"I think we spent less money making “Jump” than we did on having pizzas delivered to the set of “Hot for Teacher.” - Pete Angelus, co-director
The Van Halen videography has been upgraded and re-uploaded to YouTube under the VHTelevision banner — just in time for the new Live in Tokyo release. The crown jewel is, of course, "Hot For Teacher" which you can consider either misogyny or a masterpiece. Or both...
Whether you view Lionel Richie "Hello" as the best or worst video of all time is akin to how you view 50 Cent's horribly awry first pitch at a Mets game: Yes, it's an abomination, an embarassment, but has any other baseball pitch this year — ceremonial or otherwise — been talked about anywhere near as much?
So, yes: "Hello" may make you cringe. It may be a rubberneck delight. But, you remember it. In fact, you love it. And so does Lionel, who shared some tales with Rolling Stone about it:
The story behind that is really simple. [Director] Bob Giraldi shocked me on "Hello." It was a straightforward love story and he said, "No I'm gonna make the girl blind." I said, "Why do we have to go that heavy? Just make it a love story."
Then I get to the video shoot and there's this God-awful looking clay model of my head. I said, "Bob, this doesn't look like me." He said, "OK, we'll do the scene and we'll talk about this later, Lionel." We get to scene two and I said, "Bob, I see the bust here. It doesn't look like me." He says, "Scene two, now we're getting closer." It happens again with scene three and then finally we're getting right to shoot the scene where I discover that she's done it. I say, "Bob, it doesn't look like me." And he looks at me and says, "Lionel, she's blind!" [Huge laughter] And I said, "OK, I get it."
If my memory serves, this was the video that served as the breakout for director Chris Robinson.
"Uptown Baby" was an unlikely hip-hop anthem based around a Steely Dan sample that made such an airtight case for The Bronx's supremacy as the birthplace of rap music that even a Mets fan would have to give it up.
Ironically, the video itself was shot at the Met's former Queens home, Shea Stadium — a fact that's apparent to anyone from the five boroughs, or a National League city. But it was a hit clip nonetheless, thanks to Lord Tariq and Peter Gunz looking big in the video, a who's who of NYC rap celeb cameos, a sweeping 360° camera move, and, of course, a very hot track.
I don't think I'm bursting any bubbles here, but the floor in Jamiroquai "Virtual Insanity" is not moving.
The set is on wheels and it got pushed around on a plain grey floor by a bunch of grips. The camera was locked to the set, so what you see is an illusion. Seems like the floor is gliding Jamiroquai singer Jay Kay around as he does his gypsy-funk dance thingamajig, but it's really the "room" and the camera moving in tandem.
What about the couches? Sometimes they're bolted to the wall, so they seem to be still [actually they're moving], and sometimes they seem to glide across the floor [actually they're still].
And the bird and the bugs? That, I have no idea. But everything else here is correct, as it comes straight from an interview with director Jonathan Glazer.
Do you remember Ola Ray? She of the screaming in Michael Jackson's "Thriller" and subsequent lawsuit for royalties? Clearly she's made peace with her role in MJ's ascension to the Throne of Pop with her first music video "Remember," which is "dedicated to the Jackson Family" and features both clips of "Thriller" and newly-shot footage with a "spooky" vibe.
The Pixies were never a music video band. Makes sense. After all this is a band whose best songs were never the proper singles, who had no interest in looking like a rock band, was happy to arrange a concert set in alphabetical order and hated lip-syncing.
For instance, their other best known video, "Here Comes You Man," had Black Francis and crew employing an open-gaping mouth style instead of lip-syncing, and they look happily uncomfortable (by which I mean: The cringeworthyness is on purpose). Probably not a surprise they're not in their new video for "Bag Boy" — which like all things Pixies is curiously timed, coming just when you think the band is officially, finally over.
The classic Pixies video is their cover of the Jesus & Mary Chain's "Head On," which was born out of the band's insistance that the only way they make a music was if they did it live. No lipsync, no playing along to a track, no nonsense. The band sets up, plays, and gets out.
So the idea was born: Twelve 16mm cameras arranged to capture the band from various distances with different focal points. The resulting footage was then displayed on a 4x3 grid, creating a sort of mix-and-match effect that has the band looking fantastically odd.
Here's why: Pop can be shameless. It can be absurd. Even dumb. Consider the song itself — my favorite lyric is, "she's got dumps like a truck" — and think about what kind of video we'd get today for it. Probably something NSFW. Yawn. (Although, it'd be amazing to see Eric Wareheim do something for this song)
NSFW wasn't an option in 1999, so you couldn't take the easy way out. But you also couldn't just ignore the song and make something generic. So, Kahn and crew created something that's impossible not to notice. It's clearly a booty video — proudly a booty video — but that also mocks man's fascination with the backside. It's over the top, but it's also lighthearted, comical and dare I say charming?
Hard to imagine but the 1997 introduction to Daft Punk didn't feature Daft Punk and their distinctive helmet heads at all.
Instead they let director Spike Jonze deliver a typical, yet certainly odd New York story about a man named Charles. Correction: Charles is a man with a dog's head, played by Tony Maxwell of the band That Dog (which is possibly a coincincedence, but certainly awesome). And he looks like he might Get Lucky, despite the busted leg.