|
Music
Videos
Come
Clean
Videos
In
the
multi-media
world,
music
videos
play
a
vital
role
in
exposure
for
an
artist.
In
the
twenty-plus
years
since
the
media-mogul-risk-takers
tapped
into
an
undeveloped
market
and
brought
us
MTV,
music
video
programming
has
changed
drastically.
Programming
choices
were
limited
at
first;
there
wasn’t
a
large
stockpile
of
music
videos
available
that
had
been
recorded
specifically
for
this
format.
Clips
of
musicians
from
concert
performances
and
variety
shows
made
up
the
playlist
until
the
industry
was
able
to
catch
up
to
this
new
innovation.
Selections
were
left
up
to
programming
directors
and
the
audience
was
at
their
mercy
for
this
new
wave
of
entertainment.
Viewers
could
snail
mail
their
requests
in
for
favorite
bands
or
pay
long
distance
telephone
charges
to
have
their
opinions
heard.
More
than
15
years
later,
personal
computers
and
the
explosion
of
the
Internet
forever
changed
the
video
concept,
creating
an
infrastructure
for
instant
voting
polls
for
airplay,
live
on-demand
viewing,
downloading
to
your
PC
for
access
anytime,
used
as
advertising
mediums
on
radio
station
websites
to
promote
the
bands,
and
new
CD
releases.
What
was
once
limited
to
a
single
outlet
now
has
these
mini-movies
playing
everywhere,
advertising
billboards,
mainstream
television,
video
discs,
even
as
bonus
content
on
a
music
CD
providing
fans
with
much
more
than
those
who
remember
the
days
of
vinyl
could
ever
imagine.
Puddle
of
Mudd
was
in
prime
position
to
take
advantage
of
all
the
wonderful
things
a
video
could
accomplish
for
artists.
Musicians
have
become
actors
in
a
sense,
they
must
carry
over
a
treatment
concept
that
is
not
only
believable,
but
relates
to
the
song
itself
to
be
successful.
If
the
song
is
great
but
the
final
cut
of
the
video
tanks,
it
can
spell
disaster
for
a
band,
music
has
become
as
much
of
a
visual
appeal
as
audio
quality.
The
audience
has
changed
and
expects
more
to
be
fully
entertained.
Puddle
took
their
first
foray
into
video
production
in
the
summer
of
2001
in
conjunction
with
the
release
of
their
first
single
Control.
Fred
Durst,
who
had
many
successful
videos
with
his
band
Limp
Bizkit,
directed
their
first
three
videos.
Each
experience
was
a
learning
lesson
for
the
band
and
before
long,
they
were
well
rehearsed
in
video
productions
and
turned
out
four
amazing
videos
for
the
singles
from
Come
Clean.
The
fans
didn’t
waste
any
time,
voting
..
to
see
these
videos
on
VH1,
MTV,
and
Canada’s
Much
Music
channel.
Cell
phone
users
weren’t
far
behind;
text
messaging
the
music
networks
their
choice.
Puddle
received
a
great
amount
of
airplay,
their
videos
were
popular
and
they
had
succeeded
in
expanding
their
exposure
beyond
the
audio
only
format.
Control
2001
Debut
Date:
07-31-01
Puddle’s
first
video
was
for
their
new
single
Control,
which
had
just
been
released
to
radio,
debuted
on
MTV’s
TRL
program
July
31,
2001.
Wes
and
Fred
were
on
hand
in
the
MTV
studio
in
New
York
City
for
the
unveiling,
which
included
a
very
short
interview
segment.
Paul,
Doug,
and
Greg
who
were
in
New
Orleans
for
a
scheduled
Godsmack
tour
date
(did
not
perform),
were
in
a
local
T.G.I.
Fridays
telling
everyone
they
were
going
to
be
on
television.
No
one
believed
their
claim
and
thought
they
were
bogus
until
TRL
came
on.
Filmed
in
near
100-degree
heat,
the
opening
sequence
depicts
the
love
interest
of
lead
singer
Wes
chauffeuring
him
on
a
long
stretch
of
highway
to
his
band’s
gig.
We
soon
realize
something
is
amiss
between
the
couple
as
the
Ford
pick-up
screeches
to
a
halt
in
the
middle
of
nowhere.
Wes
bails
out
at
the
request
of
his
other
half
to,
“get
out,
loser,”
and
she
doesn’t
hesitate
with
a
one-finger-salute
to
top
it
off.
Retrieving
his
guitar
case
from
the
back,
he
is
relegated
to
footing
it
the
rest
of
the
way,
singing
Control
as
he
walks.
Unable
to
hitch
a
ride
from
passing
motorists
to
which
he
responds
with
‘the
bird’
as
well,
he
arrives
just
in
time
at
the
club
for
his
show
where
the
rest
of
his
bandmates
are
clearly
dismayed
as
well
as
the
club
manager
who
announces,
it’s
time
to
go
on
stage.
The
frustration
is
evident
on
Wes’
face
as
the
opening
notes
of
Control
ring
out
as
his
band
begins
their
show
in
the
club;
he
recognizes
he
is
a
prisoner
in
this
relationship.
The
video
flashes
back
to
a
beanie-clad,
sunglassed
Wes
walking
that
lonely
highway
only
to
look
up
and
see
his
girlfriend
in
the
truck
stopped
ahead.
As
he
approaches,
she
primps
in
the
mirror
and
appears
to
be
genuinely
sorry
for
having
dumped
him
on
the
side
of
the
road
and
offers
a
hug
to
make
amends.
Wes
on
the
other
hand
has
other
ideas,
not
forgiving-and-forgetting
so
easily.
Thinking
things
are
fine,
she
enters
the
vehicle
only
to
have
Wes
reach
in
to
withdraw
the
keys
from
the
ignition
and
close
the
truck
door.
Dangling
the
pink
key
chain
with
its
yellow
smiley
face
attached
before
her,
he
does
the
unexpected,
pitching
them
high
in
the
air
into
the
surrounding
woods
where
they
eerily
splash
down
in
a
puddle
of
mud.
Satisfied
that
he
has
come
to
grips
that
this
relationship
is
an
unhealthy
one,
he
walks
away
only
to
look
back
and
smirk,
‘I’m
outta
here,’
and
continues
his
walk
to
the
club.
Flipping
between
the
road
scene
and
the
band
playing
on
stage,
this
is
the
first
glimpse
many
fans
get
of
their
energy
and
focus
on
stage,
all
the
while
Wes
sings,
“You’re
not
the
one
for
me,
no...”
The
club
patrons
seem
very
disinterested
as
the
band
performs,
thinking
their
pool
game
is
more
important,
yet
the
band
plays
on,
ending
to
a
few
lone
claps
and
whistles
from
the
crowd.
Here
are
a
few
interesting
facts
about
this
video.
The
club
scenes
were
filmed
at
a
bar
named
Lillian’s
in
the
Jacksonville,
Florida
area.
A
friend
of
Fred’s
was
the
owner
of
the
club,
and
Richard’s
Furniture
Store
has
since
replaced
the
establishment.
Fred
had
a
cameo
role
in
the
video,
acting
as
one
of
the
club
patrons.
Just
as
Wes
begins
to
open
the
door
on
the
truck
after
his
girlfriend
stopped
to
give
him
a
ride,
if
you
watch
Greg
closely,
you
will
see
as
he
is
drumming
furiously
he
flips
his
right
drumstick
stick
out
his
hand,
yet
keeps
on
playing
never
missing
a
beat.
Wes
had
to
throw
the
keys
50+
times
as
he
kept
throwing
them
too
far
out
and
the
crew
had
to
keep
hunting
for
them.
He
later
got
just
the
shot
the
camera
was
after
by
going
high-and-up.
The
highway
scenes
were
filmed
along
Old
Dixie
Highway
in
the
Jacksonville
area
and
for
the
record,
the
guitar
case
was
empty.
This
storyline
was
pretty
true
to
life
for
Wes,
having
been
dumped
out
by
a
girlfriend
many
years
ago
to
have
to
walk
home,
only
it
was
raining
and
she
didn’t
stop
to
pick
him
up.
Blurry
2001
Debut
Date:
10-29-01
The
song
Blurry
was
written
about
Wes’
real-life
situation
with
his
son
Jordan
and
his
inability
to
see
him
as
much
as
he
would
like.
While
this
video’s
primary
focus
is
on
the
father-son
relationship,
interspersed
are
live
performance
shots
of
the
band
playing
in
a
grungy
warehouse.
The
video
concept
was
taken
literally
from
the
lyrics,
and
was
well
received
by
the
public,
having
a
profound
affect
on
all
genders,
age
groups,
single
and
married
parents,
teens,
and
even
children.
A
lone
figure
in
a
sun-bathed
warehouse
window
opens
the
shot
and
drifts
to
a
father
greeting
his
son
for
his
weekend
visitation
having
been
dropped
off
by
his
mother
and
her
significant
other.
Extremely
happy
to
see
his
son,
Wes
wastes
no
time
hoisting
Jordan
in
the
air
to
welcome
him.
Noticeably
anguished,
the
mother
appears
to
have
not
come
to
grips
with
the
situation
as
she
sits
in
the
car.
The
lyrics
of,
“my
whole
world
surrounds
you,
I
stumble
then
I
crawl,”
draw
the
viewer
into
the
dad’s
world,
someone
who
just
wants
to
be
a
great
dad
to
his
son
and
protect
him
from
the
evils
of
life,
regardless
of
the
turmoil
between
the
adults.
Scenes
of
swinging,
monkey
bars,
skate
boarding,
bouncing
on
a
trampoline,
and
just
chilling
out
playing
video
games
give
the
vision
these
are
the
fun
times,
but
the
expression
on
the
dad’s
face
as
they
nap
tell
the
real
story.
The
weekend
will
be
short-lived
and
pass
too
fast
and
one
can
see
the
sadness
in
Wes’
eyes.
The
acting
appears
to
not
be
acting
at
all,
as
though
the
camera
had
caught
the
drama
as
it
had
unfolded
from
Wes’
past
and
was
in
essence
a
mini-documentary
of
his
life.
As
if
the
music
is
his
therapy,
the
band’s
performance
with
Greg’s
focus
to
keep
perfect
timing,
Paul
in
his
own
little
corner
of
the
world,
and
Doug
in
the
zone,
Wes
vents
his
frustration
in
his
mannerisms
from
this
particular
piece
of
footage
that
allow
the
band
to
feel
what
he
has
been
through.
Sitting
on
the
front
porch
in
a
father-son
moment,
Jordan’s
spontaneous
hug
to
his
dad
spells
it
out,
‘I
love
you
dad,’
and
leaves
the
viewers
awestruck.
A
flashback
shows
Jordan
witnessing
a
verbal
dispute
between
the
mom
and
her
boyfriend,
and
she
sweeps
him
up
to
spare
him
from
exposure
to
the
unpleasantness
of
the
situation.
As
time
nears
for
Jordan
to
return
to
his
mom,
there’s
a
gut-wrenching
moment
as
Wes
sits
on
the
street
curb
with
Jordan…
this
is
art-imitating
life.
Jordan
is
reluctantly
placed
in
the
car
with
a
wave
good-bye,
and
a
disheartened
Wes
retreats
back
to
his
perch
in
the
window.
Jordan
Scantlin,
for
whom
the
song
was
written,
portrays
himself
in
the
video.
He
was
about
the
age
of
four
and
there
were
times
during
filming
he
had
a
hard
time
trying
to
figure
out
what
was
real
and
what
wasn’t.
For
example,
when
it
was
time
for
them
to
drive
off
after
the
weekend
visit,
for
a
moment
he
thought
he
really
was
leaving.
Wes
had
to
explain
it
was
make
believe,
it
would
be
later
before
they
would
have
to
part.
The
crew
shooting
the
video
was
able
to
see
first
hand
the
emotional
turmoil
Wes
had
endured
for
several
years.
This
video
was
posted
for
..
viewing
October
25,
2001
and
made
its
debut
on
MTV’s
TRL
program
October
29,
2001.
In
2002,
it
held
the
#1
position
for
five
straight
weeks
on
MTV’s
Video
Countdown
and
for
their
year-end
tally
the
video
for
Blurry
secured
the
#15
spot.
MTV2
has
a
similar
countdown
and
for
years-end
it
placed
at
#2.
VH1’s
countdown
show,
Top
Twenty
Videos
also
gave
distinction
to
this
video
as
it
had
spent
18
weeks
on
their
chart
and
for
the
year
ended
up
their
#15
video.
Not
to
leave
out
Canada,
this
video
was
nominated
for
a
Much
Music
Video
Award
-
2002
Best
International
Video,
and
although
it
did
not
win,
it
was
an
honor
to
be
selected.
Drift
&
Die
2002
Debut
Date:
04-14-02
This
is
the
third
video
directed
by
Fred
and
the
majority
was
filmed
over
three
days
in
Southern
California.
It
was
also
featured
on
the
Making
The
Video
series
by
MTV
on
April
14,
2002.
The
video
as
a
stand-alone
appeared
on
MTV
April
18.
The
idea
was
to
try
and
visualize
what
the
band’s
perception
was
to
leave
behind
all
they
had
known,
to
take
a
gamble
and
roll
the
dice
to
try
and
make
it
in
the
entertainment
capital
of
Hollywood.
The
glitz
and
the
glamour
can
blind
you
when
you
are
new
in
town,
so
remember
who
you
are
and
where
you
came
from
while
pursuing
the
dream.
The
clips
scattered
between
the
live
performance
shots
are
memories
of
activities
they
did
at
home
integrated
with
the
reality
of
now.
Boarding
the
out-bound
train
and
taking
one
last
look
behind
as
the
whistle
blows,
the
band
begins
their
journey
into
the
unknown.
With
guitar
in
hand
Wes
thinks
about
his
past
and
ponders
his
future.
As
the
train
rolls
across
some
barren
stretch
of
track,
you
are
lyrically
reminded
to
remember
the
truth
buried
within
you,
even
though
they
are
going
to
the
same
place
as
a
band,
they
are
each
on
their
own
wondering
if
they
are
drifting
and
dying,
did
they
make
the
right
decision
to
leave
it
all
behind?
From
the
side
we
see
a
shirtless
Wes,
who
looks
as
if
he
can
only
find
solace
in
his
cigarette.
Practice
session
antics
soon
turn
serious,
sitting
on
the
train
station
platform
with
thoughts
of
their
homes,
friends
and
loved
ones
nagging
at
them.
Wes
gives
a
‘hi
mom’
wave,
Doug
recalls
fun
times
at
the
park
with
his
dog
Brando,
Greg
is
whisked
away
to
hanging
with
his
hometown
buds
doing
some
serious
porch
sitting,
and
Paul
remembering
the
carefree
days
from
his
favorite
pastime,
gravity
boarding
with
not
a
worry
in
the
world.
The
lonely
glances
out
of
the
train
windows
soon
become
eyes-wide-open
as
they
take
the
stage
at
Stubb’s
Bar-B-Q
for
a
live
audience
and
they
see
it
was
all
worth
it.
They
soon
realize
they
are
on
their
way
and
have
the
potential
to
be
at
the
top
of
the
world
and
yet,
even
though
they
are
overlooking
a
huge
city,
they
know
they
are
an
insignificant,
miniscule
speck
in
a
city
of
people
who
all
have
dreams
waiting
to
come
true.
Performing
on
the
Library
Tower
in
Los
Angeles,
they
jam
amongst
themselves
with
enthusiasm
and
know
for
the
most
part
what
will
come
to
pass
is
up
to
them.
There
are
a
few
things
that
made
this
video
special.
The
brief
appearance
of
Doug’s
dog
Brando,
his
real-life
canine
companion
who
is
an
Akita/Rottweiler/Chow
mix,
brought
authentic
reminiscing
to
his
part
of
the
video
as
they
filmed
going
to
the
park
and
having
hang
time,
which
were
things
he
actually
did
on
a
regular
basis.
Paul,
who
is
not
a
fan
of
heights,
managed
to
get
through
the
taping
though
he
would
have
rather
have
had
his
two
feet
planted
firmly
on
the
ground
instead
of
the
tallest
building
west
of
the
Mississippi
River.
Paul
was
able
to
showcase
one
if
the
passions
he
has,
gravity
boarding.
Greg’s
porch
scenes
were
not
too
far
fetched;
it
replicated
his
relationship
with
two
childhood
friends
from
his
hometown
in
Oklahoma.
The
last
day
of
filming
in
Los
Angeles
was
almost
in
jeopardy
due
to
Wes’
arrest
prior
to
filming
the
train
sequence.
An
on-the-side-of-the-highway
dispute
with
his
then
girlfriend
resulted
in
passing
motorists
reporting
the
situation
as
domestic
violence
and
law
enforcement
took
them
into
custody.
Both
parties
quickly
bonded
out
and
the
video
shoot
was
able
to
proceed
as
scheduled.
In
a
situation
that
was
quite
possibly
over-hyped
by
those
not
involved,
the
Ventura
County
District
Attorney
dropped
all
of
the
charges
against
both
parties
involved
citing
insufficient
evidence.
One
part
of
this
video
featured
live
concert
footage
from
Stubb’s
Bar-B-Q
in
Austin,
Texas
which
was
filmed
at
their
live
show
on
March
12.
She
Hates
Me
2002
Debut
Date:
08-12-02
Mark
Webb,
who
had
previously
worked
on
music
videos
for
Cold,
Green
Day,
Good
Charlotte,
as
well
as
a
host
of
other
pop-rock
artists,
was
chosen
to
be
the
director
for
the
last
video
release
from
Come
Clean.
She
Hates
Me,
a
hit-you-between-the-eyes
admission
that
someone
despises
you
song,
was
given
an
edgy,
fun
approach
by
the
director.
Homing
in
on
a
high
school
and
young-adult-type-angst
for
its
concept,
the
key
characters
flow
from
the
acknowledgement
of
a
‘soured’
relationship
that
quickly
escalates
to
a
boiling
point
where
they
can’t
help
but
flip
their
lid
and
pop
like
a
cork
out
of
a
shaken
wine
bottle.
A
guitar
twang
introduces
us
to
the
cast
of
characters
in
this
video,
a
high
school
boy
taking
a
test
in
a
quiet
classroom,
a
burger
chef
doing
cooking
duty,
a
restaurant
dishwasher
who
is
passing
time,
a
blonde-haired
girl
who
seems
to
be
holding
a
conversation
with
no
one
on
the
other
end
of
the
telephone,
a
janitor
on
mop
duty,
a
diner
in
a
restaurant,
and
a
high
school
football
player.
Such
varied
personalities,
yet
they
all
have
one
thing
in
common,
jilted
by
an
old
flame
who
dumped
them
as
if
their
feelings
didn’t
matter.
They
seem
to
be
coping
pretty
well
performing
their
tasks
as
they
sing
over
the
demise
of
their
former
relationships,
until
the
more
they
think
about
it,
the
more
they
lose
control.
Not
able
to
contain
themselves
any
longer,
they
all
erupt
until
every
last
ounce
of
their
anger
has
been
vented
towards
others.
They
all
have
newfound
freedom
in
their
release,
and
clearly
feel
better
howling,
“She
f’n
hates
me!”
Visibly
confronting
their
demons,
test
boy
blows
up
at
his
teacher
then
seeks
comfort,
burger
guy
unleashes
on
an
unsuspecting
counter
customer,
blonde-haired
girl
is
emotionally
distraught,
a
mop-flinging
janitor,
a
diner
who
would
rather
take
cover
under
a
filthy
tablecloth,
and
a
football
player
who
retaliates
and
tackles
his
own
team
members
in
his
moment
of
weakness.
The
band’s
roll
in
the
video
is
that
of
a
live
show
centered
between
large
buildings
on
a
city
street
with
fans
running
towards
an
outdoor
stage
as
they
nonchalantly
croon,
“She
f’n
hates
me”
as
if
it
is
an
everyday
phrase.
The
audience
actively
loves
this
song,
singing
and
holding
their
arms
in
the
air
to
egg
on
the
band
to
play
just
a
little
bit
louder
and
with
more
energy.
This
unique
video
was
destined
to
have
something
Puddle
had
not
done
in
any
other
of
their
videos.
An
open
invitation
was
sent
via
their
website
and
..
street
team
inviting
fans
who
were
going
to
be
in
the
area
at
the
time
of
filming
to
participate
in
the
crowd
sequences.
While
the
video
looks
as
though
hundreds
had
shown
up,
the
lucky
30-40
who
were
chosen
to
tape
the
audience
sequence
had
an
inside
look
at
the
filming
process.
During
editing,
crowd
enhancement
from
the
footage
taken
was
used
to
add
more
fans
throughout
the
video
giving
the
impression
of
mass
hysteria.
Fans
were
given
directions
to
a
secret
meeting
place
where
they
left
their
vehicles
and
they
were
bussed
to
the
video
location.
After
being
on
the
set
all
day
and
into
the
night
for
the
video
shoot,
Wes
who
was
very
appreciative
of
all
the
fans
who
had
taken
the
time
to
participate,
provided
an
impromptu
pizza
party
for
everyone
who
had
attended.
Some
fans
wanted
a
memento
from
the
event
and
had
the
band
sign
their
pizza
boxes
for
souvenirs.
The
video
was
in
regular
rotation
on
the
video
music
stations,
even
landing
on
VH1’s
Pop
Up
Video
Winter
Countdown
in
early
2003
at
#18.
LIFE
ON
DISPLAY
VIDEOS
Puddle
of
Mudd
currently
have
seven
videos
under
their
belt.
By
the
end
of
their
last
video,
Spin
You
Around
in
2004,
they
have
had
their
hands
in
all
aspects
of
the
process
from
idea
conception,
implementation,
creative
consultation,
and
financial
contributions.
Every
video
taught
them
something
new
they
can
carry
on
to
other
multi-media
productions
for
their
third
album.
Puddle
proved
you
do
not
need
high-cost
animations,
graphics,
set
design,
or
million
dollar
budgets
to
create
a
video
that
represents
the
underlying
meaning
of
the
song
lyrics.
Their
videos
accurately
represent
their
musical
poetry,
almost
as
if
the
words
had
magically
created
the
script
for
what
was
to
be.
Away
From
Me
Debut
Date:
10-16-03
Director
Dean
Karr
comes
with
an
impressive
background
in
music
video
accomplishments.
Having
previously
worked
with
the
Dave
Matthews
Band,
3
Doors
Down,
Flaw,
and
Tommy
Lee,
he
brought
a
unique
perspective
to
the
video
treatment.
Fresh
off
of
a
nomination
by
the
Music
Video
Production
Association
for
his
work
on
Tommy
Lee’s
video
Hold
Me
Down,
he
wasn’t
intimidated
to
bring
his
black
and
white,
dingy-toned
vision
to
the
table.
Combining
videotape
overlaid
with
animation,
a
ragged
tent
that
acts
as
an
oasis
in
the
middle
of
a
desolate
desert
comes
to
life.
With
still
photography
elements
added,
we
can
see
the
dark
overtones
in
both
the
song
and
the
video.
Stop
motion
filming
techniques
give
the
video
an
interesting
flow
and
comes
together
very
well
in
the
finished
product.
Arthur
Gorson
had
worked
on
videos
for
Godsmack,
the
Dave
Matthews
Band,
and
Queens
of
the
Stone
Age
and
did
a
stint
as
producer
on
this
video.
Four
reclusive
nomads
strolling
under
a
hot
desert
sun
make
their
way
to
the
ragged
tent
that
houses
their
instruments,
a
concert
for
no
one
except
themselves,
the
surrounding
vegetation,
and
desert
creatures.
“Yeahhhhh,
lies…”
squelched
out
by
Wes
is
the
first
thing
that
gets
your
attention
in
this
video.
Performing
hot
and
heavy
in
their
tent
backdrop,
the
band
is
playing
loud,
hard,
and
relentless.
Greg
puts
emphasis
on
his
tribal
drumbeat
as
the
camera
covers
all
the
band
members
doing
what
they
do
best,
rock
out
unabashedly
hard.
Wes’
tattered
and
stained
shirt
is
a
reminder
he
is
also
tattered
and
stained
on
the
inside,
having
found
out
the
love
of
is
life
was
not
true
to
his
heart
and
had
wandering
ways.
Dwelling
on
the
fact
he
was
blind
to
what
was
going
on
around
him,
he
makes
it
clear
he
worried
constantly
during
the
relationship.
Feeling
like
the
victim
who’s
been
stabbed
in
the
back,
Wes
exudes
his
pain
right
to
tape
for
us
to
see.
Intermingled
with
the
black
and
white
photographs
it
is
like
a
snapshot
in
time,
as
if
someone
had
paused
the
film
affording
you
a
long
look
into
the
eyes
of
these
performers.
The
aggressiveness
of
all
the
members
give
the
illusion
they
have
all
been
in
the
same
place
at
one
time
or
another
and
are
letting
their
emotions
out.
They
put
on
quite
a
performance
on
the
sand-covered
stage,
raw,
and
unkempt.
They
leave
as
mysteriously
as
they
came,
exiting
the
tent
seeking
refuge
in
the
desert
with
no
explanation
other
than
to
make
a
statement
with
a
song.
Fans
were
surprised
to
see
the
tent
become
part
of
the
bands
new
stage
props
at
concerts.
Figuring
they
had
spent
the
money
to
have
it
made,
why
not
use
it
and
in
essence
bring
the
video
out
on
the
road
with
them.
This
video
was
also
covered
in-depth
on
MTV’s
Making
The
Video
series,
which
aired
October
16,
2003.
Viewers
were
given
a
close
up
view
of
the
video
process
from
conception,
to
filming,
and
a
behind
the
scenes
look
of
just
what
it
takes
to
make
a
music
video.
Away
From
Me
received
regular
late-night
rotation
on
MTV2’s
Rock
Countdown.
Heel
Over
Head
2004
Debut
Date:
03-22-04
With
an
avant-garde
look,
the
video
for
Heel
Over
Head
was
the
conception
of
rock
photographer
Chris
Cuffaro.
Stepping
up
to
director
duties,
he
took
the
minimalist
approach
to
capture
live
band
footage
mixed
with
a
woman
portrayed
as
Wes’
former
love
interest.
This
was
Doug’s
second
chance
to
work
with
Chris
Cuffaro,
oddly
enough
it
was
Chris
who
did
the
photography
for
his
previous
band’s
CD
jacket,
Cellophane.
Filmed
with
a
mostly
bluish
backdrop,
it
depicts
a
break
up
in
progress
showing
mostly
upper
body
and
facial
shots.
“You
don’t
see
me
at
all,”
echoes
from
Wes
who
hand
gestures
throughout
the
video,
words
aren’t
enough
for
her
to
see
what
he
is
feeling,
pointing,
shouting,
and
tugging
on
his
head
of
hair,
he
is
a
person
who
just
had
to
let
it
out
on
the
fly.
The
love
interest
is
just
as
frustrated
as
Wes,
but
fails
to
garner
any
sympathy.
While
there
aren’t
many
props
in
this
video,
the
focus
of
this
video
is
frustration,
which
is
demonstrated
very
well
by
Wes.
Supported
by
his
bandmates,
they
help
set
the
tone
of
aggressiveness
as
the
clip
cuts
between
scenes.
This
was
the
bands
second
attempt
at
this
video.
They
had
originally
paired
with
She
Hates
Me
video
director
Mark
Webb,
however
after
one
day
of
filming,
the
band
realized
the
video
was
not
taking
the
direction
they
had
envisioned
and
was
scrapped.
Audience
footage
had
been
taped
at
recent
shows
in
Atlanta
and
Jacksonville
to
be
used
in
the
video,
but
was
not
included
in
the
final
project.
Spin
You
Around
2004
Debut
Date:
07-26-04
Fuse
Daily
Download
Filmed
before
they
started
their
summer
tour
with
3
Doors
Down
and
Nickelback,
the
band
flew
to
Los
Angeles
on
July
1
during
a
few
off
days
to
tape
this
video.
Warehouse
scenes
provide
unexpected
flashbacks,
and
it
isn’t
until
the
surprising
twist
at
the
end
you
become
fully
aware
of
the
storyline.
The
band
had
a
great
idea
for
a
plot
and
coordinated
their
ideas
with
Kevin
and
Michael
Goetz
who
were
on
board
as
directors.
A
rock
band
practice
session
combined
with
five
adolescents
doing
what
kids
do,
getting
into
mischief,
skateboarding,
and
plundering
in
an
abandoned
warehouse
district
in
their
town
is
the
setting
for
the
Spin
You
Around
video.
Taken
rather
literally,
a
shy
blonde-haired
youth
vies
for
the
affection
of
their
12-year-old
female
friend,
who
he
realizes
is
turning
in
to
an
attractive
young
lady.
In
changing
scenes
between
the
band
and
the
kids,
the
four
boys
and
lone
girl
use
the
area
around
them
to
play
a
hide-and-seek
type
game
against
an
unseen
participant.
Being
the
gentleman
that
he
is,
the
young
boy
doesn’t
forget
his
manners
as
he
holds
a
chain
link
fence
for
the
young
girl
during
their
escape.
Entering
a
dilapidated
building,
they
find
a
treasure
trove
of
abandoned
junk.
Venturing
upstairs
to
the
overhead
loft,
the
young
couple
is
in
awe
of
the
large
space
as
the
sun
peeks
through
an
opening
in
the
roof
as
if
it
were
a
spotlight.
They
come
across
an
old
trunk,
and
to
the
girl’s
amazement
it
contains
a
ballerina
skirt.
She
wastes
no
time
slipping
it
on
over
her
jeans
and
sweatshirt
and
under
the
sunlight
she
dances
on
a
make-believe
stage
with
the
lone
boy
as
her
audience.
He
has
the
look
of
puppy
love,
yet
watches
forlornly
without
a
single
word
from
the
sideline.
Skateboarding
on
their
familiar
stomping
ground,
one
of
the
friends
intrudes
on
the
young
boy’s
attempt
at
conversation
with
the
young
girl,
only
to
leave
him
feeling
embarrassed.
Lost
in
the
moment
of
his
ballerina’s
pirouette,
she
is
snatched
out
of
the
warehouse
by
her
father
who
had
been
looking
for
her.
Her
mom
and
dad
drive
her
away
in
their
car,
only
to
be
watched
by
the
boy
in
the
street
who
can’t
believe
she
was
whisked
away
out
of
his
life
so
abruptly.
The
only
evidence
she
was
ever
present
is
the
ballerina
skirt
fluttering
away
in
the
wind.
We
are
flashed
ahead
to
the
30-ish
lead
singer
on
the
street
who
is
peering
into
a
dance
studio
window
where
a
beautiful
woman
is
dancing.
Unexpectedly
her
current
boyfriend
approaches,
plants
a
kiss
on
her
cheek
and
they
leave
the
studio.
Walking
to
their
car,
she
passes
the
man
on
the
sidewalk
and
for
a
brief
instant
their
eyes
meet.
A
moment
of
‘could
it
be’
crosses
both
of
their
minds
but
they
both
keep
walking
in
opposite
directions.
As
the
woman
rides
away
with
her
boyfriend
in
his
car,
she
glances
back
to
the
man
on
the
street
and
decides
she
has
to
know,
is
it
the
person
from
so
long
ago.
Tossing
her
purse
to
her
boyfriend,
she
bails
out
of
the
car
and
retraces
her
steps
as
a
youth
between
the
cargo
containers,
chain
link
fence,
through
the
crawl
space
of
the
abandoned
building,
and
up
to
the
loft.
She
stares
upward
in
amazement,
recalling
that
fleeting
day
from
her
past.
It
is
when
she
turns
around
and
sees
her
former
friend
all
grown
up
does
it
become
apparent
the
time
frames
are
the
same
set
of
people,
the
four
long-time
friends
as
kids
who
had
now
formed
a
band
had
all
grown
up
and
come
full
circle.
Wes
had
crossed
paths
with
a
long
lost
friend;
lost
love
came
back
to
him
by
fate
for
a
fresh
new
start,
the
opportunity
to
fulfill
his
dream,
“If
you’ll
be
my
lady,
I
will
take
you
for
another
ride…”
The
band
had
a
vision
of
what
they
thought
this
video
should
be.
When
you
are
backed
by
the
record
company’s
purse
strings
for
production,
there
are
just
too
many
people
with
a
say
in
what
the
final
product
should
look
like.
Having
belief
in
their
storyline
and
capabilities,
the
band
financed
this
video
themselves,
giving
them
total
control
over
every
aspect
of
their
creation.
Marissa
Miller,
who
has
also
been
a
Victoria’s
Secret
model,
portrayed
the
grown-up
dancer.
|
