Ep. 128-Total Eclipse of the Heart (Bonnie Tyler)

Turn around.... Ryan, Al and Louie are podcasting about Miss Bonnie Tyler
Turn around.... Every now and then we get a little terrified of kids with glowing eyes
Turn around.... Every now and then we get to do another Russell Mulcahy video and this time it's creepy af
Turn around.... Every now and then we see very suggestive themes as we review this song
Turn around... Five Stars. Rate us that or we will fall apart.

Episode Transcript

Speaker 1 (00:04):
Thank you for joining us at TNBR podcast. We hope
you enjoy our show as much as we enjoy recording it.
You can subscribe to us through your favorite podcast feed
and follow us at t NPR podcast on Instagram. You
can also leave comments, suggestions and go rate us a
five star on Apple Podcast.

Speaker 2 (00:22):
Hello and welcome to episode one hundred and twenty eight
Throwback Music Video Review Podcast, and tonight we will be
reviewing Total Eclipse of the Heart by Bonnie Tyler. Total
Clips the Heart is the lead single by well singer
Bonnie Tyler from her fifth studio album Faster Than the

(00:43):
Speed of Night in nineteen eighty three. It was written
and produced by Jim Steinman and recorded in nineteen eighty two.
Released as a single by CBS Columbia in nineteen eighty three.
The music video was directed by old friend Russell Mulkahe
and currently has one point two billion use on alien.

Speaker 3 (01:02):
Remind me what is the last video we did with
good old Russell.

Speaker 2 (01:06):
I think Video Killed Radio Star was the last video
we did it.

Speaker 4 (01:10):
He's got the record for the TMV are most most reviewed.

Speaker 2 (01:14):
Reviewed director so far. Right, So we did him and
Hungry Like the Wolf and you know, like future episodes
probably like drand Rands or Span of Valleys in the World. Right,
he's directed every single Span of Valet video from that time. Yeah,
so guys, what is your history with Total Eclipse of
the Heart.

Speaker 4 (01:30):
Well, first, once you hear I think, you don't really
forget it. You know, it's one of those kinds of songs.
But it's definitely a karaoke favorite for sure. Yeah, right,
everybody would always sing it. There's so many people that
love singing it. Also a big part of the attraction
is the duet, you know, like, yeah, you get that
extra kind of a layer. It comes more fun, you know,
when you're doing it in a carryo. As far as
the video, I didn't never registered how fuckingly wonderfully weird.

(01:55):
It's so crazy. I don't even know where to begin.

Speaker 3 (01:58):
I was an adult huh, very meat loaf, very meat
love and that's I mean, it's meatloaf songwriter.

Speaker 4 (02:04):
Same guy that wrote all those songs.

Speaker 3 (02:06):
But he didn't make the videos, which is now ironic
that all he did.

Speaker 4 (02:10):
He did have some input in actually the idea of
the not just the lyrics obviously, but also the video
he was parting.

Speaker 3 (02:16):
That makes sense Okay, how about you guys.

Speaker 2 (02:19):
I've heard this song too, and I as a kid,
of course, and when it came out and because there
was a big global hit, I've never really seen the
video until I got to America, like as an adult
like me, deep and super bizarre, I had no idea
this was the video that they decided to create for it.

Speaker 4 (02:35):
But did it hit you when you first saw the video?
We just thought it was weird, right, I thought it.

Speaker 2 (02:38):
Was fucking weird. I think I saw the literal video
first and then I saw the actual video, and they're
both just as weird.

Speaker 4 (02:47):
Have you ever seen that one, the literal video?

Speaker 3 (02:50):
Yes, I have. It's one of the videos that as
a kid, I would change and put it private. It
on Nickelodeon. It was like this the meatlove videos. I
just I didn't like them.

Speaker 2 (02:59):
I can't stay me.

Speaker 3 (03:00):
I don't know what it is. It was just like
not my vibe when I was a kid, So I
just I would just change it because I was just like.

Speaker 4 (03:07):
I don't know, it's just melodramatic.

Speaker 3 (03:09):
Yeah, it's so dramatic. It's like a soap opera. It
reminded me of something for like, I'm sure my mom
liked the song and like Meatloaf, but it seemed like
my mom's kind of music, even though that wasn't really
her vibe. And she listened to it.

Speaker 2 (03:19):
Because pay on the Spot, yeah, was played every freaking.

Speaker 3 (03:22):
Because of a popular song. But it seemed like, oh,
this is like my parents music, you know, like even
if it's like old music like Tears for Fears, I
listened to and that's technically my parents' music, but I
kind of vibed with it. I didn't. Yeah, it seemed
it was like more young because they looked young too,
and these people look like Asian. Her and meat Love
look like older, right, they already looked like my mom
or her friends, you know, so I was like, I'm

(03:42):
not gonna watch this.

Speaker 4 (03:44):
They didn't really have a cool vibe.

Speaker 3 (03:47):
That's what it was. Yeah, they didn't have that like
punk that I needed, you know, even like in hip
hop had punk that that was more that I dug
than this. But you know, like and also the videos
are so weird. It was crazy, you know, it was.

Speaker 2 (03:59):
It was a a power ballad, right. It was unconventional
back then too, like this kind of this kind of style.
But in hindsight, like I never really got into Meatloafs music,
but I guess Jim steinem that's his style. That's that's
kind of how he composed music. So, you know, I
guess if I'm going to get an introduction to like
the meat Loaf verse, it would be this song. And

(04:22):
I've heard, you know, like someone meat loafs other stuff
and I and I've seen the you know, I won't
do anything for love and I won't do that. It
has the kind of feel that the you know, the
weirdness feel to it.

Speaker 4 (04:30):
But he also wrote making Love Nothing at All.

Speaker 2 (04:33):
Yeah, and it sounds like, yeah, like that song too.
It's like it's built the same.

Speaker 3 (04:40):
No, the songs are great, the videos are cool too,
Like it's just like when I was a kid, I
just wasn't vibing with it. You know. It is also
the same here his Blue Monday. You know.

Speaker 2 (04:48):
Wow, right, that's true in that context.

Speaker 3 (04:52):
Yeah, So I mean that's like, I mean, that's more
of a classic song to us, you know, personally. But
the extreme how music now it's kind of you know,
kind of algorithm music sort of. You know, the extremes
in music back then was so crazy. I'm like, it
was also the year, every breath you take, she works
hard for the money, you know, like you know, come
Dancing by the Kinks. I mean it's like music is

(05:14):
like a wild West show. Back then, we didn't appreciate
it how much diversity we got yea. So now when
I watch this, I'm like, oh, this is great, and
then this song gets stuck in my head for five days.

Speaker 4 (05:24):
You know, But it's really not built for young audiences.
I think.

Speaker 3 (05:28):
No, it's like an adult contemporary, adult contemporate.

Speaker 4 (05:30):
It's it's like every time I would I hate it,
like balance back then, you know, obviously you recognize it
and you got you get air worm. But as far
as like really liking it, I couldn't really you know
what I mean. It was just something true sad or
you know what I mean, Like it wasn't I wasn't
reaching me or to me.

Speaker 2 (05:45):
It's like I felt I actually liked them, like I
like air Supply. I've always liked air Supply as a kid.
I don't know, because I heard them all the time
and just something about them. It's like, you know, it's
stayed with me, and I always liked air Supply. I guess, yeah,
Like so for me By extension. I actually kind of
liked this song too, you know, but somehow I just
do not like meet lows for renditions of of.

Speaker 3 (06:08):
I think when when this song was on Old School
is where it came back into my conscious right, and
I was like, oh, yeah, it's kind of funny. But
then it was kind of like that for the rest
of the people that because like you would do it
at karaoke and then you would get into it, like
the like the singer on Old School, he's really getting
into it and getting crazy, you know. Like so I
think it was just kind of like it became that

(06:28):
karaoke song that everybody would do and kind of act out.

Speaker 4 (06:32):
It's kind of likeman rhaps exactly when it gets brought
into the consciousness right, the pop culture obviously, and then
it gets gets it gets huge again, kind of cycles
back in.

Speaker 3 (06:43):
Even though she's like an amazing singer, this is like
a hard song to sing at karaoke. You could actually
at least kind of do it where boheman Rhapsody, Like
there's no way you can do.

Speaker 4 (06:54):
Yeah, yeah, it's that dramatic. Especially you get older in life,
then you kind of start kind of relating to it more.
You know what I mean that the lyrics and how
it and fos and crescendos, and it's like it's very emotional,
right it is.

Speaker 2 (07:10):
It's a it's it's a wild mood doing this right.
And apparently like there's that ongoing rumor about this song
being I guess one of the I guess revealed like, oh,
this song was already written originally written as a as
a love song for vampires.

Speaker 4 (07:22):
Oh yeah the theme, Yeah, yes, originally, but obviously that's
not how the video is.

Speaker 2 (07:27):
Nope, the translates Russell Okay, is like nope, I'm going
my own way here.

Speaker 3 (07:31):
Well, he just I think he does read a lot
of songs for vampires. A lot of the meat Little
songs seem like they're pic right vampires or some kind
of like Hunchback Man or Our Beauty and Beast.

Speaker 2 (07:44):
Or trapped in the Castle.

Speaker 4 (07:45):
Kind of a couple of years ago, I think we
were watching one of the Meatload, the newer nineties one.
It's very vampire you do anything for that's the one.

Speaker 2 (07:54):
It's yeah, that's what I was referring to earlier.

Speaker 3 (07:58):
Instead of instead of trapped in, he's a trapped in
a castle kind of. I see that's the music genres
Trapped in a Castle Castle.

Speaker 5 (08:07):
Yeah, yeah, I don't know, but you know what, Jim
Seidem composed Sisters of Mercy this Corrosion.

Speaker 2 (08:13):
He produced that song.

Speaker 3 (08:14):
Oh he produced it? Did he write it to or no?

Speaker 2 (08:16):
Like I don't know if I don't know if he
wrote the bicks, but I know he's definitely he produced
that song for him. He produced like a few a
couple of other Sisters of Mercy songs as well.

Speaker 4 (08:24):
Okay, he's he could be a member of Sisters of Mercy.
He kind of has.

Speaker 3 (08:28):
He could either be a Bartis's first year or like
a WWF wrestler, right.

Speaker 2 (08:32):
Which, now that you bring that up, he actually uh,
he actually has some ties. What Yes, he there was
the wrestling album in nineteen eighty five. Jim Steinum wrote
Hulk Hogan's music for that one, but not the real
American song, but one of the word Hogan's more famous for. Right,
I am a real American. But the guy who sang
that is the guy who played the guitar for at
the clips of the whoa.

Speaker 4 (08:56):
A lot of Kevin Bacon's going on there?

Speaker 2 (08:58):
Yeah, yeah, it's like he has like a circle you
know Max Max Weinberg did the drums for one.

Speaker 3 (09:04):
Wow, Max Weinberg, Yeah, Holy, Brien's right.

Speaker 2 (09:08):
So yeah, it's a it's an interesting you know resume this.

Speaker 4 (09:12):
It's probably all these session guys and producers.

Speaker 3 (09:15):
Yeah yeah, but.

Speaker 4 (09:16):
Yeah, but makers really right.

Speaker 2 (09:18):
Yeah, so you know, and the whole Cogan's wrestling album.
It's a song called like Ravishing and he used it
for like, I don't know one or two gigs, and
it became the theme song for his cartoon show back
in the eight.

Speaker 4 (09:30):
Does he sing any of the songs on his album?

Speaker 2 (09:32):
Jim steinem no, no, no, you don't want You don't
want to hear him sing or play bass, even and even
he says he used play bass for Metallica. He says that, like,
well we look for you tried out for basic from
Metallic or something like that, right, But you know everyone's
calling him on that, on that bullshit, So.

Speaker 3 (09:48):
I say anything about that.

Speaker 2 (09:49):
I think they just debunked it. But he has a
good DJ alright, DJ Hogan, I don't know, op.

Speaker 4 (09:56):
For Calvin Harris or something like that, the other guy.

Speaker 2 (10:05):
But yeah, but I was amazed though, with all the
ties and all this dynam ties on on Everything Is.
But yeah, I was surprised that Rick Darringer, the guy
who sang the Real American Hope theme song, is the
guy played guitars for this song.

Speaker 4 (10:18):
When are you going to cover that song?

Speaker 2 (10:20):
Real American? No, I'm not a real American.

Speaker 4 (10:23):
A cover song.

Speaker 3 (10:26):
I could see that totally album.

Speaker 2 (10:28):
I mean, I've you know, I've made covers of wrestler
music and my solo project. Next video. There's no good
video for it.

Speaker 4 (10:37):
There's no video for it.

Speaker 2 (10:39):
Okay, guys, time for some bop already.

Speaker 4 (10:43):
Ship all right, here we go, you guys ready, yes,
all right, you guys know who Rory Rory Dodd is.

Speaker 2 (10:49):
He's the guy who's.

Speaker 4 (10:51):
Vocalist Lily. So he did that. He did that, but
he worked with many artists as a backup singer. He
also found a career in doing voiceover work for various
cartoons and commercials. So here's the question, which of the
following classic eighties game commercials Rory Dodd provide voice over
worked for.

Speaker 2 (11:10):
Game commercial like Milton Bradley games.

Speaker 4 (11:12):
Games, board games types of commercials. Here are your choices?
A pizza party because we're familiar. Oh yeah, hey, look
this is a brand new game.

Speaker 2 (11:22):
Told me to gather something.

Speaker 4 (11:24):
I was thinking that when I was making a pizza
party b hungry hungry, hungry hippos, shoot us see sectors'
favorite or d Operation doctor my ty hurts, Yeah, Operation Yeah.
He did the main vocal voice for for one of
those pizza party Hunger Hunger Hippo sat Tours or Operation Yes.

Speaker 2 (11:46):
I'm going for Operation Operations iconic, but I'm going with
a with a nostalgic.

Speaker 4 (11:52):
Favorite pizza party going Pizza party classic one.

Speaker 2 (11:55):
Right, we just had a pizza party earlier. Actually, you
guys are both.

Speaker 4 (11:59):
Rowy, hungry hippo. He doesn't. I think he doesn't. There's
no singing, it's he's talking about the game.

Speaker 3 (12:06):
You kind of like, Oh, I thought he was the
one like he did the voice over.

Speaker 2 (12:09):
Ye, that's trill. That is a voice.

Speaker 4 (12:10):
He's not singing because he's got those nice sports. Yeah,
that's him, right and so good. All right, here's that
question too. So in two thousand, sorry, in twenty fifteen, right,
the song told the Clips of the Heart was voted
by the British public as the nation's third favorite nineteen
eighties number one, Wow, all right, neighbor, Yeah, and a

(12:32):
poll for ITV. You guys are familiar. You guys subscribe
your previous subscription.

Speaker 2 (12:35):
Yeah it TV plus TV, right right, you're a corn
TV or bread boxer.

Speaker 4 (12:39):
But it's Channel three. Just in case you wanted to know. So,
which of the following was voted as the number one
eighties number one hit? All right, here are your choices.
I give you five, just a Confusion, War, A true Span,
the Ballet, b Tainted Love, soft Cell of course, c
two Tribes, Frankie goes to Hollywood, d every breath you
take the police or e don't you want me? Humanly damn,

(13:01):
that's stuff. Oh true, Tainted Love, two Tribes, every breath
you take? Or don't you want me?

Speaker 3 (13:06):
I knew Two Tribes got banned in England, so I'm
thinking that might be a good pick because people wanted
it even more because it was I think it was no, no, no,
it was it was relaxed. That was it relaxes banned,
it was rock Okay, it's im way off on that.
I'm gonna go don't you want me?

Speaker 2 (13:21):
All right, I'll go Spanda Vallet, True Valley.

Speaker 4 (13:24):
You're both wrong again.

Speaker 3 (13:25):
We're terrible at this man.

Speaker 4 (13:27):
That's every breath you take actually really number two.

Speaker 2 (13:31):
But Billy Jean, Michael Jackson.

Speaker 4 (13:33):
Uh Spandavalley came in at ten, Tainted Love at four, two,
tribes fourteen, don't you want me at seven, and rounded
up the But those are all good, I mean, yeah,
all jack that wrong for sure?

Speaker 2 (13:46):
Yeah, I can't go wrong.

Speaker 4 (13:47):
All right, Johnny, did you guys are near ari I
co op membership cards are anywhere you're wearing your art
turns warfill jacket, Louis.

Speaker 2 (13:56):
Yes, I am. It was a cruel world last week.

Speaker 4 (13:59):
It's right, you're repellent, Beani, you got it on. It's
time for the lightning. Wrong, Let's let's keep this. Obviously,
we're talking about eclipse here.

Speaker 2 (14:09):
So eclipse right, that's right.

Speaker 4 (14:12):
You guys know, a total solar clipses, right, happens when
the Moon passes between the Sun and the earthly blocking
the face of the Sun. But the question I'm about
to ask you is suor false? If these statements are
how the following cultures explained the celestial phenomenon right throughout history.
So you guys are ready, I'll start with you here

(14:32):
we go, all right, here's number one in Tahitian myth.
You're familiar the dehesion people right all the time. The
Sun and Moon are brother and sister who commit the
ultimate sin by becoming lovers their unholy union. Sire is
a bastard child the eclipse Sun who only rears its
shameful head every few years. True or false thrones.

Speaker 2 (14:54):
Shameful, shameful bathlets. I think that's false. That's way too guy.

Speaker 4 (14:58):
You you are correct.

Speaker 6 (15:01):
Yeah, some of these are, of course a little blue
smoking there, so alright, literally try this one, all right.

Speaker 4 (15:11):
According to the ancient Hindu mythology, and you're well versed
in that, a cunning demon named Rahu sought to drink
the nectar of the gods and attained immortality disguise as
a woman ra who attempted to attend the banquet of
the gods and what's discovered by Vishnu. As punishment, the
demon was promptly beheaded, and it is his decapitated head
flying across the sky that darkens the sun during an eclipse.

Speaker 3 (15:34):
True, boss, But that sounds pretty right on. I'm gonna
go true. You want with true?

Speaker 4 (15:38):
You are cracked?

Speaker 6 (15:39):
Yeah, man, that sounds And then the bastardness.

Speaker 4 (15:45):
Crazy good one, here you go. According to the Batama,
Liba of northern Togo and Beni.

Speaker 2 (15:52):
Oh yeah, I'm going there actually on vacation.

Speaker 3 (15:56):
You have two weeks there, right, you did your doctorate studies.

Speaker 4 (16:00):
Did you know that an eclipse is caused by fighting
between the sun and the moon. So when an eclipse occurs,
they come together as a community and try to end
their own fighting by offering their eldest daughters to other families.
And marriage is a way of encouraging the sun and
moon to do the same. True or false?

Speaker 3 (16:16):
That's pretty I mean, not the fourth marriage part, but
the let's come together.

Speaker 2 (16:20):
Yeah, yeah, the unity thing. But you know, at the
expense of our daughter's ill I think it's true.

Speaker 4 (16:26):
You're wrong. That's a good one, right, extra Becta. I'm
sorry I try to confuse you with the long story here,
all right, Louis hit try this one out, okay. The
you lady. Oral traditions of South East Australia, the sun
is known as the woman named Yee, and the moon

(16:47):
is a man called Ballo. Ye falls in love with
Balloe and chases him across the sky. Ye tells the
spirits that hold up the sky that if they let
Blue escape, she will plunge the world into darkness, which
is the total soil eclipse medicine man would recite magical
chance to combat this evil omen tu or false.

Speaker 3 (17:05):
I'm gonna say this is false, but I have backup
why because you said just the Australia, you're not You
don't bring up the actual tribes of the native people
who live there. But I might be wrong, but despite.

Speaker 4 (17:18):
Your excellent argument, it is true to your wow was wrong. Sorry.

Speaker 3 (17:26):
Also, the thing I'm like Kanye is I'm just kidding man.

Speaker 4 (17:33):
All right, ol, here's another one for you. The Inuits, right,
They tell of the sun godess Molina, who is chased
across the sky by her brother, the moon god. Occasionally
he catches up with her for a brief readingion and
everything goes dark.

Speaker 2 (17:47):
I think that is true.

Speaker 6 (17:49):
It sounds true, doesn't it?

Speaker 3 (17:50):
A dramatic reading that gets you, right?

Speaker 2 (17:55):
Yeah, because it's inulent and those names sounds very so
I bought it. I bought it, all right.

Speaker 3 (18:03):
I don't know you're such a historian.

Speaker 2 (18:05):
If you watching a avatar the Legend of Kora, you'll
know your your Inuit name.

Speaker 4 (18:11):
And we're learning a lot of mythology.

Speaker 3 (18:12):
All right.

Speaker 4 (18:12):
Let me try this. We're now the Maya meso America
observed and recorded eclipses, and we're able to predict eclipse seasons.
Mythology explains the portrayal of sister Moon to brother son
like poisoning the sun, rendering him into a long slumber. Today,
Maya people like fireworks and during an eclipse to awaken
the sun from its intermittent slumber.

Speaker 3 (18:34):
True or false, it's a pretty good storm. Let's go true.

Speaker 4 (18:37):
Sure, yeah it's false? All right?

Speaker 3 (18:42):
Where they go where they get fireworks from?

Speaker 4 (18:44):
I like this today? Yeah, that's the tradition. Well, I
have a couple more for you, all right. According to
the Amara tradition, right, these are the indigenous people of
the and these Mounadins of South America. Oh sure, you
guys have read about them, and the c means the
sun is sick and near death. In response, the people
would light their most precious belongings, some taking it as

(19:07):
far as sacrificing the entire hiarists and livestock to warm earth.
But the brief period when the sun could not true
or false?

Speaker 2 (19:15):
And right, if you made this stuff, you're a pullet.
I think that's true.

Speaker 4 (19:20):
You're wrong.

Speaker 2 (19:22):
Now, that's a good one.

Speaker 3 (19:24):
What ai generator? You right here?

Speaker 1 (19:27):
Man?

Speaker 4 (19:27):
It's in here, all right? I got a couple more
left here. Louis and Norse culture, the evil enchant a
low key, is chained by the gods. He gets revenge
by creating wolf like giants, one of which is named Skull,
who chases the sun every day, trying to swallow the sun.
That's why explained the eclipse.

Speaker 3 (19:45):
True or false? It sounds so true, right, I'm gonna
say false.

Speaker 4 (19:48):
It was true, Lily true.

Speaker 2 (19:51):
I knew that one, knew it.

Speaker 3 (19:52):
Damn you knew that one.

Speaker 2 (19:54):
I knew that.

Speaker 4 (19:58):
What's what's with the team market?

Speaker 3 (20:02):
I was like, does New York have anything to do
with this one?

Speaker 2 (20:06):
And you are one hundred eighty should get the faide
right now.

Speaker 3 (20:10):
I'm not even hitting the Mendoza line right now, all right?

Speaker 4 (20:13):
Last two, one for you, one for you, all right now.
Transylvanian folklore, I know you're familiar with this, brought on
by solar clips from the late fourteen hundreds, was believed
to be caused by flat Damn Paler's cruel spirit, draining
the Sun of its life force, thus creating temporary darkness
across the land.

Speaker 2 (20:31):
True falls that is a false.

Speaker 4 (20:33):
Sure, yes.

Speaker 3 (20:37):
They do.

Speaker 4 (20:37):
You have a folklore has nothing to do with but
I'm sure nothing they all do.

Speaker 2 (20:41):
Of course they now as far as Guard's penis like
covering around the sky, scargards mustag big this big quaw
like in the movie.

Speaker 4 (20:49):
Alright, we're a very final one. In ancient China, it
was commonly held that solar eclipses occurred when a celestial
dog like creature attacked and devoured the sun, bringing upon
a bad omen on its people. In turn, people adopted
the tradition of eating dogs to mitigate this bad omen
and prevent misfortune by following the people.

Speaker 3 (21:09):
True or false, it's another dog one, uh the wolf.

Speaker 2 (21:12):
The dogs are incontinents of.

Speaker 3 (21:16):
Yeah, I know we can suck us around.

Speaker 2 (21:18):
I can't have so many animals eating.

Speaker 3 (21:21):
So I'm gonna say false.

Speaker 4 (21:23):
Final answer, Yes, you're right.

Speaker 3 (21:25):
Finally double false.

Speaker 2 (21:29):
Right there there you go. Official answer.

Speaker 4 (21:31):
Good job, good job, you guys picked it up at
the end.

Speaker 2 (21:35):
Yeah, slumpbuster.

Speaker 4 (21:36):
It took me eight weeks to write.

Speaker 3 (21:38):
So I think I think you could get a doctor
in studies of mythological studies of the monology.

Speaker 5 (21:49):
That's some interesting ones, Okay, we'll be right back for
some music video discussion. All right, let's talk about the
music video for Total Eclipse of the Heart. Yeah, it
starts off with the classic the nestle chocolate.

Speaker 4 (22:08):
White chocolate, billowing curtains and flowing brick.

Speaker 2 (22:14):
You know, a lot of brand against self control. Right,
kind of starts off like that too in the creepy
ass room. But it's all pure and windy candles, candles
and bottles.

Speaker 4 (22:23):
Very virginal with her beautiful white like nightgown, right, and
dear curtains.

Speaker 3 (22:30):
The curtains are always in these videos. It's always a
castle with curtains.

Speaker 2 (22:37):
The castle genre. Man, this is like top notch.

Speaker 4 (22:39):
Right, and then we get right into the the dove right, Yeah,
slow mo doves struggling. Didn't know what's happening there, you.

Speaker 2 (22:48):
Know, supports doves and slow but it's a good visual though,
very cool.

Speaker 4 (22:52):
But the first words we hear, of course is rory
turn around. The first words we hear repeating.

Speaker 3 (23:00):
Now that when I hear that hungry, hungry hippo.

Speaker 4 (23:04):
And then door opens, mm hmm. All right, we see
the headlights of a car, but it then turns into
the eyes of this one student. Yeah, right, who kind
of bursts in.

Speaker 2 (23:13):
Right, right, So she's in this like gothic castle, right
or inspired for sure for sure, And yeah, it's all
dark in there, but his eyes, like, I mean, I'm
still wondering how they did that affect.

Speaker 4 (23:24):
Right then when it overlays over her eye, her left eye,
and then it becomes her right and then Ye starts saying, yeah.

Speaker 2 (23:30):
I mean, there's a lot of scenes in this movie
is very deliberate. It seems like a mish mash of
random things, but everything seems very deliberate in this music video.

Speaker 4 (23:40):
Now, I'm just gonna throw this in right from the
get go here because there's since it's such a weird
like it's very difficult to like, yeah, and the director
doesn't really say anything like what it means or any
of you know, there's really no explanation for anything that
happened in this video but so obviously, which means the
lore that follows is that many people want to interpret

(24:01):
it for themselves, right, right, So this one thing that
I read is a like a breakdown of like shot
my shot, you know, like frame my frame of like
what's happening. But the overall gist of it is this
repressed sexual tension, but also with a tinge of like pedophilia.
Pedophilia obviously because it's her, right, it's just an adult,

(24:23):
and everybody who's there are like these young some prepubescents.

Speaker 2 (24:26):
Yeah, these teams, these are very fit young people.

Speaker 4 (24:30):
But also like in these acts of like you.

Speaker 2 (24:32):
Know, like very suggestive as well. Absolutely, yeah, yeah, the
swim team.

Speaker 3 (24:37):
Well that's what makes the ending almost like even creepier. Yeah. Yeah.

Speaker 2 (24:42):
At first, when I watched this video as an adult,
I didn't pick up on it because I was so
I was just so distracted by the how random this
isn't kind of ridiculous and funny to me, But like
the more you dig deep into it is like you
know what, like, yeah, I read that page.

Speaker 4 (24:57):
It's crazy, right yeah.

Speaker 2 (24:58):
Yeah, And it's like there's a you know a lot
of angel and devil kind of interpretations as well, right,
you know, because there's that demonic kid and you know
the dove on that little wing throne that he.

Speaker 4 (25:09):
Was on that that comes out later.

Speaker 2 (25:10):
Yeah. Yeah, but let's.

Speaker 4 (25:12):
Run through what's happening. So she she has a lot
of her is really running through the corridors. We got
like doors just opening, right, out of nowhere, a lot
of curtains.

Speaker 2 (25:21):
Yeah, and each door you know, has like a scene
from like I guess a class Yes, there's a classroom
of two boys, you know, like I.

Speaker 4 (25:30):
Mean when there's some magical fan blows their unbuttoned you know,
uniform shirts and slightly shows their you know, their hairless chests.

Speaker 2 (25:39):
Yeah, like virginal pre preprebescent chests of theirs. You know.
There's of course the boy in that throne. The swim team. Yeah,
you know, they're they're just hanging out there getting wet.
And we got the goggles onto in some scenes.

Speaker 4 (25:52):
But we all then we also get the amazing dancing
nitches and you can't oh yeah, glass over that. I mean,
that's it'sssic you need to have at this time obviously.

Speaker 2 (26:02):
Right, Like that's the thing that that you know that
that person who was breaking it down like he was
also confused by that, but he's just said, oh, you know,
that's the eighties just an era of just random access.
And I think ninjas were the end thing around this time.

Speaker 4 (26:16):
Joe Stormsha.

Speaker 3 (26:21):
I mean then all the also like all the white
ninjas that were.

Speaker 2 (26:25):
Michael Ryan loves man. Every time we say American Ninja
Michael because he's a man. It's like me telling sizzler stories.

Speaker 1 (26:32):
You know.

Speaker 4 (26:35):
Well, now now that we've seen it so many times,
are you kind of getting the same vibe now?

Speaker 2 (26:39):
Yeah, Well it's like when when because it did feel off,
you know, like it does. Something does feel off about this,
And I'm thinking, like, yeah, if you put it in
the in the mind of an elder woman who's who
has authority over kids, you know.

Speaker 4 (26:52):
Like, we don't know that, but we're not.

Speaker 2 (26:54):
It's not definitely this is this is speculation what I'm saying,
but we do understand. It does make sense though, but.

Speaker 4 (26:59):
We do unders so far. Is she is a in
a school an environment, right, and the school environment.

Speaker 3 (27:05):
Yeah, she's new to it.

Speaker 4 (27:06):
She's new. It seems like she's new to it.

Speaker 3 (27:08):
It seems like it's like a dream she's having before
she starts a new.

Speaker 4 (27:12):
She starts a new job. Yeah, and it's night times,
which you shouldn't be there, nor are the kids. Hence
all the supernatural kind of beings are appearing.

Speaker 3 (27:19):
And then if you think, if you close your eyes,
I'm not don't. You don't have to close yours if
you do think of an all boys school, Like in reality,
we all know all boys school.

Speaker 4 (27:32):
Can I open my eyes now?

Speaker 3 (27:33):
Yeah? I ope, your eyes?

Speaker 2 (27:34):
Oh sorry, I was about to smoke you up there.

Speaker 3 (27:38):
But if you think of an all boys you're just
thinking sports. All these ruffians, you know, and it's all
like sports kind of things going through it.

Speaker 4 (27:46):
And it's also a period of development where you start
to there's a lot of like ship talking and all busting,
but also there's a lot of sexual attension.

Speaker 3 (27:56):
What do you say, horse play?

Speaker 4 (27:57):
Horseplay absolutely, yeah, as grabbing ask grabberary for and then
you know, we also get seemingly they're like adults, the
Fonzie like guys coming up the stairs.

Speaker 3 (28:06):
And some of them, yea, some of the points are
pretty old.

Speaker 2 (28:09):
Yeah they're much older, right, they're much older. But it
does seem like, you know, someone like a woman who's
you know, repressed with fantasize.

Speaker 4 (28:17):
I mean, some of the.

Speaker 3 (28:17):
Boys have obviously finished their A levels, you know, so
it's like they're already gone to college, you know, they're
out of primary school already now.

Speaker 4 (28:26):
In contrast to that, okay, the song, the structure, the
build up, she's holding back a lot of feelings and
emotions that it's being shown to us to the view
or what she might be thinking in her head, which
is like, you know, an attraction that she can't really
necessarily act upon, right, So it's kind of like this
push and pull of emotions. I mean it's really hard to.

Speaker 3 (28:47):
I mean, it's really is it attraction or is it
like fear?

Speaker 4 (28:50):
I don't know.

Speaker 3 (28:50):
I got the vibe like she's afraid of them. That's
why she's kind of like running from them.

Speaker 4 (28:56):
Well she's afraid that is there a frustration that she
can't act on the feeling she has, No I have.

Speaker 3 (29:02):
A feeling that the boys have a feeling. That's why
they're the touching.

Speaker 2 (29:05):
I mean, you could you could probably reverse it to
where its like she feels threatened by these sexually repressed
boys as well, you know, Like I mean, you know,
let's say, going on all boys school, we had a
teacher who was, you know, mildly attractive female. She was
the only mildly attractive female teacher, and of course all
the boys wanted to check her out. So I could
only imagine how someone like that would feel.

Speaker 3 (29:24):
I could see this this sexual thing in there, but
I was getting more like like she was afraid but
maybe she's afraid of what to feel.

Speaker 4 (29:31):
Well, if we're working on the theory that she's new, right,
she's a new hire at this place, and the fear is,
I'm going to start to be authority figure in this
establishment and she's going to have to face these kinds
of situations, right, so how is she going to act?

Speaker 1 (29:48):
So?

Speaker 4 (29:48):
Okay, I can I can.

Speaker 3 (29:49):
Also see, like now you opened my brain, but I
could see how she could feel that they'll see her
in that way. So then she starts to feel that way.

Speaker 4 (29:58):
You know, so as a human being, right, when you
know somebody else might be attracted to you, you you
changed too, because like you don't know how to maybe
act around them, or maybe you want to be careful
and not be too receptive because.

Speaker 3 (30:09):
You don't want to give them any yes, any openings.

Speaker 4 (30:11):
Right, yeah, so yeah, that's that definitely makes sense.

Speaker 3 (30:15):
So especially when they're i mean the boys that are
playing football without jerseys on and you can see the
ripped abs, i mean.

Speaker 4 (30:21):
Super ripped as a lot of sweat, a lot of water.
And then there's also the like the secret society gathering
with oh yeah right right.

Speaker 3 (30:31):
That's also another fear of private schools. That you know,
you don't know what's going on. There might be bones there,
something like some kind of weird half devil worshiping half uh,
that's right.

Speaker 4 (30:45):
Yeah, so this may or may not be in erotic fantasy.
It could be in both sides, right, We just don't really.
We just get more of what she's probably thinking. She's
the main character.

Speaker 3 (30:54):
Like her worst fears fears.

Speaker 4 (30:56):
Yeah, I mean if.

Speaker 2 (30:57):
When you's tormented though.

Speaker 4 (30:59):
I know, that's the thing that kind of pulls me
towards that direction.

Speaker 3 (31:02):
If you're if you're starting a job, even like your
first job at McDonald's or JC Pennies or you know whatever,
you know, you're you're gonna have these fears that are
not you know, there are irrational fears. So she's starting,
you know, as we know at the end of the video,
like she's starting this job for the first time. He's
being introduced for her. So she's having all these irrational fears.

(31:23):
And I could totally get that, but it's so crazy.
And it's also the eighties where they're gonna pump the sexuality, yes,
of course.

Speaker 4 (31:31):
But also you know, from what we see, there are
no other female figures.

Speaker 3 (31:35):
Yeah, she's the only one.

Speaker 4 (31:36):
School. So yeah, I could probably see that that's going
to create some sort of confusion for her, like, you know,
being around all these new people.

Speaker 3 (31:43):
And what if you find out she's actually teaching sexual.

Speaker 4 (31:48):
I mean the way they shot the video, like she is,
there is some longing somewhere there. You know, there's a
lot of like she sees that mayor yeah, all these boys,
but then she ends up just herself.

Speaker 3 (31:58):
Right, So it's like, did she ever talk about the
video or no?

Speaker 2 (32:02):
I look for her.

Speaker 3 (32:02):
I would like to know what she would what she
feels about it now where she's like, oh wow, like
that that was that wasn't the intention, but the director
went on his own.

Speaker 4 (32:10):
Yeah. Yeah, so you get a lot of the lot
of sports activities happening at night when it shouldn't be right.
But she's kind of like going through.

Speaker 2 (32:20):
That was really weird.

Speaker 3 (32:21):
Uh.

Speaker 2 (32:21):
There's the football team, but they're in England, right, and
there's no American football in England.

Speaker 3 (32:26):
That's why they didn't have jerseys. I think they didn't
know that jerseys actually go. There's no cricket, there's no folks,
there's no like yeah soccer football, you know, like interesting.

Speaker 4 (32:37):
And she's constantly just wandering through the different hallways, always stairs,
even to the point where like she couldn't take it anymore,
right where she had to leave, but only to what
find herself back inside? Yeah, right, like she's trying to
escape this whatever she's going pulled back back.

Speaker 3 (32:55):
It seems like she's like almost forced to take this job.
Like it seems like already like there's she's already having
read about it, you know, which is wild?

Speaker 4 (33:02):
Can you interpret these kind of lady, she appliges her resume?
How about the would you consider the glowing eyes as
the as all these boys just staring at her? Yeah,
you know, kind of like undressing her?

Speaker 3 (33:17):
Right, No, I could see that. I could see the part.

Speaker 4 (33:19):
Of it because, as we know, one of the the
first time she sees the choir boys with the eyes, right,
one of them flies towards or towards or as she
commanded that to happen.

Speaker 2 (33:28):
Almost she commanded or he just came to her, because
that's horrifying. Man, I don't I don't want that thing
coming at me. I mean, you can see if I
can see the wires and ship.

Speaker 3 (33:37):
No, No, I could see the male gaze as the
glowing eyes, you know, towards her, and yeah, I could
see that being like, I mean, it's going to affect
everything that she does, like the way she dresses, the
way she holds herself. You know, it adds a whole
layer to the job that a man would have to do,
and then she wouldn't have to do all the time
at a school where you know, there's it's mixed, you know, genders,

(33:57):
you know, so I could see how that could be horrify.

Speaker 4 (34:01):
So obviously she's going through all these dreamlike states, these illusions. Yes,
but the theme remains the same. That's the thing to
me that, Yeah, that kind of sticks with me. It
doesn't really change right throughout from the beginning to end,
even the very last.

Speaker 2 (34:15):
I mean it gets you know, when the song builds
up and it gets kind of you know, gets into
that bridge and then the big finale where she's just
dancing with all this chaos around her. I think it's
just all of her fancy just finally like climaxing to
the point and then yeah, it slows down, it's all
over and then back to reality.

Speaker 3 (34:35):
She doesn't like go into a room with a bunch
of nerds reading and she's like, oh, it's nice here.

Speaker 4 (34:39):
You know, it's always something just about to break.

Speaker 2 (34:41):
Yeah, I don't know, but yeah, so and then and
then you know, towards the end of the song, the
little slow piano and she's out there being introduced like
a normal day, right, and this is a sanitarium, by
the way, always re jam at the Holloway Studios bands.

Speaker 5 (35:02):
I wonder if really it's a satellite location.

Speaker 4 (35:06):
But there's also a part kind of like the refrain part,
I guess, where like they start showing all the different
sports activities doing all those like ballet moves.

Speaker 2 (35:14):
Yeah, yeah, you got all of them.

Speaker 4 (35:16):
The ninjas only come at once once, right, they don't
come back later.

Speaker 2 (35:18):
I think, well, because.

Speaker 4 (35:20):
Later on it was like the fencers and the football player.

Speaker 3 (35:22):
Yeah, it's like ballet dancers and it's like a gymnasts exactly,
other dancers that have kind of like more swimmers really costumes.

Speaker 2 (35:32):
Oh yeah, oh yeah. There's that point too when the
song the sends when she get hugged by an angel
from right, right, So that's more.

Speaker 4 (35:38):
Of a you know, how do you interpret that?

Speaker 2 (35:40):
I like the guy's interpretation where like it was a
permission to be okay with it with whatever was happening,
whatever was happening, I accepted.

Speaker 3 (35:46):
It, except she's gonna be okay.

Speaker 2 (35:48):
Yeah, she's gonna be okay. But I guess. But at
the same time, as like, you can also interpret its
like what it's okay, just give them to your fantasies, bro,
you know it.

Speaker 4 (35:56):
Is right, Yeah, she's getting in the green light.

Speaker 2 (35:58):
Oh no, it's and you know what, like it's we
I don't know, like I mean it kind of taking
it out of it. But like I was as a kid,
like I never even you know, at that age, I
could only imagine teachers, like I never thought of a
teacher would feel like that, and I got attraction towards children,
you know, at that age.

Speaker 4 (36:13):
But it's strange these days that's all you see on
the right. Maybe they're just kind of like spotlighting those
specific you.

Speaker 2 (36:20):
Know, yeah, like a lot more like youngly like you know,
teachers in her twenties getting as well. The weird thing
is activities.

Speaker 3 (36:27):
The weird thing about that is with male teachers, and
then not male teachers, but like people that work at school,
like coaches and all that. That happens all the time. Yeah,
it happens everywhere all the time. But those ones don't
get really put on the news as much, you know, because.

Speaker 2 (36:42):
It's it's like expected or just old news, or I
think it's just normal.

Speaker 3 (36:46):
Well that in those cases, a lot of times society
blames the girl. She was coming on to him, she
was you know, she tricked him or whatever.

Speaker 2 (36:56):
You know, Jezabel complex the other way.

Speaker 3 (36:58):
Around, where's it happens what maybe once every three years,
once a year maybe, you.

Speaker 7 (37:03):
Know, usually sensation lized younger and of course it's again
it's the same thing, but this time the female teacher
is the one that seduces the young boy.

Speaker 3 (37:16):
When it's a male teacher, it's the young woman who
seduces the older teacher or coach.

Speaker 2 (37:21):
You know.

Speaker 3 (37:21):
So no matter what, the female always is the one
who gets to blame to for it, you know, in
every situation, and the ones that gets to stationialized is
the female teacher to the you that's just our society.
You know, everybody looks even you know, men and women
look down on other women. We live in a terrible
world that's been going like this for hundreds of years.

Speaker 2 (37:41):
I mean the April Mad December was that movie with yes, yes, yes, yeah,
it's kind of like you know, based on that historic
thing that happened back in the late eighties about that
teacher who got himpregnated by her students or something that
was crazy.

Speaker 3 (37:57):
But anyway, getting back into music, I mean, so yeah,
they they made a movie about that with the male teacher.
I mean it would be either like some kind of
comedy or something like that, you know, or like Californication.
We're talking about that. You know, there's an underage girl
who you know, and it's a comedy, you know, So
it's like it's more dramatic and they put more weight
on it when it's the other.

Speaker 4 (38:15):
Way traditionally speaking, right, like a female teacher nurturing you know,
motherlike right, like that's kind of like raising as if
they were like her own kids.

Speaker 5 (38:25):
Right.

Speaker 4 (38:26):
Usually that's how you would kind of see it that way.
But so it's like when it goes sideways where there's
attraction and an actual act, you know, these kinds of acts,
and obviously it's a little bit more damaging, I guess,
which is kind of weird.

Speaker 2 (38:38):
But well, luckily none of that happened in this music.

Speaker 4 (38:40):
But no, none at all, but there's a lot of
guilt about it. Yeah, that's the thing that's kind of,
you know, really iffy about it. It's because why why
so much? Right what I mean, at least unless the
surface right, like is she really got is he like for.

Speaker 2 (38:51):
Sure going to act upon it? Or well you're just honestly,
you're just so repressed already that you just can't help
like all this taboos happening, and she doesn't know what
to do.

Speaker 4 (38:59):
So I show this to my partner yesterday and she's like, oh,
I've seen it before, but I never really like, like me,
I never really clicked until we watch it as as
you know, adults later. But there's there could be a
possibility that since she's new there, maybe something happened where
she came from somewhere else right now, that's why she's
new at this place. So there's the fear of, like,
you know, either I don't want to be found out
that happened and that's why I moved here, or the

(39:21):
possibility of like it cycling again, because most of the
times these these situations are cyclical, right, it kind of
happens again because yeah.

Speaker 2 (39:28):
It's like it's like the Catholics, you know, pre system,
you know, relocating and pre exactly into a new are there.

Speaker 3 (39:35):
You know, there was like, uh, you know, something came up,
nothing was proven. It might have been a fake allegation
because the kid wanted a better grade or something like that.
So she's afraid it's going to happen again, and you
have to go through that whole process.

Speaker 4 (39:46):
So there's maybe the school just want to yeah, so
instead their move is to transfer her to this other place, right,
But then she still carries this this baggage into this
new position she's in, and it's like, you know, it
might happen again.

Speaker 3 (39:59):
Maybe maybe the weird fear at the end, what do
you guys interpret the end handshake and then the ice Well.

Speaker 4 (40:06):
Okay, yeah, so now now we get to the very
last part of the you know, the last leg of
the video where she's introduced by maybe the head master.

Speaker 2 (40:12):
Right right, we're in graduation I think it was graduation one.

Speaker 3 (40:16):
They're just proper, you know, that's that's how it is.

Speaker 4 (40:20):
And she's introduced to these were older boys it would
be probably like just about to graduate, probably right right,
and then we see a younger boy kind of sneak
into the front and then she was like hair a
little bit, right, kid sport and she's introduced to the
front row, she gets that one boy.

Speaker 2 (40:39):
One boy, Yeah, shakes her head like like pulls her
with his end and goes but his eyes going like
in the fantasy.

Speaker 4 (40:48):
And then it doesn't glow in the second time.

Speaker 2 (40:50):
Yeah, like like that's is that like just her fantasy
is kind of or necessarily fantasy, but just that dream, the.

Speaker 3 (40:56):
Dream, our nightmare. You don't know.

Speaker 2 (40:57):
If you don't know, if you have a reality, that's
what it is.

Speaker 4 (40:59):
Yeah, could be a nightmare. You think it's over. It's
a classic Fighter the thirteenth.

Speaker 2 (41:03):
Yeah, things you know it's a twist, you're not twisted.
It's like a gotcha in.

Speaker 3 (41:07):
I think that's the thing is, you don't know if
it's a dreamer, it's a nightmare. It's not coded either way.
So you're left like, wait a minute, what does she
want to do this?

Speaker 4 (41:14):
Or I feel like she is having a nightmare. She doesn't.

Speaker 2 (41:18):
Wait, she's not happy, she's not she never cracked a smile.

Speaker 4 (41:21):
Well, the thing is, she was very she was excited
when it's daytime and she's being introduced because she thinks
we're back to normal, back to repression, and now she
gets pulled back into the the Gothic Wonderland.

Speaker 3 (41:32):
To the Sanitarium.

Speaker 2 (41:35):
But I'm still amazed though, But that effect I can't,
like I can't get over because like, how the fuck
did they do that? Like like this is like the
extremely brightest glitter possible, like like eyeshadow possible, because that's
what it is, right, and like you're just shining torch.

Speaker 3 (41:50):
Like are they? I thought it was like after effects,
so it looks like it kind of moves on their eye,
like it doesn't really sit right.

Speaker 2 (41:56):
I thought that's what I thought too, But like I
don't know if you guys saw the behind the scenes thing,
it kind of.

Speaker 3 (42:01):
Shows them with the oh they have things.

Speaker 2 (42:03):
So they have their their eyes are closed, and they
painted their their eyelids with that very shiny I guess,
reflective eyeshadow.

Speaker 4 (42:12):
Now, could she be dead and kind of reliving.

Speaker 2 (42:15):
Or that could be a you know, and that could
also be like a flashback the way it ends, that's
not the day after. That could be like the day
before and then after meeting these people who's like you know,
you could.

Speaker 3 (42:26):
Oh that was her whatever happened to it, Or it
could be like she's actually really in that place, is
really a sanitarium, not a school. We got to shut
her Eyeland kind of situation.

Speaker 2 (42:38):
Yeah, totally, you know.

Speaker 4 (42:40):
That makes sense. Maybe they chose the low the local,
so maybe they thought, well, let's spin it into kind
of like some descent into madness situation. Right, she's been institutionalized.

Speaker 2 (42:50):
Session, Yeah exactly.

Speaker 4 (42:52):
She has to relive this situation over and over every night.
You know, she's like wandering the halls and no one's
really there.

Speaker 3 (42:58):
She's in her room just like teaching classes.

Speaker 4 (43:02):
Exactly. Dang, even got deeper.

Speaker 2 (43:05):
Yeah, like they should really like expand upon this.

Speaker 3 (43:08):
Are we are we writing an eight twenty four movie.
Hold on, wait a minute, agent on the phone.

Speaker 4 (43:15):
But okay, we get the beautiful crane shot pulled back
and she's left. She doesn't even turn around. It's all
the boys are excitedly go up the stairs and into
the place, right, and she stays there and she's she's
got this bewildered look. She doesn't know what's going on,
just like we are confused and it really happened, right,
because she.

Speaker 2 (43:32):
Just walks away.

Speaker 4 (43:33):
She's just strang She's like like did that really happen?
That kind of situation? She's like this she walks, gives
her walking papers.

Speaker 3 (43:42):
Is ever going to go to another country and teach English.

Speaker 2 (43:45):
Goes to Japan? I'll be even crazier.

Speaker 4 (43:47):
There's so much more to say, but again, this is
going around in circles because you know what I mean.

Speaker 2 (43:51):
I mean, it's it's you know, it is a piece
of modern art. They should really put this in like
some MoMA or something moment, some some some sort of
archive in moment because.

Speaker 4 (44:00):
If you yeah, if you think about it, this is
like an eighties movie, you know, like like shortened into
the song.

Speaker 3 (44:05):
So it could be a horror movie or it could
be some kind of weird drama, you know.

Speaker 2 (44:11):
I mean I do get the Charlotte sometimes vibe out it.

Speaker 4 (44:13):
This has that effect too.

Speaker 3 (44:15):
Oh yeah, it has that like weird I mean the
eyes look like the after effect of the paint sometimes. Yeah.

Speaker 4 (44:21):
Hallway stair stairways stairways that the girl kind of like
tormented by the cure. What's happening you sing? All these visions?

Speaker 2 (44:30):
Yeah? Yeah, a lot of mirror play too, a mirror play, Yeah,
so I think maybe more Okay, Well, she's she has
to confront her demons, right, That's why she keeps like
running into herself and it's like, yeah, she's trying to
run away from it, but every time right the right,
like and she's singing on the you know, with her
head on the mirror. Once upon a time that was
light in my life. Yeah, one one.

Speaker 3 (44:54):
Not ow what if you found out that all your
teachers have these nightmares before they were all voiceco that
you went to.

Speaker 2 (45:01):
I hope they're tormented by the dirty, dirty, dirty minds.

Speaker 4 (45:04):
I think at this point it's just part of the
course where middle school high school teachers, I know they
have that in the back of their minds, you know,
like dealing with these boys that are just trying developing
and having all these feelings.

Speaker 3 (45:18):
When I mean I work at a high school and
when I'm in a room with just a female student,
you know, I'm like, oh, I got to go get
a female exactly.

Speaker 4 (45:28):
The door must be open all the time. Those kinds
of situations you always want to make sure.

Speaker 3 (45:32):
Just because lawsuits and even if just another coworker comes in,
there'll be like, well what are you doing in here?
You know, and it's just it's just like you alone.
You always have to be looking.

Speaker 2 (45:43):
For really really like damn, like well just for your.

Speaker 3 (45:47):
For your own safety. Yeah, for your own safety. You
never really know because you don't know what other people
are going to think, you know, like they don't know
your relationship with this student. They don't know like what
you're guys are talking about, you know, and anybody they
could interpret it, interpret anything. You know.

Speaker 4 (46:02):
It's not even just the people in the room, people
who are just passing by. Hey, you know what I
mean exact it could bring upon these kinds of grandiose
that's horrifying.

Speaker 3 (46:11):
Even with parents too. With parents, you have to you know,
really keep the door open. You never know, you know.

Speaker 2 (46:16):
What's act, like you're gonna get sued or something. You
always cover your tracks with.

Speaker 4 (46:20):
Paperwick and again especially these days of course, right, but
back then it was probably a little bit different. You know,
there's a lot more than supervised or you know, like more.

Speaker 3 (46:28):
Well like in Monty Python the sex said like they
have sex on table, literally have sy liberal how they teach.

Speaker 2 (46:36):
So, I mean remember the movie Summer School. Remember one
of the kids just spends the night, one of the
female students just spends the night in this place and
everything seems to be okay. Yeah, I mean, like when
I was watching, like man, that happened this teacher's long
spelled goodbye tenure.

Speaker 3 (46:51):
Well, no, he probably wouldn't. He probably wouldn't get fired.
They probably have him forced quit. So then nothing gets
put on the school district. That's how it is that
or that that teacher would be moved to another district
where that would probably happen again.

Speaker 2 (47:04):
Sorry, what happened to Bonnie Tyler?

Speaker 3 (47:05):
Then?

Speaker 1 (47:05):
Right?

Speaker 4 (47:06):
And you know what's funny, we had a teacher in
high school. I know Lew's mom was telling a story
about like he would invite his students at the end
of the year and they would hang out. He lived
like in Dana Point or the beach like that, and.

Speaker 2 (47:19):
Like he'd hang out on a teacher's salary.

Speaker 4 (47:20):
Well, yeah, he comes from a yeah, he's he's an
interesting man. But anyway, he would invite some of his students,
like in the ceramics class, debate class, and they would
party his house and they would smoke weed. And because
this was a different time, you know, and it was
like it was known that he would do that kind
of stuff. No lawsuits, no problems, no complaints, a different time, right,
So that's what I'm saying. Obviously, today those kinds of

(47:40):
as it happens, but it's not like that. It's more
of like community based where everybody's invited and you know,
like administrators, everybody's there, uh you know, members of the PTA,
that kind of stuff. And then and then they have
like a social gathering, right, but no weed though, right yeah,
probably not drinking of course, you know, food and socials.

Speaker 2 (48:00):
But yeah, it's crazy, right yeah, change, yeah, I guess.

Speaker 4 (48:04):
But they have to I guess, you know what I mean.

Speaker 2 (48:06):
But I mean to have that kind of guilt that
Bonnie Tyler had. Though, what if it is like session night,
it's all her in her visions?

Speaker 1 (48:11):
Right?

Speaker 2 (48:14):
You still ask him when he's Direnking a teen Wolf movie.

Speaker 3 (48:17):
I would love to hear the pitch for this video,
like all right, here we go.

Speaker 4 (48:20):
And like I said, Jim stein steinem steinhum did have
yeah into creating the video, Like the idea of the
baby well.

Speaker 3 (48:28):
I mean, the way he looks like a former WWE wrestler,
it seems like he'd go straight to the oh man,
she's good, she wants to hook up with all these boys.

Speaker 2 (48:36):
I'm still amazing he collaborates. This is a mercy though.
That's amazing to me.

Speaker 3 (48:40):
That even makes more sense that he collaborates mercy. He
would give notes on this video.

Speaker 4 (48:44):
He's like the third sentth player.

Speaker 2 (48:47):
Okay, we'll be right back for some notable YouTube comments.
All right, it's time for some notable YouTube comments.

Speaker 4 (48:56):
Right. You know when you choose a comment and you think, oh,
it's pretty clever, and you keep looking at there it
is again, damn it. You know you know what I'm
talking about. Oh, like like when some like it's a
good one, but then it's other people you do. Yeah,
so I'll give you. I'll give you one anyway. All right,
it plays it plays like this police. You probably gets
heard this one around. Turn around me every now and

(49:18):
then I get a little bit, Rightli says, turn around
and then me gets every now then it gets taste.
So many of those, all right, turnd I got a
couple more. But Maximus g W four years ago says
the dislikes from people who refuse to turn around, Oh
and at empty the best twenty seven three years ago

(49:41):
says this is what nineteen eighty five people. The future
will be so great. I can't wait to see what
it's like. People in twenty twenty one says, turn around
there's nothing but turn around jokes where you.

Speaker 2 (49:50):
Got no idea turn around? See going on.

Speaker 4 (49:53):
Here and finally out at JJ Alligon seven nine seven,
six years ago, six years ago, says Bonnie Tyler's hair
was apparently of the few structures visible from space. Oh wow,
the comments.

Speaker 2 (50:14):
As a kid, you know, when you have little when
you hear a song lyrics and you imagine it what
it sounds like in your head. Since Michael Jackson was
big around this one, and then her turn around bright
as he's doing his little flip, and then the gass
eyes from Thriller.

Speaker 5 (50:29):
That was my little fat fixture of red and this
big old cat eyes from Thriller.

Speaker 2 (50:36):
That was my mashup.

Speaker 3 (50:38):
Did I ever tell you about my how I would
sing the song when I was young? No, I would
always say total clips of the fart. Of course he was.

Speaker 2 (50:47):
Totally clips of the fun like Louis was saying, but
whole soun right, brown jokes, you guys. Okay, guys, totally
clips the heart. Would you keep it or would you
throw it back?

Speaker 4 (51:00):
Yes? That's nextly Okay.

Speaker 3 (51:03):
The video it's so weird and good god it is.
I mean, she's so into it too, which is great.

Speaker 2 (51:10):
Yeah, it was the outtakes. She was like in character,
you know you got I had it to Buying Town.
This is her fifth album, by.

Speaker 3 (51:16):
The Sheding or something like that. She seems like she
could be an actress.

Speaker 4 (51:20):
This is a collaborative yes, right, yeah, it's too good.

Speaker 2 (51:23):
It's classic.

Speaker 4 (51:23):
There's too much to talk about. There's too many like
what what.

Speaker 2 (51:27):
The literal video? Yes, you know, like you can't. I
can't separate the two right now, but yeah, like you
can come up, you can. It's one point two billion
ye for an eighties video.

Speaker 4 (51:37):
But above all, it's funny, not meant to be. And
that's the funniest part is that it wasn't meant to
be funny, but it's fucking hilarious.

Speaker 2 (51:45):
You know. It came out to in nineteen eighty three
Journey Separate Way.

Speaker 4 (51:48):
There eighty seven dollars budget.

Speaker 2 (51:50):
I know it was a golden age of weirdly hilarious
music videos.

Speaker 3 (51:55):
It is a funny thing.

Speaker 4 (51:56):
I think Carl Sagan included this in the Thing right
the Boys that he sometimes in the gold dis Yeah,
just to confuse the aliens out there is going on around.

Speaker 3 (52:07):
He's in a golden DVD of the the four K
DVD of it.

Speaker 4 (52:10):
But you know what, four K it's a great, great
song though. I gotta say it's a really good song.
You know what's.

Speaker 3 (52:16):
Funny is it's weird how it seems so short with
the music video because it's so entertaining. It's like five
minutes long. But I thought it was like one of
those like ten minute power ballots of like eight minutes,
you know, But no, it's it's it's it's quick. Yeah.

Speaker 2 (52:28):
The thing is that the original, the original, cause like
seven minutes long. They have to shorten it for the
radio to radio, oh like four and a half minutes,
I think. But yeah, yeah, it's crazy how this is like, Yeah,
there's so much to take in. And the pacing is
the pacing is great.

Speaker 4 (52:42):
Yeah, the movie man, the editing is amazing. Yeah, he's
going along with the music, right, the ups and downs
of the music.

Speaker 2 (52:48):
Yeah, that's weird because the pacing is great. But it's
chaotic too. I know, she's going crazy, all these freaking
guys grinding her ship. But also the structure of the
song really helped it a looted to slow down on
then the and the build up and then the the
you know, climax and then slow down again kind of.

Speaker 4 (53:04):
And the true mark really is the repeatability of watching it.
You know, it's like, I'm want to watch it again,
like you want to show other people. It's always like.

Speaker 2 (53:10):
True, you know, yeah, if you want to show to
other people, that means it's.

Speaker 4 (53:14):
A good time.

Speaker 2 (53:15):
Right, Yeah, that's a good costume to following. Right when
the choir boys and the glowing eyes the.

Speaker 3 (53:21):
Baltinjas for me can think you're one of the children
of the damned.

Speaker 2 (53:25):
I know, maybe there's the same effects to right from
it's got it, it'spensing.

Speaker 3 (53:30):
Yeah, they probably watching children down like, hey, I got
a video idea.

Speaker 2 (53:35):
Okay, so yeah, three keeps then right, it's hard to throw. Yeah, okay, Louis,
you're next. What you got for us?

Speaker 3 (53:44):
Oh I'm next?

Speaker 2 (53:45):
Yes, okay you a forget.

Speaker 4 (53:50):
Just his next really big?

Speaker 3 (53:51):
All right, we're going Yeah, I was, I was trying
to figure out what I want to do, but I
just I'm gonna do this one. So we're gonna go
to the next year eighty four. And this is something
that we've been talking about that we haven't done a
video from this band. So we're gonna do Echo the
Buddy Man seven C's this is like a hard video
because I was like, I want to do lips like sugar,

(54:12):
I want to do you know, killing Moon. But it's
like this is the one that I think where they
do the most. It's not just repetitive stuff over and
over again.

Speaker 2 (54:18):
So yeah, yeah, okay, all right, we'll be right back
with Eching and Buddy Man. I guess right, we're.

Speaker 5 (54:25):
Gonna do it right now, right now. Okay, guys, thank
you for listening. Oh, buy us a coffee, right.

Speaker 4 (54:32):
And try and buy us a coffee. Dot com slash
slash DMVR podcast.

Speaker 2 (54:37):
Mr Podcast Okay, so yes, thank you for listening, guys,
and you next time.

Speaker 1 (54:43):
Thank you for joining us at t n b our Podcast.
We hope you're on your show as much as we
en you're recording it. You can subscribe to us through
your favorite podcast week and follow us at t n
b our podcast on Instagram. You can also leave comments.
Just just and go rate us a five star on Apple.

Speaker 2 (55:02):
Okay, I'll tell you this one that's intense.

Speaker 4 (55:05):
Right when I was in fifth grade, if you were
one of the good students or pretty behave students, you
could be nominated to help out the kindergarteners, right, and
as a reward, the kindergarten teacher would take you out
in her car. You go to McDonald's and should buy
food and yeah it's cool, right and can't do that, you.

Speaker 3 (55:24):
Know, it's strange.

Speaker 2 (55:25):
Yeah, there's a lot of liabilities, especially with driving a car,
you know, your own personal car. It has to be
like school supervised.

Speaker 4 (55:31):
Now and super crush on this teacher too, she's beautiful,
miss Santana. Yeah, and that was the thing, like she
would like, you know, you and another student he go
as a pair and you go, Yeah, it's a reward
at the end of the year, should take you out.

Speaker 3 (55:42):
Well, now they wouldn't let you go in her car
because she might have peanut butter in there. You might
have some or something.

Speaker 2 (55:49):
Oh my god, it comes back.

Speaker 4 (55:55):
So there's too many. Yeah, there's a lot of variables.

Speaker 2 (55:59):
Like everyone so trigger happy to see you know exactly.
So yeah, unfortunately but good for Okay. That concludes the
discussion for his music.

Speaker 4 (56:09):
Video, right, I guess there's too much to say.

Speaker 5 (56:11):
Do you think by Tyler would take one of these
kids for McDonald's, I guess.

Speaker 2 (56:16):
Or fish and chips? I don't know. I don't know
what the food is at the sanitarium, she lives there,
I mean Harry potterish right.

Speaker 3 (56:23):
Yeah, it seems like it's one of those kind of.

Speaker 2 (56:25):
Quarters for the teachers.

Speaker 4 (56:26):
Teacher like the like the layovers kind of like and
you'd stay there, you'd have your own quarters or somewhere
else in the school grounds.

Speaker 2 (56:33):
Yeah, it's like a creepy Hogwarts because

Speaker 4 (56:35):
You know, because she's wearing the beautiful bright nightgown, she's
kind of wandering, so it's possible that she does live there.