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November 21, 2007



Ugghh...I watched that Bonnie Tyler thing, and now I feel so dirty. She's like Princess Diana reenvisioned as a pug.


Well it does have ninjas, so its got that going for it.


Well, look how many people it kept busy.


The thing I hated about music videos back then was that the video images had so little to do with the songs most of the time. Although the Bonnie Tyler video is a good example, I will always remember Tom Petty's "You Got Lucky"-- a love song set to images of some picturesque Road Warrior future. I didn't get it, and I still don't, even as some kind of dadaist joke it doesn't work.

At least now I know that Mulcahy is the one to blame for for a lot of this, as well as all the silly music video cliches from back then: doves, wind blown curtains, candles, long dark hallways, slo-mo water splashing, dancing ninjas. . . .

Dale Hazelton

Prep school man/boys with glowing eyes, hosed down and in weird black diapers -- ehhhyeahhh. The line between "cool" and "homoerotic fantasy" is a little blurred here, no?

I did like Bonnie Tyler though, she's like a Barbara Mandrell lookalike you might be able to score with, and by the "slinky milf dress" comment, I'll bet Mr. McClung agrees. Wonder how much this video cost.....


So we can call women "MILFs" openly now? It really says more about the person declaring their status as an aspiring motherfucker than it does about the mmother.

Resident Clinton

I heard "milf" on 30 Rock a couple of weeks ago (network TV sort of slipped by the f word. What is this world coming to?), so I think it's entered the lexicon. Anyway, I was only using the phrase as a bit of a slang joke...though I do indeed find Tyler attractive, especially in that dress.

Oh, and I should point out that homoerotic fantasies are inherently cool. They are the backbone of the most exciting creative endeavors, gay or straight.


and if it's your mother?

Loki Motive

This video is awesome and I'm totally serious. The only complaint that can made about it is that it is not nearly long enough. The original version of 'Total Eclipse of the Heart' goes on so long and takes its incredibly simple lyrics through so many permutations that reducing it to even five minutes cuts out some essential ridiculousness. Think how many more visuals could have been latched on if only Mulcahy had kept the original length. Hell, I'm surprised there isn't a long and completely inessential intro and outro that bloated its length to 15 gloriously nonsensical minutes.

Oh what might have been.

Still with all the visual motifs and slo-mo effects and blatant symbolism I don't think this video is as representative of the overblown kitchen sink aspects evidenced in something like David Bowie's China Girl or Let's Dance. Well we could invert the colors in one scene and then Chromo-Key something in the next... wait... wait! No... let's do it both IN THE SAME SCENE!


Mulcahy's gift to the world was without a doubt Razorback (1984). A wild pig the size of a Volkswagon Beetle (maybe it was a VW) terrorises a small community in the Australian outback. Like Jaws but with a lot of dust.
What a nighmare....leaves Bonnie Tyler for dead mate.

Dale Hazelton

No one mentioned the above essay, which likens church doorways to a womans labia. It has to be real, why would Princess_ck84 say it if it wasn't so?


"slinky milf dress" is my word of the day, heck let's just make it the whole weekend.

Hell's Donut House

Suddenly Matthew Barney's entire career makes a whole lot more sense to me.


"The only complaint that can made about it is that it is not nearly long enough." Well, i guess if it's worth doing, it's worth overdoing. That Jim Steinman composed the song explains why it sounds like a Meat Loaf outtake. Anyway, the aesthetic is definitely one that thrives on being overblown.

Regarding Matthew Barney, has anyone tried syncing any of the Cremaster cycle and _Speed of Night_? I'm not going to volunteer, as i've already suffered enough by watching the video one more time.

At least now i know who to blame the 1980s on.

Steve Mobia

Okay, I love symbolic films so let me give this one a shot. The singer is a headmistress of a boys school who had an affair with one of the students. The boy entering the room at the beginning and who shakes her hand at the end is the one and his eyes turn into interrogation lamps. The blue curtains become red and the following events at the school contrast her sexual desire with a great guilt. The pulling between desire and guilt is depicted vividly by her leaning against a mirror. Nothing is literal here. The formal dinner becoming chaotic reflects the singers inability to contain her longings within the rigidity of the institution. The young boy who arrives late at the end is symbolically connected to the boy who releases the dove and the young choir boy who flies toward her (like the dove). Being a preteen, he represents a youthful innocence that becomes corrupted. This is all too briefly indicated when he's seen in make up and suit in one shot (connecting him to the older boy at the beginning). The climatic dance sequence cuts back and forth between the glowing eyed choir boys (moral guilt) and the loin clothed primal sexuality of the others. The angel attempts to comfort and resolve the conflict.

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