing. She may be retired now I

1004
00:52:13,239 --> 00:52:15,000
Speaker 4: read something that said she was retired, so I don't know.

1005
00:52:15,400 --> 00:52:18,680
Speaker 4: But she's been making videos for I'm going to say

1006
00:52:18,680 --> 00:52:21,879
Speaker 4: thirty years at least. The most modern ones, the ones

1007
00:52:21,920 --> 00:52:25,280
Speaker 4: made in like the two thousands, still feel like this video,

1008
00:52:25,440 --> 00:52:29,160
Speaker 4: which is astonishing, like all brand new technology, brand new

1009
00:52:29,200 --> 00:52:32,319
Speaker 4: subject matter, but has this same vibe to it. So

1010
00:52:32,440 --> 00:52:34,000
Speaker 4: I couldn't recommend to hire.

1011
00:52:34,239 --> 00:52:36,440
Speaker 3: I demand that we devote at least thirty percent of

1012
00:52:36,480 --> 00:52:40,640
Speaker 3: the federal budget to Cecilia Condit videos. Take that seven

1013
00:52:40,760 --> 00:52:51,760
Speaker 3: hundred club? All right, is it time for our second round?

1014
00:52:52,120 --> 00:52:57,399
Speaker 2: All right? The second video I chose. So basically, I'd

1015
00:52:57,400 --> 00:52:59,600
Speaker 2: be kidding myself if I didn't include a Tool video

1016
00:52:59,680 --> 00:53:02,799
Speaker 2: in my picks, because I'm a longtime Tool fan, and

1017
00:53:02,880 --> 00:53:06,839
Speaker 2: the visual artistry associated with the band, you know, has

1018
00:53:06,880 --> 00:53:12,120
Speaker 2: always been essential to the entire enterprise, you know, certainly

1019
00:53:12,200 --> 00:53:16,360
Speaker 2: in promoting the early material and helping it find an audience,

1020
00:53:16,400 --> 00:53:17,680
Speaker 2: and then it has continued to be part of just

1021
00:53:17,719 --> 00:53:23,120
Speaker 2: sort of the artistic expression of the band, particularly as

1022
00:53:23,160 --> 00:53:25,920
Speaker 2: as far as Adam Jones is concerned. He's the guitar

1023
00:53:25,960 --> 00:53:28,960
Speaker 2: player of Tool, has always been a member of Tool,

1024
00:53:29,440 --> 00:53:33,239
Speaker 2: and he's really the driving force behind music videos, visuals,

1025
00:53:33,480 --> 00:53:37,640
Speaker 2: in anything visual associated with the band, and so I

1026
00:53:37,719 --> 00:53:39,799
Speaker 2: had to choose one of them. So I went with

1027
00:53:40,760 --> 00:53:56,040
Speaker 2: Parabola from two thousand and five. Yeah. Yeah, it's a

1028
00:53:56,120 --> 00:54:00,399
Speaker 2: Tool song directed by Adam Jones of the band. Though

1029
00:54:00,400 --> 00:54:04,440
Speaker 2: it's interesting in that, as is typical with most Tool videos,

1030
00:54:04,719 --> 00:54:07,719
Speaker 2: the band is not seen in the video at all.

1031
00:54:08,080 --> 00:54:10,279
Speaker 2: Not only is the band not in this video, but

1032
00:54:10,360 --> 00:54:13,960
Speaker 2: someone from another band is in the video instead, Tricky,

1033
00:54:14,560 --> 00:54:16,840
Speaker 2: the UK trip hop artist.

1034
00:54:17,080 --> 00:54:20,240
Speaker 3: That's interesting. Yeah, usually aren't there. Video is just mostly

1035
00:54:20,280 --> 00:54:23,640
Speaker 3: populated by kind of non human like stop motion critters.

1036
00:54:24,280 --> 00:54:28,359
Speaker 2: Yeah, yeah, especially like the first two were directed by

1037
00:54:28,400 --> 00:54:31,560
Speaker 2: a guy named Fred Sturr, and they have a very distinctive,

1038
00:54:31,719 --> 00:54:37,560
Speaker 2: you know, dark stop motion animation style. It's familiar if

1039
00:54:37,600 --> 00:54:39,799
Speaker 2: anyone's familiar with like the Brothers, K and so forth.

1040
00:54:39,840 --> 00:54:42,040
Speaker 2: It's very much in that, in that style.

1041
00:54:42,160 --> 00:54:44,200
Speaker 3: I was always thinking it would be funny if they

1042
00:54:44,200 --> 00:54:46,279
Speaker 3: were trying to sell that Tool wine and they had

1043
00:54:46,280 --> 00:54:48,440
Speaker 3: a commercial for the vineyard, but it was in that

1044
00:54:48,960 --> 00:54:53,200
Speaker 3: animation style, so I had like little bandage creatures harvesting

1045
00:54:53,239 --> 00:54:54,360
Speaker 3: the grapes and all that.

1046
00:54:54,640 --> 00:54:57,120
Speaker 2: Well, you have to remember, Maynard is the wine guy,

1047
00:54:57,280 --> 00:55:00,280
Speaker 2: and he has very little to do with the actual

1048
00:55:00,440 --> 00:55:03,000
Speaker 2: visual presentation of the band.

1049
00:55:03,120 --> 00:55:05,720
Speaker 3: So okay, yeah, sorry, I've been tool schooled.

1050
00:55:06,200 --> 00:55:10,239
Speaker 2: Yeah, but yeah. Adam Jones very interesting guy because he's

1051
00:55:10,239 --> 00:55:12,880
Speaker 2: a great musician but also a visual artist in a

1052
00:55:12,880 --> 00:55:16,080
Speaker 2: former special effects guy who worked with Stan Winston on

1053
00:55:16,120 --> 00:55:19,040
Speaker 2: a number of films. So all told, his credits include

1054
00:55:19,280 --> 00:55:22,240
Speaker 2: The Return of the Living Dead, Nightmares on Elm Street,

1055
00:55:22,239 --> 00:55:27,000
Speaker 2: four and five, Pet Cemetery, Ghostbuster two, Predator two, Terminator two,

1056
00:55:27,800 --> 00:55:31,960
Speaker 2: Batman Returns, Edward Scissorhan's Jurassic Park, and he did makeup

1057
00:55:32,400 --> 00:55:34,759
Speaker 2: on two films. I know, I've seen one of these

1058
00:55:34,760 --> 00:55:38,080
Speaker 2: and you've seen the other. Nineteen eighty nine's Doctor Caligari

1059
00:55:38,400 --> 00:55:40,680
Speaker 2: virtually nothing to do with the original Doctor Calgary. This

1060
00:55:40,760 --> 00:55:44,239
Speaker 2: is a kind of a weird, erotic art film. And

1061
00:55:44,239 --> 00:55:46,000
Speaker 2: then nineteen nineties Demon Wind.

1062
00:55:46,200 --> 00:55:48,520
Speaker 3: Ooh, Demon Wind. That is not a good movie, but

1063
00:55:48,600 --> 00:55:50,759
Speaker 3: it does have some good demon fight scenes in it.

1064
00:55:51,480 --> 00:55:51,800
Speaker 2: Ood.

1065
00:55:52,160 --> 00:55:54,880
Speaker 3: It has some martial arts where people are kicking the devil.

1066
00:55:55,480 --> 00:56:01,799
Speaker 2: Nice. So this film, I'm this well music video. Rather,

1067
00:56:02,120 --> 00:56:05,120
Speaker 2: it has a number of wonderful weird elements in it.

1068
00:56:05,160 --> 00:56:09,080
Speaker 2: Starts off with some like electron microscope weirdness, like something's

1069
00:56:09,080 --> 00:56:12,319
Speaker 2: going on at a micro level. And then you have

1070
00:56:12,360 --> 00:56:15,640
Speaker 2: this strange altar tended by a group of weird humanoids

1071
00:56:15,640 --> 00:56:18,719
Speaker 2: and suits who first slice open a gray apple with

1072
00:56:18,760 --> 00:56:21,960
Speaker 2: a sacred knife to reveal occult secrets within it, and

1073
00:56:22,600 --> 00:56:25,760
Speaker 2: then they ignite flames from their fingertips, levitate and regurd

1074
00:56:25,800 --> 00:56:27,960
Speaker 2: to heate a black circle on the table. And this

1075
00:56:28,040 --> 00:56:31,200
Speaker 2: is probably my favorite sequence in pretty much any music

1076
00:56:31,280 --> 00:56:35,760
Speaker 2: video because it's just so weird and divorced from anything

1077
00:56:35,840 --> 00:56:36,800
Speaker 2: of the natural world.

1078
00:56:37,040 --> 00:56:40,040
Speaker 3: Yeah, they're just like vomiting this black slime out of

1079
00:56:40,040 --> 00:56:42,600
Speaker 3: their mouths that makes geometric shapes. I guess it's a

1080
00:56:42,640 --> 00:56:45,279
Speaker 3: circle at first, but then we get more geometry. I

1081
00:56:45,320 --> 00:56:47,560
Speaker 3: was thinking in this video. It reminded me of like

1082
00:56:47,680 --> 00:56:50,880
Speaker 3: something like art that would be created by the cult

1083
00:56:50,920 --> 00:56:54,799
Speaker 3: of the Pythagoreans, you know, the kind of weird sacred geometry.

1084
00:56:55,520 --> 00:56:58,399
Speaker 2: Yeah, I think there's a lot of that in tools Work,

1085
00:56:58,640 --> 00:57:02,360
Speaker 2: the sacred geometry stuff. I guess they're kind of summoning

1086
00:57:02,400 --> 00:57:05,400
Speaker 2: these weird spheres that are a part of the plot

1087
00:57:05,960 --> 00:57:08,360
Speaker 2: in this because basically, you know, with Tricky playing an

1088
00:57:08,400 --> 00:57:12,480
Speaker 2: alien humanoid with eyeball antennas who's menaced by these gray

1089
00:57:12,560 --> 00:57:16,840
Speaker 2: floating balls. And he has a little homunculous friend in

1090
00:57:16,880 --> 00:57:20,120
Speaker 2: a pulsating iron mask, and this is stop motion animated,

1091
00:57:20,120 --> 00:57:23,000
Speaker 2: and it looks looks awesome, but it's trying to help him,

1092
00:57:23,040 --> 00:57:25,200
Speaker 2: but then it gets eaten by the balls or killed

1093
00:57:25,200 --> 00:57:28,400
Speaker 2: by the balls, and then Tricky has to bisect the

1094
00:57:28,920 --> 00:57:33,040
Speaker 2: little homunculus. And then eventually Tricky grabs a leaf in

1095
00:57:33,080 --> 00:57:36,080
Speaker 2: a like a sacred forest and he like elevates to

1096
00:57:36,120 --> 00:57:38,960
Speaker 2: a higher human form and has this psychedelic awakening that

1097
00:57:39,040 --> 00:57:43,560
Speaker 2: defeats the gray spheres forever. And that's pretty much the

1098
00:57:43,760 --> 00:57:45,280
Speaker 2: sort of plot of the film, but it does have

1099
00:57:45,360 --> 00:57:47,000
Speaker 2: kind of like a narrative art flow to it.

1100
00:57:47,720 --> 00:57:50,520
Speaker 3: I really enjoyed the part where it explores what if

1101
00:57:50,560 --> 00:57:52,080
Speaker 3: my eyelids had tentacles?

1102
00:57:52,720 --> 00:57:54,920
Speaker 2: Yeah, that's it's essential.

1103
00:57:57,280 --> 00:57:59,680
Speaker 3: So I think you guys both know that I always

1104
00:57:59,760 --> 00:58:02,920
Speaker 3: I'm I'm a real sucker for stop motion animation. I

1105
00:58:02,960 --> 00:58:05,720
Speaker 3: love the Ray Harry Howsen monsters and all that. And

1106
00:58:06,120 --> 00:58:09,840
Speaker 3: I'm pretty sure that most of Adam Jones' video work

1107
00:58:09,920 --> 00:58:12,680
Speaker 3: is heavy unstop motion effects, unless I'm wrong.

1108
00:58:14,240 --> 00:58:18,840
Speaker 2: Maybe the more the very recent videos have relied less

1109
00:58:18,880 --> 00:58:21,840
Speaker 2: on that and more on digital effects, but certainly, like

1110
00:58:22,040 --> 00:58:26,080
Speaker 2: all the stuff in the nineties and then and into

1111
00:58:26,120 --> 00:58:29,600
Speaker 2: the current millennium a little bit as well, have had

1112
00:58:29,640 --> 00:58:32,320
Speaker 2: some sort of stop motion element. Yeah, because it makes

1113
00:58:32,320 --> 00:58:36,520
Speaker 2: sense because his roots are in the practical effects world,

1114
00:58:36,680 --> 00:58:38,840
Speaker 2: you know. Oh and I should also point out that

1115
00:58:38,880 --> 00:58:42,720
Speaker 2: the ending sequence in this utilizes the artwork of Alex Gray.

1116
00:58:43,520 --> 00:58:46,960
Speaker 2: So it's yeah, it's wonderful. This is a I think

1117
00:58:46,960 --> 00:58:49,360
Speaker 2: I have this one on DVD. All right, Joe, what

1118
00:58:49,360 --> 00:58:50,040
Speaker 2: do you have for us?

1119
00:58:50,680 --> 00:58:53,960
Speaker 3: Okay? So I wanted to stick to the nineteen eighties

1120
00:58:54,440 --> 00:58:56,600
Speaker 3: because that just feels right for some reason. But I

1121
00:58:56,600 --> 00:58:59,160
Speaker 3: wanted to go in the opposite direction from Hard Woman

1122
00:58:59,240 --> 00:59:02,800
Speaker 3: that was very much a failure. I love you, Mick Jagger,

1123
00:59:02,800 --> 00:59:07,000
Speaker 3: but that horrible and normy weird. Now I want to

1124
00:59:07,040 --> 00:59:11,600
Speaker 3: go like straight hard weird with a classic, well known

1125
00:59:11,680 --> 00:59:15,960
Speaker 3: but still supremely bizarre music video for an excellent hit

1126
00:59:16,080 --> 00:59:19,240
Speaker 3: song that is clearly straining with all of its might

1127
00:59:19,360 --> 00:59:22,000
Speaker 3: to be as weird as it possibly can and succeeding

1128
00:59:22,040 --> 00:59:26,400
Speaker 3: to the max. And so the artist Herbie Hancock the

1129
00:59:26,520 --> 00:59:30,200
Speaker 3: year nineteen eighty three, the classic video for the song

1130
00:59:30,360 --> 00:59:44,920
Speaker 3: Rocket I see the directing credit usually seems to go

1131
00:59:44,920 --> 00:59:48,479
Speaker 3: to Kevin Godley, but I think maybe it was Kevin

1132
00:59:48,520 --> 00:59:52,320
Speaker 3: Godley together with Lol Cream, who had both been members

1133
00:59:52,400 --> 00:59:55,040
Speaker 3: of they'd been part of a rock duo together, and

1134
00:59:55,080 --> 00:59:58,480
Speaker 3: they had both been members of ten CC. But if

1135
00:59:58,520 --> 01:00:01,720
Speaker 3: you've never watched the video for Rocket, I mean, I

1136
01:00:01,800 --> 01:00:03,480
Speaker 3: think a lot of people who grew up in the

1137
01:00:03,600 --> 01:00:05,520
Speaker 3: in the eighties are familiar with they saw it at

1138
01:00:05,520 --> 01:00:07,520
Speaker 3: some point, But if you've never seen it, you should

1139
01:00:07,640 --> 01:00:10,680
Speaker 3: check this one out. This is just tops for me.

1140
01:00:11,480 --> 01:00:11,800
Speaker 2: It is.

1141
01:00:12,440 --> 01:00:15,080
Speaker 3: It's a great song to begin with. It's an instrumental

1142
01:00:15,120 --> 01:00:18,200
Speaker 3: track by Herbie Hancock, but it is. The video is

1143
01:00:18,240 --> 01:00:20,800
Speaker 3: a house. I think it's one of these these you

1144
01:00:20,840 --> 01:00:24,200
Speaker 3: know British houses that were common in the eighties, full

1145
01:00:24,400 --> 01:00:29,480
Speaker 3: of mutilated, throbbing department store mannequins having like seizures and

1146
01:00:29,520 --> 01:00:33,840
Speaker 3: these kind of suicidal dance moves where they're slamming their

1147
01:00:33,880 --> 01:00:37,600
Speaker 3: body parts against things in various stages of dress. They've

1148
01:00:37,640 --> 01:00:40,800
Speaker 3: all got some kind of weird underwear on, and Herbie

1149
01:00:40,840 --> 01:00:44,800
Speaker 3: Hancock only appearing on a TV screen within the video,

1150
01:00:45,320 --> 01:00:48,080
Speaker 3: like Professor Bryan Oblivion from Videodrome.

1151
01:00:49,080 --> 01:00:52,360
Speaker 2: It also reminds me of the failed cyborgs and RoboCop two.

1152
01:00:52,640 --> 01:00:54,800
Speaker 2: Yes you see, like tearing their own heads off stuff.

1153
01:00:54,960 --> 01:00:58,320
Speaker 3: Yes, yeah, yeah, suicide robots all throughout. It just like

1154
01:00:58,400 --> 01:01:02,640
Speaker 3: slamming into things and I don't know. This video is

1155
01:01:02,760 --> 01:01:06,680
Speaker 3: absolute madness, but it's so good. It's a great song.

1156
01:01:06,760 --> 01:01:08,520
Speaker 3: It's a great video, at least in my point of view.

1157
01:01:08,520 --> 01:01:11,720
Speaker 3: Of course, I'll hear your guys thoughts. But apparently it

1158
01:01:11,760 --> 01:01:15,600
Speaker 3: was inspired when Kevin Gottley and lol Cream saw an

1159
01:01:15,840 --> 01:01:19,439
Speaker 3: art gallery exhibit of pneumatic robots by an artist named

1160
01:01:19,480 --> 01:01:21,880
Speaker 3: Jim Whiting, and they were like, huh, I wonder if

1161
01:01:21,920 --> 01:01:23,960
Speaker 3: we can put these in a video. And so you

1162
01:01:24,080 --> 01:01:26,920
Speaker 3: end up with like legs without a body, just doing

1163
01:01:26,960 --> 01:01:30,880
Speaker 3: these chorus line kicks, and you get, you know, head

1164
01:01:31,000 --> 01:01:33,920
Speaker 3: slamming into things like this sort of mannequin body in

1165
01:01:33,960 --> 01:01:37,920
Speaker 3: a bed doing like the Exorcist flops, and then legs

1166
01:01:37,960 --> 01:01:41,200
Speaker 3: walking through a room without a body. I know, I'm

1167
01:01:41,200 --> 01:01:44,640
Speaker 3: forgetting things. This bizarre bird creature sort of pecking through

1168
01:01:44,640 --> 01:01:45,200
Speaker 3: a window.

1169
01:01:45,480 --> 01:01:48,760
Speaker 2: Oh yeah, and the lady with the weird goggle eyes.

1170
01:01:49,200 --> 01:01:51,360
Speaker 3: Oh my god. It's so good and it just like

1171
01:01:51,440 --> 01:01:55,160
Speaker 3: doesn't stop. Like every moment of this video is too

1172
01:01:55,160 --> 01:01:58,080
Speaker 3: the max weird and I feel like has not been superseded.

1173
01:01:58,120 --> 01:02:00,440
Speaker 3: I mean, people have tried to make really weirdos in

1174
01:02:00,480 --> 01:02:03,960
Speaker 3: the decade since, and this one still is like King

1175
01:02:04,000 --> 01:02:04,800
Speaker 3: in the Mountain for me.

1176
01:02:05,240 --> 01:02:07,640
Speaker 4: Another thing that I find very fascinating about this video

1177
01:02:07,920 --> 01:02:10,320
Speaker 4: is that, to my memory and to my knowledge, this

1178
01:02:10,440 --> 01:02:12,200
Speaker 4: is a very popular video.

1179
01:02:12,680 --> 01:02:12,960
Speaker 3: Yeah.

1180
01:02:13,040 --> 01:02:15,439
Speaker 4: When people discuss like the best music videos of all time,

1181
01:02:15,480 --> 01:02:18,439
Speaker 4: favorite music videos, this one comes up often, and I'm

1182
01:02:19,440 --> 01:02:22,040
Speaker 4: with you, Joe. I think it's absolutely beautiful and really

1183
01:02:22,080 --> 01:02:25,880
Speaker 4: strange and fascinating, and like there's always something new to discover,

1184
01:02:26,040 --> 01:02:27,920
Speaker 4: Like just by like staring at a different corner of

1185
01:02:27,960 --> 01:02:30,400
Speaker 4: the screen on your next viewing, you're gonna see like, oh,

1186
01:02:30,400 --> 01:02:33,280
Speaker 4: are those some like you know, odd robot lungs up there?

1187
01:02:33,320 --> 01:02:37,280
Speaker 5: What's happening? And I'm always.

1188
01:02:37,040 --> 01:02:41,960
Speaker 4: Very pleased when something very very strange sneaks into mainstream

1189
01:02:42,040 --> 01:02:45,040
Speaker 4: popular culture and just gets beloved. I think it's rare

1190
01:02:45,120 --> 01:02:45,800
Speaker 4: but wonderful.

1191
01:02:46,280 --> 01:02:49,480
Speaker 3: I think it won all kinds of like MTV awards,

1192
01:02:49,560 --> 01:02:51,680
Speaker 3: MTV Video Awards. I don't know what those things are,

1193
01:02:51,720 --> 01:02:55,000
Speaker 3: but you know, like popular, it was it was considered

1194
01:02:55,120 --> 01:02:58,240
Speaker 3: popular entertainment, not like stuff for weirdos.

1195
01:02:58,600 --> 01:03:01,600
Speaker 4: But also, but on paper, it's an instrumental track. Herbie

1196
01:03:01,600 --> 01:03:05,720
Speaker 4: Hancock is an electronic you know, I guess I'll call

1197
01:03:05,760 --> 01:03:08,000
Speaker 4: him a jazz musician, but I'm sure he's much more

1198
01:03:08,040 --> 01:03:10,040
Speaker 4: complex in his own description.

1199
01:03:09,720 --> 01:03:11,320
Speaker 3: Of himself transcends genres.

1200
01:03:11,520 --> 01:03:15,080
Speaker 4: Yeah, but like, on paper, that doesn't make any sense

1201
01:03:15,280 --> 01:03:20,040
Speaker 4: that there's a supremely weird, pneumadic robot music video of

1202
01:03:20,120 --> 01:03:24,840
Speaker 4: this instrumental electronic jazz song and it's beloved and it's

1203
01:03:24,920 --> 01:03:28,040
Speaker 4: the greatest, and it's everywhere and it wins awards.

1204
01:03:28,600 --> 01:03:29,520
Speaker 5: That's fantastic.

1205
01:03:29,600 --> 01:03:30,200
Speaker 2: It's so rare.

1206
01:03:30,240 --> 01:03:34,040
Speaker 3: Yeah, yeah, totally. I was actually watching an interview with

1207
01:03:34,040 --> 01:03:36,840
Speaker 3: Herbie Hancock where he talks about this video, and he

1208
01:03:36,960 --> 01:03:39,560
Speaker 3: pointed out something that I didn't notice the first time.

1209
01:03:39,560 --> 01:03:41,520
Speaker 3: But he's absolutely right, he says, you know, beyond just

1210
01:03:41,560 --> 01:03:44,280
Speaker 3: all the weirdness and the throbbing robots, there are these

1211
01:03:44,360 --> 01:03:48,440
Speaker 3: interesting video effects choices that actually synchronize with the audio

1212
01:03:48,520 --> 01:03:52,240
Speaker 3: and heighten the impact of the song. Like Hancock himself

1213
01:03:52,240 --> 01:03:54,720
Speaker 3: points out that at the parts of the song where

1214
01:03:54,720 --> 01:03:57,920
Speaker 3: there are record scratches in the track, the video actually

1215
01:03:57,960 --> 01:04:00,960
Speaker 3: does a synchronized tape rey one in de fact with

1216
01:04:01,080 --> 01:04:04,080
Speaker 3: the record scratches that sort of like, I don't know,

1217
01:04:04,400 --> 01:04:06,080
Speaker 3: redoubles the effect of the music.

1218
01:04:06,440 --> 01:04:09,080
Speaker 4: Yeah, I think I noticed this too. I think it's

1219
01:04:09,160 --> 01:04:11,520
Speaker 4: very noticeable in a spot where you said, there's the

1220
01:04:11,640 --> 01:04:14,200
Speaker 4: legs without a body walking through a room, and the

1221
01:04:15,680 --> 01:04:17,800
Speaker 4: do do like the legs kind of start moving forward

1222
01:04:17,840 --> 01:04:20,200
Speaker 4: and start moving backward because the tape. Oh kind of

1223
01:04:20,240 --> 01:04:24,880
Speaker 4: like in the the Star Wars Holiday special when the

1224
01:04:25,080 --> 01:04:29,080
Speaker 4: repair Robots is kind of glitching, but much much better.

1225
01:04:31,080 --> 01:04:32,880
Speaker 3: Oh, Harvey Korman, Oh no.

1226
01:04:34,240 --> 01:04:36,160
Speaker 2: I think one of the really interesting things about this

1227
01:04:36,280 --> 01:04:39,560
Speaker 2: music video is that, like I mean, I'm not super

1228
01:04:39,640 --> 01:04:42,040
Speaker 2: versed in Herbie Hancock, but I don't think of Herbie

1229
01:04:42,040 --> 01:04:45,800
Speaker 2: Hancocks a weird artist. So this music video, you know,

1230
01:04:45,800 --> 01:04:47,919
Speaker 2: a very accomplished artist and one that one whose work

1231
01:04:48,000 --> 01:04:51,760
Speaker 2: again transcends genres. But like this, this music video at

1232
01:04:51,760 --> 01:04:55,080
Speaker 2: once feels appropriate but also far weirder than it needs

1233
01:04:55,120 --> 01:04:58,360
Speaker 2: to be in a way that reminds me a little

1234
01:04:58,360 --> 01:05:00,680
Speaker 2: bit of the music videos of Peter Gabriel, where you know,

1235
01:05:00,720 --> 01:05:03,400
Speaker 2: Peter Gabriel, I mean, is definitely a weirder guy and

1236
01:05:03,440 --> 01:05:06,880
Speaker 2: has definitely has roots and more performance artists type stuff.

1237
01:05:07,200 --> 01:05:09,120
Speaker 2: But a lot of times I feel like his music

1238
01:05:09,160 --> 01:05:13,480
Speaker 2: videos were far weirder than the sonic material that they grew.

1239
01:05:13,320 --> 01:05:16,760
Speaker 4: Out of, right Land of Confusion being chief among them.

1240
01:05:16,840 --> 01:05:18,880
Speaker 4: That guys, remember that one with all the Puppets?

1241
01:05:19,240 --> 01:05:21,640
Speaker 2: Is that a Genesis? One that might have been Phil

1242
01:05:21,640 --> 01:05:23,960
Speaker 2: Collins era, but it definitely is a great example, yes,

1243
01:05:24,080 --> 01:05:27,760
Speaker 2: of a music video that's far weirder than it needed

1244
01:05:27,760 --> 01:05:28,840
Speaker 2: to be for the song.

1245
01:05:28,760 --> 01:05:32,320
Speaker 4: You're right right, that was Phil Collins eara Genesis, You're

1246
01:05:32,320 --> 01:05:33,080
Speaker 4: absolutely right.

1247
01:05:33,840 --> 01:05:35,800
Speaker 3: Before we move on, I know we were gonna mention

1248
01:05:35,840 --> 01:05:38,160
Speaker 3: a few runners up. Do you guys mind if I

1249
01:05:38,200 --> 01:05:39,280
Speaker 3: just mentioned a couple real.

1250
01:05:39,240 --> 01:05:40,560
Speaker 5: Quick, please go for it?

1251
01:05:40,720 --> 01:05:43,240
Speaker 3: Okay. So one category that I'd like to go for

1252
01:05:43,440 --> 01:05:47,320
Speaker 3: is what I would call minimalist weird, and that is,

1253
01:05:47,680 --> 01:05:51,640
Speaker 3: can a can a music video be supremely weird without

1254
01:05:51,800 --> 01:05:54,960
Speaker 3: being crammed with all kinds of stuff going on, all

1255
01:05:55,040 --> 01:05:58,160
Speaker 3: kinds of like wild animations and robots going berserk and

1256
01:05:58,200 --> 01:06:01,360
Speaker 3: all that. Can a music video be extremely weird with

1257
01:06:02,280 --> 01:06:05,120
Speaker 3: not much more than a straightforward performance? And I think

1258
01:06:05,160 --> 01:06:07,760
Speaker 3: the answer is yes. I Mean, one example of this

1259
01:06:07,840 --> 01:06:10,960
Speaker 3: I was thinking about is that there's some PJ. Harvey

1260
01:06:11,520 --> 01:06:14,520
Speaker 3: video from the nineties that's just her singing into the camera,

1261
01:06:14,600 --> 01:06:17,240
Speaker 3: but it has like profoundly bizarre image, right, I think

1262
01:06:17,240 --> 01:06:20,400
Speaker 3: it's the video for Man's Size. But then there's another

1263
01:06:20,440 --> 01:06:23,320
Speaker 3: one that I was just watching the other day, which

1264
01:06:23,360 --> 01:06:27,000
Speaker 3: is Grace Jones music video for I've Seen That Face

1265
01:06:27,080 --> 01:06:30,720
Speaker 3: Before Libertango, which is a fantastic song to begin with,

1266
01:06:31,200 --> 01:06:33,760
Speaker 3: you know, a great creepy song with sort of like

1267
01:06:33,800 --> 01:06:38,040
Speaker 3: a French musical influences, and the video is not cluttered

1268
01:06:38,040 --> 01:06:40,520
Speaker 3: with all kinds of stuff going on. It's actually mostly

1269
01:06:40,640 --> 01:06:44,560
Speaker 3: just a very straightforward performance into the camera. It does

1270
01:06:44,600 --> 01:06:47,240
Speaker 3: have some cool sort of costume props, I'm not sure

1271
01:06:47,240 --> 01:06:48,680
Speaker 3: what you'd call them. At the beginning of the video,

1272
01:06:49,040 --> 01:06:53,400
Speaker 3: Grace Jones has these huge, brightly colored pyramids attached to

1273
01:06:53,520 --> 01:06:56,760
Speaker 3: her face, forming like facial features, so like one is

1274
01:06:56,800 --> 01:06:59,600
Speaker 3: like a beard and one as a nose and one

1275
01:06:59,640 --> 01:07:05,440
Speaker 3: at And yet this music video manages to have this fantastic,

1276
01:07:05,560 --> 01:07:10,520
Speaker 3: transcendently weird energy just through the music. In Jones' performance,

1277
01:07:10,920 --> 01:07:13,800
Speaker 3: Grace Jones is one of the greatest. I mean, she

1278
01:07:14,280 --> 01:07:17,840
Speaker 3: is definitely a still living David Bowie.

1279
01:07:17,400 --> 01:07:17,600
Speaker 5: You know.

1280
01:07:17,840 --> 01:07:18,840
Speaker 2: Yeah, she's electric.

1281
01:07:19,280 --> 01:07:19,680
Speaker 3: Yeah.

1282
01:07:19,840 --> 01:07:23,440
Speaker 4: Actually, to make reference to Record Store Society, the episode

1283
01:07:23,480 --> 01:07:28,959
Speaker 4: that published last week, the week Before this episode, Grace

1284
01:07:29,080 --> 01:07:32,320
Speaker 4: Jones was in my co host Tara's top five concerts

1285
01:07:32,360 --> 01:07:35,120
Speaker 4: she ever seen and she had ever seen, and the

1286
01:07:35,160 --> 01:07:40,840
Speaker 4: description of that concert sounds absolutely amazing, and uh yeah

1287
01:07:40,880 --> 01:07:41,560
Speaker 4: Grace Jones.

1288
01:07:41,680 --> 01:07:44,120
Speaker 3: Wow, yeah, I bet seeing her live would be awesome

1289
01:07:44,520 --> 01:07:48,560
Speaker 3: because yeah, she has transfixing like wizard power in her

1290
01:07:48,600 --> 01:07:54,680
Speaker 3: eyes in this video, like otherworldly, very very cool, and

1291
01:07:54,720 --> 01:07:56,640
Speaker 3: so that's worth checking out. But the other one I

1292
01:07:56,640 --> 01:07:59,640
Speaker 3: would tie in so so that that's minimalist weird. The

1293
01:07:59,760 --> 01:08:01,920
Speaker 3: last one I would say is movie tie in weird,

1294
01:08:02,160 --> 01:08:04,760
Speaker 3: weird by the presence of elements from a movie. That's

1295
01:08:04,920 --> 01:08:07,400
Speaker 3: that the song is tying in with. There, I gotta

1296
01:08:07,480 --> 01:08:10,600
Speaker 3: go with Prince bat Dance. I know this is not

1297
01:08:10,720 --> 01:08:14,080
Speaker 3: among Prince's greatest musical output. Of course I love Prince,

1298
01:08:14,320 --> 01:08:18,160
Speaker 3: but this song, you know, the Batman soundtrack, I think

1299
01:08:18,280 --> 01:08:22,559
Speaker 3: is pretty widely considered maybe the nadir of the Prince arc.

1300
01:08:22,720 --> 01:08:26,880
Speaker 3: But nevertheless, this video is just bananas, and the video

1301
01:08:27,680 --> 01:08:29,160
Speaker 3: really elevates the song.

1302
01:08:30,000 --> 01:08:31,880
Speaker 2: This is where he's half Batman, half Joker.

1303
01:08:32,040 --> 01:08:35,960
Speaker 3: Yes, right, he's like Joker but simultaneously Joker and two

1304
01:08:35,960 --> 01:08:39,080
Speaker 3: Face because he's divided down the middle. Even though two

1305
01:08:39,160 --> 01:08:41,479
Speaker 3: Face is not in the Batman movie that was being

1306
01:08:41,479 --> 01:08:44,720
Speaker 3: promoted here, and and he's also sort of Batman like

1307
01:08:44,760 --> 01:08:47,360
Speaker 3: he's doing his music, but he appears to be doing

1308
01:08:47,439 --> 01:08:50,120
Speaker 3: it at like the console in the bat Cave, so

1309
01:08:50,160 --> 01:08:52,160
Speaker 3: he's also sort of Bruce Wayne in the bat Cave.

1310
01:08:52,560 --> 01:08:55,400
Speaker 3: And then there are dancers dressed up as bats and

1311
01:08:55,560 --> 01:08:58,960
Speaker 3: dancers dressed up as Kim Basinger from the movie. And

1312
01:08:59,160 --> 01:09:03,680
Speaker 3: it is very, very very odd and weirdly erotic in

1313
01:09:03,720 --> 01:09:07,920
Speaker 3: a way that Batman is not. It's I mean, I

1314
01:09:07,920 --> 01:09:10,360
Speaker 3: guess even the worst print song is better than most

1315
01:09:10,400 --> 01:09:13,519
Speaker 3: other music, but it takes some of Prince's lesser musical

1316
01:09:13,560 --> 01:09:17,200
Speaker 3: work and really takes it to a level that's highly entertaining.

1317
01:09:17,680 --> 01:09:19,679
Speaker 2: He had some great music videos, for sure. Yeah.

1318
01:09:19,760 --> 01:09:22,559
Speaker 4: I feel the need to interject though, in that two

1319
01:09:22,600 --> 01:09:25,479
Speaker 4: Face was in a very small way in that movie

1320
01:09:25,920 --> 01:09:28,200
Speaker 4: because we had Billy d Williams playing Harvey's right.

1321
01:09:28,400 --> 01:09:29,120
Speaker 2: Yes, that's right.

1322
01:09:29,200 --> 01:09:29,840
Speaker 3: Yeah.

1323
01:09:30,080 --> 01:09:32,559
Speaker 4: I was actually really looking forward to that version of

1324
01:09:32,640 --> 01:09:34,920
Speaker 4: two Face, and we eventually got it in the Lego

1325
01:09:34,960 --> 01:09:36,760
Speaker 4: Batman movie, but it was just a.

1326
01:09:36,680 --> 01:09:37,960
Speaker 2: Brief Oh that's right, we did.

1327
01:09:38,680 --> 01:09:41,760
Speaker 4: It was a very brief element. But still I was glad.

1328
01:09:42,000 --> 01:09:43,880
Speaker 4: I was glad that Billy D Williams finally got to

1329
01:09:43,880 --> 01:09:44,679
Speaker 4: play two face.

1330
01:09:45,240 --> 01:09:48,960
Speaker 2: Finally some payoff for that. Yeah, well, I already mentioned

1331
01:09:48,960 --> 01:09:51,920
Speaker 2: my runners up, I think because one of them was

1332
01:09:51,960 --> 01:09:56,599
Speaker 2: that puppet Master's video DJ Muggs directed by Dean Carr.

1333
01:09:56,680 --> 01:09:58,840
Speaker 2: Another one I had was a Peter Gabriel video Shock

1334
01:09:58,880 --> 01:10:02,719
Speaker 2: the Monkey and a the other one was Rockwell's Somebody's

1335
01:10:02,720 --> 01:10:05,680
Speaker 2: Watching Me directed by Francis Dahlia. But we have one

1336
01:10:05,720 --> 01:10:08,920
Speaker 2: more full fledged selection to go here, and that's your

1337
01:10:08,960 --> 01:10:09,960
Speaker 2: second selection set.

1338
01:10:10,280 --> 01:10:13,720
Speaker 4: This one feels to me like it's the most obvious

1339
01:10:13,800 --> 01:10:16,360
Speaker 4: selection if someone were to say to me, hey, what's

1340
01:10:16,400 --> 01:10:17,599
Speaker 4: a strange music video?

1341
01:10:17,760 --> 01:10:17,840
Speaker 2: Like?

1342
01:10:17,880 --> 01:10:24,120
Speaker 4: To me, this is like when it comes to quality, execution, timelessness,

1343
01:10:24,560 --> 01:10:27,200
Speaker 4: the quality of the song too. I have to go

1344
01:10:27,280 --> 01:10:41,559
Speaker 4: with Come to Daddy by AFX twin. This was a

1345
01:10:41,600 --> 01:10:44,599
Speaker 4: Chris Cunningham video. Chris Cunningham was another one of those

1346
01:10:44,640 --> 01:10:48,799
Speaker 4: directors that had a DVD in the director's label DVD

1347
01:10:48,920 --> 01:10:53,200
Speaker 4: box Sets, and it's so good if you've never seen it.

1348
01:10:53,520 --> 01:10:56,439
Speaker 4: Here here's a quick version of the story. So there's

1349
01:10:56,800 --> 01:10:59,439
Speaker 4: an elderly woman and she's walking her dog in a

1350
01:10:59,520 --> 01:11:02,280
Speaker 4: rundown industrial setting. Because of course it's a music video,

1351
01:11:02,560 --> 01:11:06,920
Speaker 4: as we discussed, must be industrial. Her dog urinates on

1352
01:11:07,000 --> 01:11:10,160
Speaker 4: a television and then suddenly you see Richard D. James

1353
01:11:10,280 --> 01:11:16,040
Speaker 4: AKAAFX Twin in the television screen. The screen then kind

1354
01:11:16,040 --> 01:11:20,040
Speaker 4: of changes and mutates, and then a very pale, very tall,

1355
01:11:20,240 --> 01:11:25,400
Speaker 4: very thin being crawls out of the screen. He summons

1356
01:11:25,400 --> 01:11:28,840
Speaker 4: a gang of children, all with Richard D. James's face,

1357
01:11:29,400 --> 01:11:32,040
Speaker 4: and they all just kind of wreck havoc, running around,

1358
01:11:32,240 --> 01:11:35,000
Speaker 4: hitting things with sticks, yelling in the old lady's face.

1359
01:11:36,520 --> 01:11:39,880
Speaker 4: Just very very strange. Things just happen back to back

1360
01:11:39,920 --> 01:11:42,640
Speaker 4: to back, and yet it doesn't feel random, and it

1361
01:11:42,680 --> 01:11:47,160
Speaker 4: doesn't feel cheap. It feels very well planned, very well executed.

1362
01:11:47,280 --> 01:11:50,920
Speaker 4: Like the production values on this are extremely high, and

1363
01:11:51,439 --> 01:11:54,479
Speaker 4: you don't really see the gaps anywhere. Even this many

1364
01:11:54,520 --> 01:11:56,400
Speaker 4: years later. I believe this was a nineteen ninety seven

1365
01:11:56,520 --> 01:11:59,479
Speaker 4: music video, and I think it's just like little rubber

1366
01:11:59,520 --> 01:12:04,040
Speaker 4: masks on the children and little people wearing the Richard D.

1367
01:12:04,160 --> 01:12:07,479
Speaker 4: James face, you know, the very iconic APHX twin face.

1368
01:12:08,000 --> 01:12:10,880
Speaker 3: Yeah, even if you haven't listened to APHX Twin and

1369
01:12:10,920 --> 01:12:13,240
Speaker 3: don't know who Richard D. James is, you may very

1370
01:12:13,240 --> 01:12:15,759
Speaker 3: well have seen his face as a meme on the internet.

1371
01:12:15,800 --> 01:12:18,640
Speaker 3: If you've seen like a guy with redhair doing a

1372
01:12:18,680 --> 01:12:20,080
Speaker 3: super creepy huge grin.

1373
01:12:20,400 --> 01:12:23,559
Speaker 4: Yes, I think I actually knew that face before I

1374
01:12:23,640 --> 01:12:26,679
Speaker 4: ever knew what AFX twin sounded like, because that face

1375
01:12:26,720 --> 01:12:28,400
Speaker 4: is on the cover of at least two or three

1376
01:12:28,520 --> 01:12:31,439
Speaker 4: of the album covers for AFX twin. And actually I

1377
01:12:31,520 --> 01:12:33,920
Speaker 4: found an explanation from James about that, and I thought

1378
01:12:33,960 --> 01:12:35,000
Speaker 4: it was actually really interesting.

1379
01:12:35,520 --> 01:12:37,400
Speaker 5: Here's a quote from him. Quote.

1380
01:12:37,920 --> 01:12:39,960
Speaker 4: I did it because the thing in techno you weren't

1381
01:12:39,960 --> 01:12:43,240
Speaker 4: supposed to do was to be recognized and stuff. The

1382
01:12:43,320 --> 01:12:45,360
Speaker 4: sort of unwritten rule was that you can't put your

1383
01:12:45,400 --> 01:12:47,400
Speaker 4: face on the sleeve. It has to be like a

1384
01:12:47,400 --> 01:12:49,880
Speaker 4: circuit board or something. Therefore, I put my face on

1385
01:12:49,920 --> 01:12:52,160
Speaker 4: the sleeve. That's why I originally did it, but then

1386
01:12:52,200 --> 01:12:53,080
Speaker 4: I got carried away.

1387
01:12:54,400 --> 01:12:59,120
Speaker 2: That basically sums up a lot in Richard D. James's career,

1388
01:13:00,680 --> 01:13:02,760
Speaker 2: and it's fitting that his this big face of his.

1389
01:13:03,120 --> 01:13:05,760
Speaker 2: I think it predates the troll face that you see

1390
01:13:05,840 --> 01:13:07,960
Speaker 2: on the internet now because a lot, but a lot

1391
01:13:08,000 --> 01:13:09,960
Speaker 2: of his stuff was kind of a troll move, like

1392
01:13:10,000 --> 01:13:13,320
Speaker 2: even this track. I'm to understand he kind of did

1393
01:13:13,400 --> 01:13:15,320
Speaker 2: it as a troll move. He's just kind of like,

1394
01:13:15,479 --> 01:13:18,160
Speaker 2: what have I made, you know, a popular song? What

1395
01:13:18,240 --> 01:13:19,640
Speaker 2: if I made something that was kind of you know,

1396
01:13:19,680 --> 01:13:22,240
Speaker 2: in a different genre and then he made it? And

1397
01:13:23,400 --> 01:13:24,800
Speaker 2: you know a lot of a lot of his work

1398
01:13:24,840 --> 01:13:28,840
Speaker 2: is like that, where he's he is producing just phenomenal,

1399
01:13:29,120 --> 01:13:33,400
Speaker 2: especially his ambient work. Selected ambient work albums are especially incredible.

1400
01:13:34,000 --> 01:13:36,880
Speaker 2: But then he'll have tracks like these that are you know,

1401
01:13:37,080 --> 01:13:41,439
Speaker 2: getting into different genres and and the video here is

1402
01:13:41,520 --> 01:13:44,479
Speaker 2: also capturing that same energy of essentially messing with people.

1403
01:13:45,400 --> 01:13:48,240
Speaker 3: Yeah, I mean this video is pretty effective as a

1404
01:13:48,280 --> 01:13:53,559
Speaker 3: short horror film, and it is just the it's clearly

1405
01:13:53,640 --> 01:13:59,000
Speaker 3: intentionally alienating, an intentionally creepy song, an intentionally creepy video

1406
01:13:59,080 --> 01:14:02,840
Speaker 3: full of monsters, and a million copies of Richard James's face,

1407
01:14:03,240 --> 01:14:04,960
Speaker 3: And it made me think about how it's kind of

1408
01:14:05,000 --> 01:14:08,400
Speaker 3: like being John Malkovich world, except it's Richard D. James.

1409
01:14:08,840 --> 01:14:14,840
Speaker 2: Yeah, it's very well directed. You know, this and other

1410
01:14:16,040 --> 01:14:19,639
Speaker 2: videos that Chris Cunningham did for AFX twin they really

1411
01:14:19,680 --> 01:14:23,040
Speaker 2: make me wish we could have seen the film adaptation

1412
01:14:23,160 --> 01:14:27,160
Speaker 2: of William Gibson's Neuromancer that the Cunningham was apparently attached

1413
01:14:27,200 --> 01:14:30,080
Speaker 2: to for a number of years and never came to fruition.

1414
01:14:30,360 --> 01:14:32,559
Speaker 4: I'm sure it would have been great. And also speaking

1415
01:14:32,600 --> 01:14:36,600
Speaker 4: of Richard D. James slipping his face into weird places,

1416
01:14:36,880 --> 01:14:41,160
Speaker 4: have you guys ever seen the spectrogram art that IFx

1417
01:14:41,200 --> 01:14:41,679
Speaker 4: Twin did.

1418
01:14:42,520 --> 01:14:43,640
Speaker 5: It's so wonderful.

1419
01:14:44,000 --> 01:14:46,720
Speaker 4: Basically what he did a spectrogram If people don't know,

1420
01:14:47,120 --> 01:14:50,960
Speaker 4: it's sort of a visualization of audio. It's like looking

1421
01:14:51,040 --> 01:14:55,160
Speaker 4: at the waves in like usually most audio editing software.

1422
01:14:55,760 --> 01:14:57,880
Speaker 4: If there's any a place in an APHX twin album

1423
01:14:57,880 --> 01:15:02,160
Speaker 4: where it sounds particularly strayed, if you pop that into

1424
01:15:02,240 --> 01:15:05,800
Speaker 4: a spectrogram reader, just then kind of audio software that

1425
01:15:05,800 --> 01:15:09,720
Speaker 4: that shows you those things, it's probably Richard D. James's

1426
01:15:09,720 --> 01:15:14,919
Speaker 4: face that he inserted into the audio, and okay, they're beautiful.

1427
01:15:14,960 --> 01:15:18,040
Speaker 4: If you google spectrogram aphex twin, you will see his

1428
01:15:18,200 --> 01:15:21,479
Speaker 4: face in his music. Like literally his face is in

1429
01:15:21,600 --> 01:15:24,759
Speaker 4: his music. And what a great trick.

1430
01:15:24,920 --> 01:15:27,679
Speaker 3: You know, this reminds me of I guess what would

1431
01:15:27,720 --> 01:15:32,080
Speaker 3: come much later is like the comedian mashup musician Neil

1432
01:15:32,160 --> 01:15:35,440
Speaker 3: Ciserrega putting Shrek and stuff and his spectrograms.

1433
01:15:35,600 --> 01:15:37,760
Speaker 5: Oh oh, I haven't seen that. I should look into that.

1434
01:15:38,400 --> 01:15:42,040
Speaker 4: Yeah, and then I guess a couple that I really

1435
01:15:42,080 --> 01:15:44,439
Speaker 4: wanted to sneak in here. But man, obviously we can

1436
01:15:44,520 --> 01:15:48,560
Speaker 4: talk about this all day. Speaking of which, if you

1437
01:15:48,600 --> 01:15:50,519
Speaker 4: guys do want to hear us continue talking about this,

1438
01:15:50,600 --> 01:15:52,880
Speaker 4: I have good news for you. This is part one

1439
01:15:52,920 --> 01:15:56,760
Speaker 4: of a crossover episode. Right on the same day that

1440
01:15:56,840 --> 01:15:59,439
Speaker 4: this episode is publishing, Robert and Joe are going to

1441
01:15:59,520 --> 01:16:02,760
Speaker 4: be guests on my podcast, Record Store Society, and we're

1442
01:16:02,800 --> 01:16:05,160
Speaker 4: gonna be discussing the top five music videos of all time.

1443
01:16:05,240 --> 01:16:06,920
Speaker 4: So they're gonna be joining me over there. So if

1444
01:16:06,960 --> 01:16:10,080
Speaker 4: you've enjoyed hearing us talk about music videos, you're going

1445
01:16:10,080 --> 01:16:12,519
Speaker 4: down memory lane and want to hear more, please go

1446
01:16:12,560 --> 01:16:15,920
Speaker 4: find Record Store Society on your podcatcher of choice and

1447
01:16:15,960 --> 01:16:17,720
Speaker 4: we're going to continue this conversation. It's gonna be a

1448
01:16:17,760 --> 01:16:20,240
Speaker 4: lot of fun with my co host Tara. But anyway,

1449
01:16:20,880 --> 01:16:22,599
Speaker 4: so I really wanted to mention and I'll just say

1450
01:16:22,680 --> 01:16:26,040
Speaker 4: m quickly because're running out of time. Ballad of Buckehead

1451
01:16:26,080 --> 01:16:30,280
Speaker 4: by Buckethead, wonderful music video. Rabbit in Your Headlights by

1452
01:16:30,360 --> 01:16:31,240
Speaker 4: Uncle Love.

1453
01:16:31,320 --> 01:16:32,880
Speaker 2: That one's terrific, very good.

1454
01:16:33,240 --> 01:16:35,880
Speaker 4: Black Hole Sun by Soundgarden was a lot of fun,

1455
01:16:36,320 --> 01:16:40,920
Speaker 4: and Arcie Bates right, yes, yes, And where's your head

1456
01:16:40,920 --> 01:16:43,800
Speaker 4: at by Basement Jacks. That's when we were talking about

1457
01:16:43,960 --> 01:16:46,760
Speaker 4: just music videos with monkeys in general before this. And

1458
01:16:46,920 --> 01:16:49,120
Speaker 4: I suppose I'll throw one more in there. Weapon of

1459
01:16:49,200 --> 01:16:51,160
Speaker 4: Choice by fat Boy Slim. That's the one where you

1460
01:16:51,200 --> 01:16:53,799
Speaker 4: have so good Yeah, the one where you have Christopher

1461
01:16:53,880 --> 01:16:57,760
Speaker 4: walk In doing the best soft shoe anyone could ever do,

1462
01:16:58,080 --> 01:17:01,120
Speaker 4: and just being utterly surprised how good of a dancer

1463
01:17:01,240 --> 01:17:02,559
Speaker 4: that Christopher Walking is.

1464
01:17:03,120 --> 01:17:06,320
Speaker 2: All right, well, this has been fun. Seth promote record

1465
01:17:06,320 --> 01:17:09,280
Speaker 2: store one more time the record to tell us where

1466
01:17:09,320 --> 01:17:10,599
Speaker 2: they can find your podcast.

1467
01:17:10,680 --> 01:17:15,680
Speaker 4: Absolutely, it's a weekly show every Friday. Just go and

1468
01:17:15,720 --> 01:17:21,120
Speaker 4: go to iTunes, Apple Podcasts, Stitcher, any of those places.

1469
01:17:21,160 --> 01:17:24,719
Speaker 4: Type in record Store Society or visit recordstore Society dot com.

1470
01:17:25,520 --> 01:17:27,599
Speaker 4: Like I said, it's basically just a music talk show.

1471
01:17:27,800 --> 01:17:30,479
Speaker 4: Myself and my co host Tara quote unquote work at

1472
01:17:30,479 --> 01:17:33,559
Speaker 4: a record store and then our customers aka our guests

1473
01:17:33,760 --> 01:17:36,000
Speaker 4: come in and we talk music for a long long time.

1474
01:17:36,320 --> 01:17:38,479
Speaker 4: If you're real nerdy about music and you just like

1475
01:17:38,680 --> 01:17:42,920
Speaker 4: music conversation, we're making this show exactly and specifically for you.

1476
01:17:43,560 --> 01:17:46,200
Speaker 4: And like I said, Robert and Joe are going to

1477
01:17:46,200 --> 01:17:49,040
Speaker 4: be our guests on today's episode. The day you're hearing

1478
01:17:49,120 --> 01:17:52,439
Speaker 4: this podcast, this conversation is going to continue right over

1479
01:17:52,439 --> 01:17:54,960
Speaker 4: there on Record Store Society, So come listen to me

1480
01:17:55,000 --> 01:17:57,559
Speaker 4: and Tara talk to Robert and Joe some more. And

1481
01:17:57,880 --> 01:18:01,280
Speaker 4: oh and actually, in fact, this Sunday, we will be

1482
01:18:01,360 --> 01:18:04,439
Speaker 4: re airing that episode, the Record Store Society episode in

1483
01:18:04,479 --> 01:18:06,800
Speaker 4: this feed. So if you're feeling lazy, you don't want

1484
01:18:06,800 --> 01:18:09,639
Speaker 4: to go hunt down a new podcast, that's fine. Check

1485
01:18:09,680 --> 01:18:12,080
Speaker 4: out the stuff to blow your mind feed this Sunday,

1486
01:18:12,439 --> 01:18:15,040
Speaker 4: and that second part of this episode will be airing,

1487
01:18:15,120 --> 01:18:17,160
Speaker 4: so you don't have to move around too much if

1488
01:18:17,160 --> 01:18:20,800
Speaker 4: you don't want to. Oh but anyway, I'm running late

1489
01:18:20,840 --> 01:18:24,160
Speaker 4: for my record store job wink, So I'm going to

1490
01:18:24,280 --> 01:18:26,960
Speaker 4: run out the door now. Add a little sound effect

1491
01:18:27,240 --> 01:18:30,320
Speaker 4: walk walk walk door slam sh and I'm gone.

1492
01:18:30,320 --> 01:18:30,880
Speaker 5: Goodbye.

1493
01:18:31,760 --> 01:18:33,920
Speaker 3: Wow. I can't wait to put on our Richard d

1494
01:18:34,040 --> 01:18:37,000
Speaker 3: James Masks and Rob Seth's Record Store.

1495
01:18:38,920 --> 01:18:41,720
Speaker 2: All right, Yeah, I'm looking forward to to appear in

1496
01:18:42,040 --> 01:18:45,920
Speaker 2: on the podcast. This is this is a fun chat again.

1497
01:18:45,960 --> 01:18:49,160
Speaker 2: I'll put all these I'll put embedded versions of these

1498
01:18:49,200 --> 01:18:51,040
Speaker 2: on the blog for anyone to check out or you

1499
01:18:51,040 --> 01:18:53,280
Speaker 2: know or certainly look them out yourself. They're all like

1500
01:18:53,280 --> 01:18:56,280
Speaker 2: officially hosted on YouTube, and if you want to check

1501
01:18:56,280 --> 01:18:58,880
Speaker 2: out other episodes of Weird House Cinema, you can find

1502
01:18:58,880 --> 01:19:01,160
Speaker 2: this every Friday in the Stuff to Blow Your Mind

1503
01:19:01,400 --> 01:19:04,000
Speaker 2: feed wherever you get this podcast wherever you find the

1504
01:19:04,040 --> 01:19:06,160
Speaker 2: Stuff to Blow your Mind podcast feed. We just asked

1505
01:19:06,200 --> 01:19:07,680
Speaker 2: that you rate, review, and subscribe.

1506
01:19:07,920 --> 01:19:11,000
Speaker 3: Huge thanks to Seth for not just producing this episode

1507
01:19:11,000 --> 01:19:12,720
Speaker 3: but for appearing on it. If you would like to

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Speaker 3: get in touch with us with feedback on this episode,

1509
01:19:16,000 --> 01:19:18,479
Speaker 3: to suggest a topic for the future, or just to

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01:19:18,479 --> 01:19:21,400
Speaker 3: say hello, you can email us at contact at stuff

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Speaker 3: to Blow your Mind dot com.

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Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

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Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

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Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.