Music Video
The release of the single was accompanied by a quirky music video. It cost less than $35,000, largely due to a volunteer cast and the free loan of the most sophisticated video equipment available at the time. The cast included professional wrestling manager "Captain" Lou Albano in the role of Lauper's father while her real mother, Catrine, played herself (Cyndi would later return the favor by appearing in WWF storylines opposite Albano and guest-starring in an episode of the Super Mario Bros. Super Show, where she announces Albano is missing because of a letter he wrote her, with part of it torn off leaving out an important detail). Lauper's attorney, Elliot Hoffman, appeared as her uptight dancing partner. Also in the cast were Lauper's manager, David Wolf, her brother, Butch Lauper, fellow musician Steve Forbert, and a bevy of secretaries borrowed from Portrait/CBS, Lauper's record label.
Lorne Michaels (Broadway Video, SNL), another of Hoffman's clients, agreed to give Lauper free run of his brand new million-dollar digital editing equipment, with which she and her producer created several first-time-ever computer generated images of Lauper dancing with her buttoned-up lawyer, leading the entire cast in a snake-dance through New York streets and ending up in Lauper's bedroom in her home. The bedroom scene is a homage to the famous stateroom scene in the Marx Brothers' film A Night at the Opera.
Before the song starts, the beginning of her version of "He's So Unusual" plays.
The music video was directed by Edd Griles. The producer was Ken Walz while the cinematographer was Francis Kenny. The treatment for the video was co-written by Griles, Walz, and Cyndi Lauper. The video was shot in the Lower East Side of Manhattan in summer 1983 and premiered on television in December 1983.
Read more about this topic: Girls Just Want To Have Fun
Famous quotes containing the words music and/or video:
“Through music the passions enjoy themselves.”
—Friedrich Nietzsche (1844–1900)
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past—the portrayals of family life on such television programs as “Leave it to Beaver” and “Father Knows Best” and all the rest.”
—Richard Louv (20th century)