THE VIDEO Tesla, "What You Give," Psychotic Supper, 1991, Geffen
SAMPLE LYRIC "It's not what you got / it's what you give / it's not the life you choose / it's the one you live"
THE VERDICT Okay, so I know that very little happens in this video. It's pretty much just Tesla playing the song in what appears to be the Blair Witch's house. In the whole beginning part when Jeff Keith is kind of by himself in another area, sort of half in shadow and tangled up in wires, I keep expecting he's going to come into the main room and see Brian Wheat just standing there facing into the corner. Jeff does have his eyes closed until like, halfway into this video, so maybe he's scared.
Seriously, what is it about these sort of unfinished spaces — whether warehouses or barns — that metal video directors decided telegraphs a certain kind of authenticity? And I mean, are Tesla the kind of band that even needs to bother with that? I mean no one looks at Troy Luccketta and is like "That guy's trying too hard. What a poseur."
I don't know, maybe they were trying to counterbalance Frank Hannon's elaborately crocheted sweater. (Yes, my other hobby — approximately as non-metal as you can get — is crochet.) I kind of think that Jeff rocking the denim-vest-over-leather-jacket look does enough of that, but whatever.
Anyway, this week the video's not really what I want to talk about (and nooo, for once I don't want to tell a long anecdote about myself either!). I actually want to talk about this song, which I freaking love.
Well, I halfway do. I love the verse, and hate the chorus, which is actually pretty common for me. In the case of "What You Give," it's just that it goes way too Hallmark with all the rhyming.
But I think the bigger offense is just repetition — jeepers jolly, they repeat the chorus just ad nauseam toward the end of the song, in an increasingly frantic way. About the only song that I enjoy this in is "Cherry Pie."
Here though, if sheer repetitiveness hasn't already worn you down, the part where Tommy Skeoch screams it in a guttural voice will. Ew. It's like cheese squared.
But the rest of the song! Oh the rest of the song. It's the kind of thing I want to doodle in ballpoint pen in the margins of every notebook I own! "I feel so lonely and I know I'm not the only one / to carry on this way / I love you so much I lose track of time! / Lose track of the days." I mean this is what you want love to be like, people.
Okay, maybe not the loneliness part. But no, I don't think it's like, an existential loneliness song. It's more of a temporarily-apart-via-circumstances-somewhat-beyond-our-control song.
And then when they reprise the beginning, and turn it into the second person — "You're the one, that makes me happy / oh yeah bay-bee! / you're the one always on my mind" etc. I. Can't. Even. Deal.
"Why can't forever be, forever and nothin' more?" That is exactly the kind of lyrical nothing — a sort of vague profundity that doesn't really make a whole lot of sense — that instantly makes me feel seventeen again in like, the best way possible.
And yet.
And yet.
It turns out the whole dang song is about a dog! Sigh. For real Tesla? Yes, for real. Or at least, according to Jeff in the little intro to "What You Give" on Time's Makin' Changes.
Now don't get me wrong. I love dogs. I have a dog. She's eight. She is very giving, though I would also say she takes quite a bit too. I just... I don't want this song to be about a dog.
Now Guns N Roses' "Used to Love Her," that's a song that well, I'm not stoked it's purportedly about a dog, but I guess that's better than it being totally misogynistic? I guess this is one of those times where I don't want to know what the song's really about, and just want to have my own interpretation of it.
Weirdly, way back in the day this was one of the most common arguments made against music videos — that seeing a specific visual would supersede whatever the listener just related the music to on their own, in their head.
I don't think I really get this with videos — since at least they're related to the songs — but I will say, having a song be prominently featured in a movie, a commercial, or (the ultimate personal-association-killer) a commercial for a movie really does it.
But has it ever done it for a metal song for me? Hmm, I'm gonna have to think about this one. I think Tesla are safe though, at least from that fate.
P.S.: I know it's a stretch, but I was going for a Freaks and Geeks reference.
THE VIDEO Tesla, "Need Your Lovin'", Bust a Nut, 1994, Geffen
SAMPLE LYRIC "Ooh, I need your lovin' / without you baby, love don't mean nothin' / ooooh I need you lovin' / 'sgot to be your lovin' or nothin'!"
THE VERDICT This clip was recommended to me by a faithful reader (they exist!) and let me say, what a recommendation. As he mentioned, I don't think MTV ever bothered to air this one, though this kind of tongue-in-cheek stuff is totally the bread and butter of Vh1 Classic.
Why wouldn't MTV have liked this? (I mean besides because they were too busy playing "The Sign" and crap from the Reality Bites soundtrack.)
Well because Tesla — who we all know are a real "were they ever really metal or did they just get painted with that brush because of the long hair" kind of band — are doing it up right here with a send-up of all the cliches of heavy metal videos.
Yes, you heard me right. It's a meta-video. (Cut to me salivating a la Homer Simpson over doughnuts — actually this is more or less how I react to doughnuts myself, but anyway.)
Anyway, the whole video is Tesla demonstrating — with snarky labels — all of the stereotypical shots of heavy metal videos!
Let's play along, shall we? I'll take you through the highlights. By which I mean ALL OF IT. Prepare for a seriously lengthy post, people!
The Black and White with the Color Blue Left In Shot: Dude! I talk about this all the time! I would have to call this "The Kim Anderson Shot"— but remember, I don't mean the gal from the "Girlschool" video, I mean the woman who takes the weird black and white photos of toddlers in old-timey clothes and colors in just parts of them (e.g., coloring the roses pink).
The 80s Power Rock Shot: All they've done for this one is added a wall of Marshall amps behind them, but it gets the point across. The obvious referent here is actually to the reference to this cliche in This is Spinal Tap(though also think in "Bitch School" when Nigel Tufnel plays a guitar made to look like a Marshall amp in front of a gigantic Marshall amp).
But obviously, the reference has to have a referent, so let's think about something like the Vinnie Vincent Invasion's "Boyz Are Gonna Rock."
The Blown-Out Color Shot: Here we see Tesla with the contrast levels upped, so that colors appear distortedly bright and whites are eye-popping. Tesla are quick with this one, 'cause I think of it as not really coming into play until the '90s. It's also probably more popular in non-metal videos than in metal videos. Nonetheless, Faster Pussycat's cover of "You're So Vain"? L.A. Guns' "Ballad of Jayne"? For both of those, the entire video is shot in this style!
The GEE! How'd They Do THAT Shot: For this, we see Tesla superimposed upon a lightning-filled sky, but think of really anything absurd that happens in an 80s video involving "special" effects. Dokken standing in front of chains that explode in "Breaking the Chains" comes to mind, as does the evil future robot queen shooting lasers in Queensryche's "Queen of the Reich."
The TV Shot from a TV Shot: This sounds more complicated than it is — basically, it's filming a television, so the colors look all weird and there are those little lines across it. Guns N' Roses are the primary offenders in this category. They use this to great effect in "Welcome to the Jungle," but then in "Patience" they go all meta, with Axl watching Axl on TV watch Axl on TV.
The Performance in an Open Field for No Reason Shot: This is another visual cliche that I associate less with heavy metal videos and actually more with alternative videos (think the shots of the band in "Black Hole Sun" or "No Rain").
Still, metal videos are full of "what is the band doing there stuff."
For some reason, a couple of thrash examples come to mind. Sepultura's "Territory" video — WTF is the band doing in that mud pit? I mean I guess it looks cool, but I don't know, it's always seemed kind of awkward to me. The other example — even though it's a badass video — is Slayer's "Seasons in the Abyss." WTF are they doing at the pyramids! It never ceases to shock and amaze me that Slayer were given the budget to shoot a video in Egypt. Visually impressive? Yes. Necessary? Uhhh.
Thee Beauty Shot: This one cracks me up every time — I love the pretentious extra "e" on it. Ultra-close-ups of the hawt lead singer's face are again, pretty common to all videos, but come on! What heavy metal power ballad video doesn't offend in this department?
Think of "18 and Life" or "I Remember You" — Sebastian Bach looks freakin' candlelit. Or "I Saw Red" or "Heaven." Like half of what happens in those videos is Jani Lane singing soulfully to the camera from about 6 inches in front of it. Mike Tramp is the other obvious offender. "When the Children Cry" shows more close-ups of his baby face than it does of any actual babies!
Babes for No Reason Shot: Again, this is more or less every shot of many videos! But the way they show it here, which is just that there are porn-star-lookin' women pawing the band while they play, brings a couple of specific videos to mind. Danzig's "She Rides" for sure — the band seems fully oblivious to the women's presence, but it's the same idea.
The other types of videos that are really guilty of this are those that use the "hanging out watching the boys play" motif. Think Great White's "Once Bitten, Twice Shy," where Bobbie Brown and all her galpals sit around watching Jack White wheeze that one out.
Gratuitous Sex Shot: It's true, it's true! But this is what gets a lot of readers to this site, sorry to say. I would sum this shot up as "There Will Be Boobs." With the red halter top and the white background here, Tesla are definitely channeling Warrant's "Cherry Pie."
The Artsie Fartsie Shot: This is another one where if they're thinking just about metal videos, they're gunning for a specific one. With the luminous colors, weird lighting, and inexplicable wind blowing through Jeff Keith's hair, they're clearly calling out Queensryche's "Silent Lucidity."
The Fix the Damn Light Shot: Okay I relate to this one WAY too much! This is exactly what I was talking about last week with "Foreclosure of a Dream" — the darkness, then spotlights, then suddenly everything's so bright you can't see a darn thing is so overdone in metal videos!
It's kind of hard to think of videos that don't incorporate spotlights. Tesla takes this even further by setting this part of the video in exactly the kind of random, empty metal warehouse favored by this kind of video (viz. Saxon's "Ride Like the Wind").
Babe Struts Past Old-Timer: If the sight of Tesla rolling up to a rural gas station in a classic car doesn't make you laugh, this may not be the site for you. Seriously. This whole sequence is hilarious and amazing.
I think they are trying to call out Aerosmith's "Crazy" here (though the timing is a little tight), but plenty of metal videos exploit the men-looking-at-hot-women-in-hot-cars thing. "Blondes in Black Cars" and "Hot Love" come to mind right away. You also see a variant of this in Cinderella's "Coming Home," where it's a hot guy coming up to a rural gas station and being noticed by a woman working there. Tesla helpfully point out that this should be shot from a "low angle for largeness."
Sensuous Open Mouth Shot: This is yet another where it's like pretty much any video we can name that has women in it will fit. I also like that apparently Tesla spell "booty" with an ie. Don't worry, it's a shot of a woman's butt, not a baby's sock (bootie).
Boy Lust Shot: Continuing the sequence at the gas station, this might be the most amazing part of this video — Tesla calling out the inevitable shots of the men in the band gaping at the women in the video as if to be like, "It's okay viewer. We're feelin' it too." Bon Jovi's antics in "In and Out of Love" are a terrific example of this.
The Money Shot: Ew, no! It's just the hot gas station lady pouring a bucket of water on herself. But be real, Tesla didn't make this one up.
Who else gets water poured on them in heavy metal videos? One of the gals in Great White's "Stick It" pours a coffee pot full of water over herself. Bobbie Brown gets it with a firehose in "Cherry Pie." And literally every woman in KISS' "Who Wants to Be Lonely?" gets drenched in water.
I enjoy that Tesla clarify that this is money literally — "increased record sales." Not to mention my increased site hits from people who think they might find boobs here.
Spooky Skull and Snake Ritual Shot: I like this, 'cause it's more of a throwback to the older stuff. All the candelabras (not to mention the snake!) remind me of GNR's "Patience," though I think we're meant more to be reminded of early W.A.S.P. or Mötley Crüe.
It's a Hard Life on the Road Shot: I want to hug them for this one, which let's remember I identified as a cliche of power ballad videos back when I wrote about "Home Sweet Home." Tesla does this just right with the sequence of shots: Through the windshield looking at the road ahead, random shot of the driver, shots of the band on the bus.
The Classic Off the Tour Bus Shot: Ditto this one! Think the Scorpions' "I'm Leaving You" or Ratt's "Wanted Man" or W.A.S.P.'s "Blind in Texas" or any of the other ten zillion heavy metal videos that show the the band members disembarking from the tour bus one by one.
The Walking Down an Empty Road for No Reason Shot:"Heaven" and "Little Fighter" for sure! I feel like I wouldn't have necessarily come up with this one on my own, but it's a good one. I like it for the whole "act like you don't care thing."
It reminds me of the South Park where Cartman starts a Christian rock group and uses a similar thought process to art direct their album cover (can I mention if you haven't seen this episode that it also "features" Metallica).
A couple of these I identified with less. Cliches of music videos, sure. But cliches from metal videos? Not so much.
"The Performance Against White Background Shot" and the "Let's STRETCH the Artist Shot" are familiar, but not from metal videos.
And Tesla don't call themselves out on another shot that they use throughout this video — "The Black and White Behind-the-Scenes Shot."
Come on guys, you know this one! Everyone sitting around backstage, jamming on acoustic guitars and hamming it up with each other? Shooting it in black and white instead of color to emphasize that they band are just "regular guys" and totally down to earth. We might also call this "The You Could Have a Beer With Us Shot," and Tesla are totally guilty of abusing it in this video.
They're even upping the ante on it, 'cause this looks like it's one of the band member's rec room or something.
I mean sure, it's meant to contrast with the contrived nature of the other scenes in the video. Tesla play this up not only with all the different shots, but also by showing things like the makeup artist touching up the band, or a crew member using a light meter to check a shot.
The thing is though — it's too late! They've already pulled back the curtain! You can't just reveal every cliche of heavy metal videos and then act like "No, this really is just us in Tommy Skeoch's garage." We all know the garage stuff is every bit as fake as the other stuff.
I also want to mention that everyone in Tesla looks sort of... wet? I want to say wet, even though they aren't covered in water. But something about Tesla in the 90s looks like Tesla in the 80s after getting locked out of the house in a bad rainstorm.
Everyone looks very grumpy and has very flat hair. And Troy Luccketta doesn't have that badass mullet anymore! He's traded it in for a goatee look that's much more run of the mill. Also Jeff Keith appears to have lost weight, if that's even humanly possible. He looks like an even-skinnier Carly Simon.
Despite the '90s not appearing to treat Tesla well, this is a great video. I mean one, it's a genius concept, and much more well-executed than most other parody videos. It helps give a little something extra to the song, which while serviceable doesn't stand out among Tesla songs of this ilk.
But two, this video has been so good to me! I mean it's like a video that keeps on giving, in that every moment in it reminds me of like, ten other videos. It's a free-association bonanza! And if it's not clear, if there's one thing I love (besides metal) it's free-associating. And free-associating about metal? Come on, does it get better than that?
SAMPLE LYRIC "Love eeees all around you-ou / love is knockin' / outside your doo-ooo-ooor-or / waitin' for you / isthislovemadejustfortwo-ooh / keepanop-enheart,andyou'llfindlovea-gain / I know"
THE VERDICT I know, this is another "is this really the summer?" video, but I'm going to go with yes, it is. It definitely feels like summer -- summer tours, big-ass arena concerts, sleeveless t-shirts. It's summer in spirit if not in season (though trust me, I'm pretty damn sure it is summer).
This video begins with a lot of the stock themes we've come to expect from live videos -- the empty arena, the tour bus on the road (Tesla's destination is labeled "Home," as opposed to say Mötley Crüe's "Rockin' and Rollin'"), sped-up footage of the arena filling up, close-up of the guitarist's hands. Oh, and lest we forget, the all-important shot of the lead singer looking pensively out the tour bus window! Yes, life on the road is tough. So tough, in fact, that we get multiple shots of different band members on the bus.
The video starts out with Tesla performing the song while the arena is empty -- I guess we can assume that, for the purposes of shooting a video, they are doing a very thorough soundcheck. Jeff Keith is wearing round sunglasses, a yellow button-down shirt, and jeans -- pretty conservative for him, actually. Then we see Troy Luccketta playing with his kid. Aww, his kid's got a little junior mullet! Glad to see that haircut got passed down.
Shots of roadies prepping the stage fade into Tesla on their bus, which fade into shots of Tesla on stage. It's still just soundcheck time though -- even if we are getting some sort of expository shots of a red flag and a skywriting plane. Things don't really get going until the guitar speeds up just a hair, and we see sped-up footage of the arena filling.
Then, as soon as we hit the first chorus, boom! The crowd's all there. And what a crowd. Seriously, these are the most wholesome-looking women you will ever see in a heavy metal video, and I'm including Stryper videos in that count, people. Seriously, it's like if Norman Rockwell had lived to create a painting of an 80s metal concert, that's how warmly lit and sanitized this video feels.
Though a bunch of the crowd shots make it appear to be daytime, most of the time when we see the band, it's night. Jeff has switched into an unbuttoned patterned shirt and his favorite "we're shooting a video today" pants (the ones with footprints painted onto them). Tommy Skeoch has put on a ruffly pirate shirt -- and let me just say he looks delectable -- further proving that Tesla have upped their wardrobe game for this video.
To underscore the liveness, the crowd sound has been added in a bunch of spots in this video, often when they're showing the men in the crowd. While sweatier than the ladies, these guys look equally wholesome, and extremely pleased to see Tesla. Conveniently, many members of the crowd have made elaborate signs explicitly about this song. Hmm, I think they knew they were filming a video. Does this explain the "best behavior" we seem to be seeing? Or is there already considerable self-selection inherent in being a Tesla fan in the first place?
Everyone in Tesla is going nuts. Jeff is doing his little hip-swiveling dance, and Frank Hannon is somehow headbanging while carefully playing a double-neck guitar. There's a lot of kicking and hair-tossing going on in general, and as we head into the guitar solo, yes, the lighters have come out. Sparklers even! The crowd is starting to look slightly worse for the wear (and sound slightly screamier). We even get the obligatory shot of a guy in the crowd screaming like he is about to turn into the Incredible Hulk, so powerful is this guitar solo. (See "Power Ballad Cliche #9")
Somehow like half the women in the crowd are up on someone else's shoulders, and literally all the women in the crowd know all the words to this song. Everyone's looking a bit sweaty as the song devolves into the everyone shouting part, which is the weakest bit of it (the "love is gonna find a way-ay-ay" repeated a zillion times). For this whole sequence, it's just shot after shot of the members of Tesla having multiple guitargasms, and women in the audience singing along. Tesla, chick, Tesla, chick.
For the very last part, which is quiet, the arena is completely black except for the light from lighters. We then get a patently non-live shot -- Jeff and Frank are sitting in the center of the stage completely alone. We then see, semi-transparent over the image of them, the skywriting plane again, which has written "LOVE" in the sky. Also it's the old-fashioned kind, where the pilot has to do actually loop-de-loops and stuff, not those ones you see making Geico ads over stadiums where they just do the little puffs to sort of type out all the letters. We sort of see the crowds' hands waving again before it all fades out.
So this is a fun video, and a great song. I mean, if there's one thing Tesla's great at (okay, there's more than one, but this is the one I'm going to talk about), it's writing songs that make you feel better about life. "Love Song" is right up there with "The Way It Is" in this respect -- it's the exact kind of song that can pull you out of a horrible break-up. And the lyrics! So, so good. They're that perfect combination of almost nonsensical and totally evocative. Admittedly, I've always heard "is this love made just for two" as "yes this love may just haunt you," so I was making them more nonsensical, but whatever. It's no wonder this song made it all the way to #10 on the Billboard Hot 100 back in 1990.
Perhaps this can explain the wholesome women -- this is one of those songs that got such saturation airplay that it probably got all kinds of folks who had never heard another Tesla song to go to a Tesla concert (another good example of this phenomenon is "Silent Lucidity" by Queensryche). So maybe these just aren't heavy metal girls. Or okay, maybe they're "heavy metal" girls, like the type who are also really into Nelson.
Hypothesis #2 is that it's because this is a hometown crowd -- Tesla are in Sacramento, as evidenced by the radio station banners you can see in the background during some of the daytime shots. Then again, they've also got a hometown crowd in the video for "The Way It Is". But I mean, come on, they're doing a charity food drive in that video, and the crowd doesn't look as wholesome as this one does! That's from January 1990, though that song didn't chart until April. Hmmm. Okay, my official guess is that this video is from summer 1989.
Okay but anyway, point is, the combination of a) this song being really popular with non-metal fans and b) it being a hometown crowd seems to mean that c) this is the most bright-eyed and rosy-cheeked crowd of metal fans you'll ever see in a video. And I mean ever.
SAMPLE LYRIC "Hang tou-OUGH! / When the goin' gets rou-ough / Hang tou-OUGH / you got to give it all you go-ot / keep your head above the ground / oh don't you let it get you dooown / oh you gotta hang tough"
THE VERDICT I know this isn't the most scintillating video, but it's a great song, and really what I need to be hearing right about now with a new quarter starting up and a zillion things on my plate. I have a gigantic soft spot for inspirational songs, and for my money no one does it better than Tesla -- I know some people say they go over the top, but I feel like these boys keep it right in the sweet spot between empowering and saccharine. Plus, who can deny the crazy guitar in this song? Not I, that's for sure.
After beginning with a semi-random brief re-enactment of the album's cover art, this video mainly features Tesla performing in a weird, empty room -- vaguely warehouse-y, but made of wood, and of course featuring the requisite random old chairs, signs, industrial fans, etc. All the damn fans in this video keep making it hard to see Tesla! And I don't mean like humans or metalheads or what have you, I mean literally like, they keep putting the camera behind a ceiling fan.
This type of empty room decor is a huge cliche of metal videos of the late 80s and early 90s -- are we meant to think they practice in there? Or that they just love warehouses? Are the old signs meant to evoke something? I have no idea, all I know is that everyone from Anthrax to Warrant is constantly performing in these empty rooms.
It's one of those things like how every chain restaurant -- and many independent ones for that matter, but I'm thinking of like TGI Friday's, Chili's, that kind of thing -- has to cover their walls with random tsotchkes, as if they actually found all these weird old signs, photos, musical instruments, sporting goods, etc. and thought "gosh, that would just improve the ambiance in here." I bet when you open one of those restaurants, their corporate just sends you a big ol' box full of like, random photos of sports teams from the 1920s and faux-old signs for like chicken feed or fresh eggs or something. Is it all the wall tsotch that separates casual dining from fast food?
But anyway, I digress. Back to this particular faux empty warehouse, and the five man electrical band (err okay, it's a video so probably lip-synching) contained therein. One other thing I always love about Tesla is their total lack of pretension. I mean, just look at everyone's hair. Or just look at drummer Troy Luccketta's hair. I feel like we could go to a tractor pull together and just hang out.
Same goes for the clothes. Jeff Keith does like to take his shirt off, to be sure, but he also wears those handprint pants in more than one Tesla video, so we can assume he owns them. I love that he's like "oh we're shooting a video today, so better go put on my cool video pants." I had similar pants circa 1986 -- cream-colored corduroy with handprints in pink, lilac, and teal. My brother had the overalls version with primary red, yellow, and blue hands. Jeff I think just like, took a pair of white jeans, dipped his hands in paint, and you know, went to town, but same idea more or less.
The only time this video really changes is during the bridge (which is fantastic, btw). Suddenly there's an oriental rug, a Tesla banner, a piano, a dining set, an old film projector, and Jeff Keith has put on white cowboy boots and a Canadian tuxedo. (I know, I'm bad, but it cracks me up every time.) Anyway, everyone's changed clothes. This also takes us back to the little boy from the beginning of the video. The two themes finally come together, as we see that the images of the boy are being projected onto the wall near Jeff (or at least, it's made to look that way, pretty obvious the stuff of the boy was added later).
The end goes back to the original set and original clothes, with everyone in Tesla going berserk. Tommy is on at least his third guitargasm, and if you thought Jeff could open his mouth wide before, well, wait till you see this. He's in Carly Simon territory here.
Something else that makes me feel like Tesla is unpretentious is that they tend to show everyone in the band about equally in their video, unlike pretty much any other metal band, where it goes 1) lead singer, 2) guitarist (if there's a solo and/or they're camera-worthy), 3) attractive women, 4) anything else they might possibly want to show in the video, 5) shots of everyone else in the band, if we have time. Oh, and these'll probably not show their faces, or have them completely in shadow, or something like that.
Not so with Tesla. Tommy Skeoch and Frank Hannon are out in front quite a bit, leaning on each other, tossing hair, guitaring it up. Jeff comes in and out, heading to the background any time he's not singing. We see Troy pretty often, mostly from overhead. Bassist Brian Wheat probably gets the least screen time, and we still see him pretty well.
They also have one of my favorite video cliches -- showing each member of the band in sequence -- at the end. It actually -- finally! -- makes the stupid cliche industrial fans useful, as the turning of the blades provides some of the transition from band member to band member. It also mirrors the pinwheel the little boy has, though what any of the parts of that sequence are meant to convey, I don't know. All I know is listening to this song (and others like it) definitely keeps me going.
If you found this page, surely you can complete that Cinderella lyric. This is a website I lovingly maintained off and on from around 2005 to around 2011.
Broken links abound, as do references to failed relationships. And I haven’t checked the email address related to this account in probably eight years, though I had some kickass correspondents back when I kept it up.
Also yeah, back when I started this, you could barely find these anywhere outside of VH1 Classic and old VHS tapes... now I'm going through and adding the actual YouTube videos, since it's the future and all the videos are belong to us.
