Music Video of the Day: Naughty Girls Need Love Too by Samantha Fox & Full Force (1988, dir. Scott Kalvert)

No, I was not looking to specifically feature this video just to share the story below. This is my favorite Fox music video, and that is the only story about her in the entire book. It’s one of the odder behind-the-scenes stories I’ve heard about the production of a music video. I feel I’d be remiss not mentioning it. The first part gives some insight about how they were planning on selling her, while the second paragraph is the odd part, which you can skip if you wish.

According to The Baltimore Sun on December 30th, 1988, this song “was not so much a song as a T-shirt with a rhythm section.”

Ann Carli, then senior vice president of artist development at Jive Records, said the following about the video in the book, I Want My MTV:

We signed Samantha Fox–she was one of the biggest Page Three Girls in England. Page Three Girls pose topless in the Sun. She was fairly young, and extremely buxom. RCA wanted to do pinup calendars and take a real skanky approach. I wanted her to be more of a girl next door, so that was a big fight.

Samantha would drink early in the day. She wanted champagne right from the beginning of the day. I made sure her drinks got watered down. At one video shoot, she was constipated. She was bloated and wearing a midriff costume. I had to get a doctor. This is kind of a disgusting story. I don’t want to know what the doctor did, but the problem was solved.

This must be the video Carli was speaking about because I can’t find another video where she was wearing a midriff.

I’m glad it appears that Carli only partially won that fight. Debbie Gibson and Tiffany had already cornered the girl-next-door market. Fox is a nice middle-ground between the way Carli described they wanted to sell her, and the actual way I’ve seen her presented in music videos.

I can’t imagine anyone else at the time being able to pull off wearing a Debbie Gibson hat…

Out Of The Blue (1988)

with a Tiffany-style dress…

I Think We're Alone Now (1987)

I Think We’re Alone Now (1987)

while holding a man’s head next to her breasts…

before pushing his head downward.

I think she did this kind of material well without looking “skanky.”

Cut to 30 years later, and now Gibson, Tiffany, and Fox have all been in SyFy movies. There’s something I’m sure none of them would have expected to happen in their future.

Fox played Ms. Moore in Sharknado 5: Global Swarming (2017).

Sharknado 5: Global Swarming (2017, dir. Anthony C. Ferrante)

Sharknado 5: Global Swarming (2017, dir. Anthony C. Ferrante)

Below, I’ve embedded an interesting little interview she gave last year on Loose Women concerning her sexuality. It puts this video in a different light.

The people accompanying Fox are the group, Full Force. They have worked with numerous artists, such as Bob Dylan. Some, or all, of their members wrote the song.

Scott Kalvert directed the video. He’s done close to 100 music videos. The few that I have seen have this kind of late-80s/early-90s-street look to them. Outside of music videos, he is probably best known for directing The Basketball Diaries (1995).

Donyale McRae did makeup for the video. He seems to have worked on around 35 music videos. He’s worked on a lot of things from Doctor Who to The Wolf Of Wall Street (2013)–which means that both him and Kalvert went on to work with DiCaprio.


Kirby Is Here! : “Our Fighting Forces” #s 157 & 158

Trash Film Guru

I said we’d probably be looking at this title again as “Kirby Month” went along, and here we are, with one of my absolute, all-time favorite stories The King ever did, the two-part saga of “Panama Fattie” from Our Fighting Forces numbers 157 and 158, cover-dated July and August, 1975 respectively.

As our story begins, some shady shit involving hijacked equipment and supplies has necessitated The Losers’ presence in the Panama Canal zone, but that doesn’t mean Captain Storm, Johnny Cloud, Gunner and Sarge don’t have time for a drink, and the bar favored by servicemen in the area is owned by a fellow American — specifically, a larger-than-life (in every respect) gal whose real name is Lil, but who everyone refers to as — well, you can probably already guess. Lil’s a fun-loving lady with a heart of gold (or so it would seem) and an eye for men…

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A Movie A Day #223: The Texas Rangers (1936, directed by King Vidor)

Sam (Lloyd Nolan), Jim (Fred MacMurray), and Wahoo (Jack Oakie) are three outlaws in the old west.  Wahoo works as a stagecoach driver and always lets Sam and Jim know which coaches will be worth holding up.  It’s a pretty good scam until the authorities get wise to their scheme and set out after the three of them.  Sam abandons his two partners while Jim and Wahoo eventually end up in Texas.  At first, Jim and Wahoo are planning to keep on robbing stagecoaches but then they realize that they can make even more money as Texas Rangers.

At first, Jim and Wahoo are just planning on sticking around long enough to make some cash and then split.  However, both of them discover that they prefer to be on the right side of the law.  After they save a boy named David from Indians, Jim and Wahoo decide to stay in Texas and protect its settlers.

The only problem is that their old friend Sam has returned and his still on the wrong side of the law.

Made to commemorate the Texas centenary (though it was filmed in New Mexico), The Texas Rangers is a good example of what’s known as an oater, a low-budget but entertaining portrayal of life on the frontier.   King Vidor does a good job with the action scenes and Fred MacMuarry and Jack Oakie are a likable onscreen team.  The best performance comes from Lloyd Nolan, as the ruthless and calculating Sam.  Sam can be funny and even likable but when he’s bad, he’s really bad.

Jack Oakie was better known as a comedian and The Texas Rangers provides him with a rare dramatic role.  Four years after appearing in The Texas Rangers, Oakie would appear in his most famous role, playing a parody of Benito Mussolini in Charlie Chaplin’s The Great Dictator.

Dead Pigeons Make Easy Targets: THE CHEAP DETECTIVE (Columbia 1978)

cracked rear viewer

THE CHEAP DETECTIVE could easily be subtitled “Neil Simon Meets MAD Magazine”. The playwright and director Robert Moore had scored a hit with 1976’s MURDER BY DEATH, spoofing screen PI’s Charlie Chan, Sam Spade, and Nick & Nora Charles, and now went full throttle in sending up Humphrey Bogart movies. Subtle it ain’t, but film buffs will get a kick out of the all-star cast parodying THE MALTESE FALCON, CASABLANCA , TO HAVE AND HAVE NOT, and THE BIG SLEEP .

Peter Falk  does his best Bogie imitation as Lou Peckinpaugh, as he did in the previous film. When Lou’s partner Floyd Merkle is killed, Lou finds himself in a FALCON-esque plot involving some rare Albanian Eggs worth a fortune. Madeline Kahn , John Houseman, Dom De Luise , and Paul Williams stand in for Mary Astor, Sydney Greenstreet, Peter Lorre, and Elisha Cook Jr, respectively, and they milk it for every…

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Kirby Is Here! : “The Eternals” #1

Trash Film Guru

You’ve gotta hand it to Jack Kirby — if you or I had been toiling away in the comic-book industry for approximately four decades, only to have our major life’s work strangled in the proverbial crib, we would probably give up on the whole notion of the “sprawling cosmic epic” altogether and just stick with simple stand-alone stories, punctuated by the occasional two-or-three-parter, until it came time to hang up our pencils and call it a career. Who needs the disappointment of early cancellation all over again?

And yet, after the editorially-mandated quick demise of his Fourth World opus, The King’s non-stop imagination kept chugging away at the only speed it knew how to operate : full throttle. And while he kept creating new and innovative concepts and characters during the remainder of his tenure at DC (KamandiThe DemonOMAC), these were all essentially self-contained…

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Music Video of the Day: Shadow Of A Doubt by Sonic Youth (1986, dir. Kevin Kerslake)

The title is from a Hitchcock movie. It looks like the consensus is that the song is based on Strangers On A Train (1951)–more Hitchcock. I haven’t watched either film recently.

While the music video is gorgeous, I can’t find anything on it other than a quote from Kevin Kerslake in the book, I Want My MTV:

It was a point of honor among bands on 120 Minutes to not show up in regular rotation on MTV. They wanted to be the bad kids on the block, who showed up for those two hours on Sunday night and ran riot. At that point, indie rock was thriving. You had great underground labels like SST and Rough Trade, and they’d give you complete freedom. I wanted to do something totally new. I’d shoot Super 8, and play with the color palette to make it more psychedelic. The punk rock ethos really drove the visual content, even if you weren’t working with punk bands. My first music video–“Shadow Of A Doubt,” for Sonic Youth–used horrible quality, super-grainy performance footage. It was fantastic.

The part with the performance footage doesn’t do a whole lot for me–except to provide a strong tie between song and video by putting the harder part of the song in there. I like what Kerslake did before and after that the most. It makes me think of a very colorful, indie, and simplified version of one of those collage-style videos that Jim Blashfield made for And She Was by Talking Heads or Don’t Give Up by Peter Gabriel & Kate Bush. It gives the video an ethereal quality that I love.

It’s very appropriate that this was on 120 Minutes back in the 1980s. This is exactly the kind of thing I would have expected to see on late night cable back in the 1980s and 1990s.