Music Video of the Day: Sour Girl by Stone Temple Pilots (2000, dir. David Slade)


My introduction to Stone Temple Pilots was the album Tiny Music…Songs From the Vatican Gift Shop–not my recommended way to start listening to STP. I remember liking this song, but when I bought the album, it felt generic and instantly forgettable.

The video for Sour Girl on the other hand is still something I remember to this day. Apparently, despite the fact that they look like a creepy version of Teletubbies, they were inspired by a dream that Scott Weiland had. At least that’s according to the Wikipedia article that draws from the Songfacts page on the song and video. The song was written about his divorce from his first wife. I’m assuming this is the same wife who he wrote Interstate Love Song about since according to Scott Weiland’s memoir [Not Dead & Not for Sale: A Memoir]:

[About Sour Girl]: “Everyone is convinced that it’s about my romance with Mary [Forsberg, second wife],” Weiland writes in his autobiography Not Dead and Not For Sale. “But everyone is wrong. ‘Sour Girl’ was written after the collapse of my relationship with Jannina [Castaneda, first wife]. It’s about her. ‘She was a sour girl the day that she met me,’ I wrote. ‘She was a happy girl the day she left me… I was a superman, but looks are deceiving. The rollercoaster ride’s a lonely one. I pay a ransom note to stop it from steaming.’ The ransom note, of course, was the fortune our divorce was costing me. And the happy state, which I presumed to be Jannina’s mood, was because she had finally rid her life of a man who had never been faithful.”

[About Interstate Love Song]: “She’d ask how I was doing, and I’d lie, say I was doing fine.”
“I imagined what was going through her mind when I wrote, ‘Waiting on a Sunday afternoon for what I read between the lines, your lies, feelin’ like a hand in rusted shame, so do you laugh or does it cry? Reply?”

That explains the bleak video, why she is returned to a happy-looking state while in the dark world of the video, and why Weiland is left in the dark world with the creepy creatures.

Considering Weiland’s life and the meaning behind this song and video, it’s interesting that it was directed by David Slade. You might remember him as a producer and director of episodes of American Gods and Hannibal. He also directed The Twilight Saga: Eclipse (2010).

Yari Schutzer was the production manager. Schutzer seems to have worked on around 25 music videos as well as some movies.

Martin Coppen shot the video. He has worked on at least 25 videos. Since his credits date back as far as 1988, I wouldn’t be surprised if there are many more.

Bronni Bakke was the casting director, which I guess mean she picked out Sarah Michelle Gellar and the people in the suits. She worked on The Bogus Witch Project (2000) and a few other things. According to her IMDb profile, she “impersonates Britney Spears, Marilyn Monroe, Felicity Shagwell and Lara Croft.” From what I can find, it looks like she passed away in 2016 from breast cancer.

Enjoy!

30 Days Of Surrealism:

  1. Street Of Dreams by Rainbow (1983, dir. Storm Thorgerson)
  2. Rock ‘n’ Roll Children by Dio (1985, dir. Daniel Kleinman)
  3. The Thin Wall by Ultravox (1981, dir. Russell Mulcahy)
  4. Take Me Away by Blue Öyster Cult (1983, dir. Richard Casey)
  5. Here She Comes by Bonnie Tyler (1984, dir. ???)
  6. Do It Again by Wall Of Voodoo (1987, dir. ???)
  7. The Look Of Love by ABC (1982, dir. Brian Grant)
  8. Eyes Without A Face by Billy Idol (1984, dir. David Mallet)
  9. Somebody New by Joywave (2015, dir. Keith Schofield)
  10. Twilight Zone by Golden Earring (1982, dir. Dick Maas)
  11. Schism by Tool (2001, dir. Adam Jones)
  12. Freaks by Live (1997, dir. Paul Cunningham)
  13. Loverboy by Billy Ocean (1984, dir. Maurice Phillips)
  14. Talking In Your Sleep by The Romantics (1983, dir. ???)
  15. Talking In Your Sleep by Bucks Fizz (1984, dir. Dieter Trattmann)

Music Video of the Day: Comanchero by Moon Ray (1984, dir. ???)


Back when I was in college, I came across this music video…somehow. It has Italo disco singer Moon Ray (Raggio Di Luna) dancing in an Atari game with the occasional shot of her in a ring of fire.

Seeing as this is Italo disco, there is a French description on the video. Running it through Google Translate gives me the following:

The moonbeam in question (MoonRay) invokes the Comanchero, a character with the sulphurous reputation of the mythology of the far west and films of westerns.
The rhythmic rhythm arrives abruptly with feminine voice with the well-felt climate.
A title of the Italian-dance wave in the mid-1980s that remains a summer 1985 hit.

I didn’t know there was a “moonbeam” in question, but I guess it’s Moon Ray herself. She is invoking the Comanchero by dancing with video game graphics that invoke an unfortunate Atari game into the mind of the viewer. The yellow she is wearing is important to bringing the Comanchero. The Comanchero has a reputation “of the mythology of the far west and films of westerns.”

“The rhythmic rhythm arrives abruptly with feminine voice with the well-felt climate.” That is a line that Google translated for me. That’s all I can say about it.

That last sentence simply isn’t true. This song doesn’t remain “a summer 1985 hit.” This song remains popular today, as the video below shows, people are still doing the Comanchero.

Why? I don’t know. Much like I don’t have any other information on this one.

Enjoy!

Music Video of the Day: Talking In Your Sleep by Bucks Fizz (1984, dir. Dieter Trattmann)


I mainly did the video for The Romantics’ version of Talking In Your Sleep so that I could get to the Bucks Fizz version.

Bucks Fizz was put together by Nichola Martin and Andy Hill. They wanted a group that could be entered in Eurovision with their song Making Your Mind Up. The line-up ended up being Mike Nolan, Cheryl Baker, Jay Aston, and Bobby G. Martin decided to name the group after her favorite drink, Buck’s Fizz, the group won Eurovision in 1981, and it went from there.

In 1984 they retreated from the public-eye to focus on their fourth album. They emerged in August of that year with a cover version of Talking In Your Sleep. This video was released to promote the single, which did well. Trying to make sense of this video does not go well for the viewer.

Then space folds and separates to reveal two identical, but flipped buildings with a little person dressed as a baby jumping up and down in the middle of the screen.

I could stop right there. That’s already weirder than the The Romantics’ version.

Now we pan over one of those two buildings and begin to play the game of right-side up or upside-down bicycle. This time it’s upside-down.

There’s Bobby G drinking milk while half-naked at a window–as you do.

Up on the roof, we see that the baby is jumping.

We get to see the rest of the group at their windows. My favorite is Mike Nolan, who looks like he just spotted the jumping baby up in the sky.

Now Bobby is on the roof with the baby. You can see that this is the roof with the upside-down bicycle.

We get a brief glimpse of something white over where Bobby rolled the ball. Does that mean that this baby has a corporeal form as well?

The rest of the group go up to the roof. I’m guessing Cheryl was dreaming about being someplace where it made sense to be wearing heels.

Finally, the whole group is together to forget the kind of drink they are named after.

Now the baby is jumping in Bobby’s hand.

Cut from that to Jay Aston jumping up and down on the roof.

That must be the turning point because in the next shot, we can see that the bicycle is right-side up. Mike and Jay are also frozen in place. Note that Mike is now holding the ball. Are they on the other building we saw at the beginning?

We see that Cheryl is also frozen, but is reanimated by the baby pointing at her. The same is true for Mike and Jay.

In the following shots, the video seems to confirm that Bobby is indeed on a separate roof from the rest of the group as his bicycle is up-side down…

while theirs is right-side up.

The baby walks up one of the buildings.

Mike gets a great look on his face from his apartment. Is he watching the baby? Is he really there?

Cheryl appears to enter onto the Bobby G roof.

Mike appears to enter onto the bicycle-right-side-up roof.

Now the bike looks like it’s pointing in the opposite direction. Have they switched buildings? I can’t tell.

After Cheryl gives us a, help me I’m stuck in a confusing music video face,…

we see the roof upside-down to add more confusion.

Then the band is reunited on the upside-down-bicycle roof where they appear to both push and pull on the door.

Cut back to the baby jumping up and down before the buildings disappear and space returns to normal.

I’m sure other Bucks Fizz music videos make more sense than this. They would never do a music video where Cheryl runs through Christmas trees and Captain Kidd jumps into a pool of water.

Sadly, a few months after this video was released, the group ended up in an accident while in their tour bus. They were all injured pretty badly, including Mike Nolan ending up in a coma. He woke up, but the effects are still with him to this day. You can read more over on their Wikipedia page.

The group has had a rocky history since then, but Cheryl Baker, Mike Nolan, and Jay Aston still perform with somebody else to make a foursome that goes by the name The Fizz.

The video was directed by Dieter Trattmann. He appears to have directed around 80 music videos.

Enjoy!

30 Days Of Surrealism:

  1. Street Of Dreams by Rainbow (1983, dir. Storm Thorgerson)
  2. Rock ‘n’ Roll Children by Dio (1985, dir. Daniel Kleinman)
  3. The Thin Wall by Ultravox (1981, dir. Russell Mulcahy)
  4. Take Me Away by Blue Öyster Cult (1983, dir. Richard Casey)
  5. Here She Comes by Bonnie Tyler (1984, dir. ???)
  6. Do It Again by Wall Of Voodoo (1987, dir. ???)
  7. The Look Of Love by ABC (1982, dir. Brian Grant)
  8. Eyes Without A Face by Billy Idol (1984, dir. David Mallet)
  9. Somebody New by Joywave (2015, dir. Keith Schofield)
  10. Twilight Zone by Golden Earring (1982, dir. Dick Maas)
  11. Schism by Tool (2001, dir. Adam Jones)
  12. Freaks by Live (1997, dir. Paul Cunningham)
  13. Loverboy by Billy Ocean (1984, dir. Maurice Phillips)
  14. Talking In Your Sleep by The Romantics (1983, dir. ???)

Music Video of the Day: The Golden Path by The Chemical Brothers, featuring The Flaming Lips (2003, dir by Chris Milk)


https://vimeo.com/143082350

The Golden Path is one of my favorite songs of all time.

I’ve been listening to it a lot this weekend, while thinking about friends and loved ones who left this world far too early.  On a normal day, the combination of Wayne Coyne’s sincere delivery of “How and why did I die?” and the song’s closing chorus of “Please forgive me, I never meant to hurt you!” makes me emotional.  This weekend, it’s literally brought tears to my eyes.

(Interestingly enough, in an interview with the Guardian, Coyne said the following about recording the vocals for The Golden Path:  “We recorded our part very quickly, almost flippantly, like we’d get a second chance. Then Tom and Ed left a message within 20 minutes of receiving the tape. You could hear them jumping up and down in the background, shouting ‘We’re ecstatic.'”)

As for the video, it’s actually pretty simple.  An office drone fantasizes of a colorful world beyond his gray existence.  The dreamer is played by Fran Kranz, who you might recognize as the stoner from The Cabin In The Woods.  This video was the first to be directed by Chris Milk.

Enjoy!

(Val should be back tomorrow!)

Music Video of the Day: D7-D5 by Blanck Mass (2016, dir by Jake McGowan)


When Benjamin John Power, the man behind Blanck Mass, was asked about this haunting and surreal video, this is what he told Spin:

“D7-D5′ is intended as the second move in a game of chess initially instigated by Manuel Gottsching when he released (and named said release) ‘E2-E4,’ the recording which many believe pioneered techno. The video was made by [my] good friend Jake McGowan, and follows one man whilst he struggles to deal with a flurry of emotions and human states which are common during a battle of any size, including a game of chess.”

For myself, I’ll say that this video immediately reminded me of the work of David Lynch.  Of course, I’m kind of obsessed with David Lynch’s art right now.  Until Twin Peaks has finished its run, I imagine that almost everything is going to remind me of Lynch in one way or another.

Still, this video is almost unsettling as that famous scene in A Field in England, that one that featured Blanck Mass’s Chernobyl playing in the background.  Remember that scene?

Well, unsettling or not, Blanck Mass helps me to focus, which considering the intensity of my ADD, is no small accomplishment!  If not for well-selected background music, I probably wouldn’t have been able to finish 3,000 of the 3,897 things that I have posted on this site!

Enjoy!

 

Music Video Of The Day: The Chemical Brothers featuring k-os — Get Yourself High (2003, dir by Joseph Kahn)


This music video features digitally enhanced footage from a 1980 film called 2 Champions of Shaolin.  According to Wikipedia, here’s what the video’s director, Joseph Kahn, had to say about it:

“I edited this on a laptop on a plane to Chicago. I rearranged the time sequencing of the actual movie. The bad guy with the big boombox is actually a minor henchman who dies in the first 30 minutes, but in my visual remix he’s the ultimate antagonist. The lip syncing was motion captured, then applied to 3D models of jaws. I didn’t know 100% if the technology was achievable with the time and money, nor did I know if we could actually get rights to a Chinese kung fu flick. It was a risky venture, but Carole gave me a check and then left me alone. She had some major balls.”

(And if it’s on Wikipedia, it has to be true!)

Anyway, I really love this video and the song.  The only unfortunate thing is that the Get Yourself High clown doesn’t make an appearance.  Who is the Get Yourself High Clown?  If you’ve seen The Chemical Brothers live, there’s a good chance you’ve seen him.  Check him out in this footage from their 2007 performance at Glastonbury:

Enjoy!

Music Video of the Day: The Chemical Brothers — Hey Boy Hey Girl (1999, dir by Dom & Nic)


Hi, everyone!  Lisa here.

So, as you know if you’ve been following the site, Val is currently having a hospital procedure done so she’s going to be gone for a few days.  Since I love Val’s music video of the day posts, I’m going to share a few picks of my own until she returns!

Hey Boy Hey Girl is not only one of my favorite songs from The Chemical Brothers, it’s also one of my favorite videos.  Admittedly, I could do without the saliva at the start of the film but that’s just because I have a thing about visible saliva.  It doesn’t appeal to me.  But otherwise, I absolutely love this video!

(Whenever I watch this video, I end up staring at my reflection and visualizing what my skeleton looks like.  Usually, I’m impressed.)

This video was one of the many directed by Dom & Nic.  Other videos that they’ve done for The Chemical Brothers: Wide Open, Midnight Madness, Salmon Dance, Believe, The Test, and Setting Sun.

Not a day goes by that I don’t see those dancing skeleton recreated in GIF form.  I guess that’s because I hang out on a lot of horror-themed web sites.

Enjoy!

Music Video of the Day: The Touch by Stan Bush (1986, dir. John Beug & Ray Villalobos [aka Reynaldo Villalobos])


Another year. Another Transformers movie.

I’ve seen all the Michael Bay films, so I don’t know anything about the Transformers other than what I have picked up from Phelous’ review of Transformers (G1), a top 20 list of the funniest/dumbest moments from G1, and a top 20 list of the funniest/dumbest moments from Headmasters.

That means I know that the Transformers movie that this song was used in had kids crying in the theater because it killed off a lot of the characters they loved from the series, which is funny since IMDb tells me Optimus Prime is gone in the latest one.

I know that there is a fictional Middle Eastern country in the Transformers universe called Carbombya. Why?

Also, Sea Spray falls in love with a mermaid, and jumps into a magic pool to transform into a merman.

The song is amazing and has been used in a lot of other places. Probably because it wasn’t written for Transformers. It was based off a line from Iron Eagle (1986) where Louis Gosset Jr. says, “Kid, you’ve got the touch.” He planned for it to be used in the film Cobra (1986), but it ended up in Transformers instead. I’ve seen it used at the end of a review of the religious propaganda show Deception Of A Generation. It was also used in Boogie Nights (1997) where it was performed by Mark Wahlberg. Amazing.

As for the video, there are some ties to Michael Bay. One of the directors, John Beug, who was the senior vice president of video production for Warner Bros. Records said the following about Bay in the book I Want My MTV:

John Beug: Michael Bay did a couple of videos for me. I don’t think I was particularly encouraging to his career, shall we say. He did a Chicago video, and I told him I wasn’t blown away by his talent, which he reminded me of at the Pearl Harbor premiere ten years later.

There’s a sad tie between Beug and that particular movie, but you can look that up yourself.

Here are some of my favorite quotes from I Want My MTV about Michael Bay thanks to Juliana Roberts, Joni Sighvatsson, and Jeff Ayeroff:

Juliana Roberts [A music-video, film, and TV producer. She was a producer for Propaganda Film’s hard rock division, The Foundry]: Michael kind of worshipped David Fincher. We’d always crack up, because Michael would follow David around the Propaganda offices.

Joni Sighvatsson [A movie producer and a cofounder of Propaganda Films]: Fincher and Bay became adversaries. It wasn’t spoken, but it created a great deal of tension. Fincher was sophisticated. He was inspired by great photographers such as Robert Frank and Horst P. Horst. Bay was a technical genius like Fincher, but he had the mind of a teenager. His sensibility was juvenile.

Jeff Ayeroff [Was a creative director of Warner Bros. Records and the cochairman of Virgin Records America]: Michael Bay was known as “the little Fincher.” They said, “He’s not as artistic, but he’s got drive. He’s gonna chew through everything.” He did the Divinyls’ “I Touch Myself” for me at Virgin. He was an ego-fucking-maniac.

There are some kinder ones in there too. But I figured that if I didn’t know about his relationship with Fincher before this section of the book, then there had to be others out there that don’t either.

Personally, I can’t stand Michael Bay because he clearly has a lot of talent, but for some reason has decided not to use it…most of the time.

The video was also directed by Reynaldo Villalobos who is an accomplished cinematographer.

The video was produced by both John Beug and Kim Dempster. Dempster produced at least nine music videos, including four of them for David Fincher. She also directed the movie Marmalade (2004).

Enjoy!

Music Video of the Day: Talking In Your Sleep by The Romantics (1983, dir. ???)


This is another one of those music videos where I have no idea why there isn’t a director listed anywhere. I can tell you why they look like they just woke up in this video. I don’t have the book yet, but by way of Songfacts, the book MTV Ruled The World: The Early Years Of Music Video has a quote from lead-singer Jimmy Marinos where he mentions that they shot the video at 8:00 AM–“not really rock ‘n’ roll hours.”

I’ve heard this song so many times, but I can’t say I paid much attention to the video. I have questions.

The video starts off, and we see someone taking off their shoe and what looks like a dress. That’s followed by this lady pointing at the floor.

I wouldn’t think anything of it were it not for the fact that the next shot is of her taking off her bra, before the shot of her arms in the air to have her PJs fall onto her.

Then one of the weirdest parts of the video happens. The band appears to rise from the tarp.

Given their outfits, it really looks like they were part of the tarp, rose, and took on the form of human beings.

We get some shots of them walking amongst this place where apparently all women go when they sleep.

It begs the question, where do the men go?

Now we get a shot of only the lead-singer.

Then the other members of the band pop into the shot.

Now we know they can do that effect.

One of the members of the band walks between two lines of the women like he works at a camp and is making sure all the kids are asleep. The women appear to reach out either to grab him or to hold onto each other’s hands.

That means that their presence effects sleep. Case in point, the next set of shots.

They have magical powers? Will this transformation carry over to the real world? Is this temporary? Is he fulfilling her dream by making her look the way she wishes she did? By that, I mean a 1950’s icon to go with the band’s appearance.

After some more shots of the band playing so that they can finish the song, we can see the band walking off like they are ghosts.

So, why the rising from the floor bit? I mean other than that it looks neat. Were they ghosts this whole time?

Finally, the women appear to be waking up before the camera quickly fades to black.

Does that mean they live there? If the camera had stayed on them longer, would they have teleported out? Is there a reason they didn’t have the band walk out of frame, and then have all the women fade out of the shot to imply they are leaving the dreamworld? We already saw that they could teleport people into the video because they did with the shots of the band.

I really hope the music video for the Bucks Fizz cover version is more straightforward-no it isn’t.

Enjoy!

30 Days Of Surrealism:

  1. Street Of Dreams by Rainbow (1983, dir. Storm Thorgerson)
  2. Rock ‘n’ Roll Children by Dio (1985, dir. Daniel Kleinman)
  3. The Thin Wall by Ultravox (1981, dir. Russell Mulcahy)
  4. Take Me Away by Blue Öyster Cult (1983, dir. Richard Casey)
  5. Here She Comes by Bonnie Tyler (1984, dir. ???)
  6. Do It Again by Wall Of Voodoo (1987, dir. ???)
  7. The Look Of Love by ABC (1982, dir. Brian Grant)
  8. Eyes Without A Face by Billy Idol (1984, dir. David Mallet)
  9. Somebody New by Joywave (2015, dir. Keith Schofield)
  10. Twilight Zone by Golden Earring (1982, dir. Dick Maas)
  11. Schism by Tool (2001, dir. Adam Jones)
  12. Freaks by Live (1997, dir. Paul Cunningham)
  13. Loverboy by Billy Ocean (1984, dir. Maurice Phillips)

Music Video of the Day: Cloudbusting by Kate Bush (1985, dir. Julian Doyle)


Happy Father’s Day!

I had this video picked out as far back as last year to do for today. What I didn’t know is that Wikipedia already has a nice article about it that pretty much covers anything I would say. Here are the two relevant passages from the article:

The song is about the very close relationship between psychologist and philosopher Wilhelm Reich and his young son, Peter, told from the point of view of the mature Peter. It describes the boy’s memories of his life with Reich on their family farm, called Orgonon where the two spent time “cloudbusting”, a rain-making process which involved pointing at the sky a machine designed and built by Reich, called a cloudbuster. The lyric further describes Wilhelm Reich’s abrupt arrest and imprisonment, the pain of loss the young Peter felt, and his helplessness at being unable to protect his father. The song was inspired by Peter Reich’s 1973 memoir, A Book of Dreams, which Bush read and found deeply moving.

The music video, directed by Julian Doyle, was conceived by Terry Gilliam and Kate Bush as a short film. The video features Canadian actor Donald Sutherland playing the role of Wilhelm Reich, and Bush in the role of his young son, Peter. The video shows the two on the top of a hill trying to make the cloudbuster work. Reich leaves Peter on the machine and returns to his lab. In flashback, he remembers several times he and Peter enjoyed together as Reich worked on various scientific projects, until he is interrupted by government officials who arrest him and ransack the lab. Peter senses his father’s danger and tries to reach him, but is forced to watch helplessly as his father is driven away. Peter finally runs back to the cloudbuster and activates it successfully, to the delight of his father who sees it starting to rain.

Filming took place at The Vale of White Horse in Oxfordshire, England. The hill on which the machine is positioned is Dragon Hill, immediately below the Uffington White Horse, a prehistoric hill carving which can be seen briefly in a couple of the shots. Bush found out in which hotel Sutherland was staying from actress Julie Christie’s hairdresser and went to his room to personally ask him to participate in the project. In the UK, the music video was shown at some cinemas as an accompaniment to the main feature. Due to difficulties on obtaining a work visa for Sutherland at short notice, the actor offered to work on the video for free. Although the events depicted in the story took place in Maine, the newspaper clipping in the music video reads “The Oregon Times,” likely a reference to Reich’s home and laboratory “Orgonon”.

The Cloudbusting machine in the video was designed and constructed by people who worked on the Alien creature and bears only a superficial resemblance to the real cloudbusters, which were smaller and with multiple narrow, straight tubes and pipes, and were operated while standing on the ground. In a reference to the source material of the song, Bush pulls a copy of Peter Reich’s “A Book of Dreams” out of Sutherland’s coat.

The full length video features a longer version of the song which is different from the Organon Mix released on 12 Inch.

If you go to the article and follow the cited sources, then it’s like taking a trip back to the 1990’s Internet. The most interesting thing I noticed in one of those sources is from an interview on SuicideGirls with Donald Sutherland:

DRE: How was it being in the video for Kate Bushs video for Cloudbursting?

DS: Shes such a stoner. She was great. She came out of this camper at eight in the morning smoking a joint and I said What are you doing? and she said, I havent been straight for eight years. I got into the video because Kate found out from Julie Christies hairdresser that I was staying at The Savoy. She came and knocked on my door. She was so small that when I opened the door I didnt see anybody. I looked down and there she was. She told me she wanted me to play Wilhelm Reich. I wanted to be able to create a character that could hold a child by his feet and hit him against the side of a building and turn his head into a squashed pumpkin, which is what we did. So it so profoundly impressed me that she wanted to do that. I adored her. I thought she was great.

There are two things I can add since they aren’t mentioned in the article.

The government agents going down the steps remind the audience of the Odessa Steps scene from Battleship Potemkin (1925).

Battleship Potemkin (1925, dir. Sergei M. Eisenstein)

Battleship Potemkin (1925, dir. Sergei M. Eisenstein)

The other thing is that Wilhelm Reich did a lot of work in the area of sex, which included a 1936 book called The Sexual Revolution–the original title is Die Sexualität im Kulturkampf (“sexuality in the culture war”). Here is a comparison between an actual cloudbuster and the one in the video as it is shown at the emotional climax.

Reich also did work specifically on the orgasm, such as his book Die Funktion des Orgasmus (“The Function of the Orgasm”). The way the cloudbuster was supposed to work involved what Reich called “orgone energy”, that is from the word “orgasm.”

Here are a couple of interviews with Kate Bush from back when the video was released:

Assuming they are still up, note that J.J. Jackson slips up in the interview. That’s early MTV for you.

A fun fact about J.J. Jackson is that he was hired by mistake. Here’s the story from the book I Want My MTV:

John Sykes: The J.J. Jackson we hired wasn’t the J.J. we meant to hire.

Robert Morton: That’s true. Pittman’s one direction to us was “Find a black VJ.” He told us about a guy named J.J. Johnson, and said, “He’s really good. Track him down.” So I looked all over for J.J. Johnson. Subsequently, I found out who he was; a very good-looking black guy who had a great voice. But I couldn’t find him. I called every radio station in the country. Finally I called KMEL in San Francisco and said, “Do you have a guy named J.J. Johnson working for you?” They said, “No, but we have J.J. Jackson.” I said, “Well, let me talk to him.” We auditioned him and I said to Pittman, “Here’s your J.J.”

The video was directed by Julian Doyle who has worked on several Monty Python related films such as Life of Brian (1979), Time Bandits (1975), and Brazil (1985). He’s done other work as well. As for music videos, I can find six credits. He also played the police sergeant who puts his hand over the camera at the end of Monty Python and the Holy Grail (1975).

Monty Python and the Holy Grail (1975, dir. Terry Gilliam & Terry Jones)

Enjoy!