come to daddy/windowlicker poll (with opinions)

I love both tracks...but they are both MTV releases, and are unlike his other offerings!!

please share your opinions

What a skewed poll.

I agree, they are MTV releases. Yet i am a fan. In your poll there is no place for me.

They are also sublime parodies of their particular genres.

I don't see how they are MTV releases. Come To Daddy had 'destined to be banned from TV' written all over it. It always cracks me up to think about how that video was pitched.

"Yeah, what I want is a load of dwarves dressed up as kids, fucking each other and smashing up an estate on Thamesmead."

Hardly Britney f***ing Spears is it! lol

i dont understand this poll really...but those particular songs are certainly different, i agree. no less good though, excellent songs. i always blown away bye how windowlicker is like a guiding of hideous noises in a beautiful direction...wait did i say this already?

I don't think "Aphex" and "Commercial" can be combined.

Well it's ages since I saw it but there's a bit where a female dwarf is thrown to the floor while trying to fight off one of the boys, who lies on her and humps her. Or was I on crack?

i dont understand the meaning of this poll

wtf is i agree (im not a fan) and i dont agree (im a fan). what if i agree and im a fan.. it not fo u to decide who is a fan and who is not a fan i think. :|

no offense but thats fucking stupid. the bottom line is that they are great tracks so they arent shamless u tosser. just becos he wants a kickass video for his music doenst mean he intended it to be on mtv. if u made a good track wouldnt you want a good video made for it, even for artistic purposes?

windowlicker is brilliant

come to daddy is rubbish....funny as a prodigy pisstake for a while.....but the bsides are fucking mega

am i the only one who digs the hell out of come to daddy, pappy mix? it seems to get alot of hate from electronic music fag..*erhm* fans

I don't think either of them were supossed to be "MTV" realeases, come on now. That just sounds ridculous. I geuss you could say they're both more "poppy" sounding aphex songs, but if you think about it, he's made much prettier sounding stuff.

Windowlicker is amazing in my book, Come To Daddy has got a great energy to it, but probably didn't have as much effort put into it. Overall, they're both great songs. I think Come To Daddy has actually been played on MTV before, but how many times? once?? And I don't think there is any chance Windowlicker would ever get air time on MTV, it's too demented for the little kids, hehe.

go go Chris Cunningham.

m.leafeater.dl

yes youre right..

come to daddy is aphex's most popular tracj i would say but it doesnt mean that it sucks.. when i listened to it for the first time and when i saw the video for the first time i remained speachless for 3 days no not realy but i was amazed :grin:

MTV in the US refused to play windowlicker, but come to daddy was aired a lot and aired unedited.

dunno about MTV europe, just read the interview with chris thats in the little book inside his dvd.

have they ever shown the rubber johnny video on MTV anywhere?

  yetihunter said:

have they ever shown the rubber johnny video on MTV anywhere?

i dont know never seen it..

mtv2 maybe.. :ermm:

I feel like Windowlicker is far better as a piece of dance music than what Richard may have originally been parodying. If I were in a social situation and I started to hear the opening bass/snare hits assaulting me through the PA system, there would be no stopping me. That song has got the coldest fucking groove I've ever heard, thanks in part to Richard' s excellent taste in percussion sounds. It's impossible for that beat to not resonate inside of me everytime I hear it.

On a side note, those dance moves from the video make me jealous. I only wish I could move like that. Many compliments to the choreographer for that piece of brilliance.

the chris cunningham interview:-

1997 aphex twin : come to daddy

Q: what made you come up with the idea?

A: i remembered being chased through the woods by a 9 year old child when i was 16. i was on my pushbike and he had a hammer. it was humiliating and i was shitting it. at age 16 you don’t want to end up being pulverized by a 9 year old in case there are any girls watching! also, richard was using children’s voices in his tracks at the time and using his face on all his covers. it was a combination of all that.

Q: how did you achieve the faces of the children?

A: just masks, silicone and latex masks.

Q: where did you shoot the video for come to daddy?

A: in a housing estate in thamesmead in east london. i remember the guy from the local council showing us round saying that he really didn’t want us to portray it in a bad light… i don’t if we portrayed it in a particularly good light!

Q: how did you get that dog to do what you wanted?

A: the biggest problem with the dog was that it was far too big for the old lady. when the dog was on its lead, it would virtually pull her over every time. it’s a load of nonsense anyway, why would a little old lady have a dog like that? it worked for the video but made no sense.

Q: do you have the edit pre-constructed in your head before filming?

A: pretty much. i’d say it ends up that sixty percent are shots that are designed to go in one specific place and they won’t go anywhere else. but the other forty percent are accidents or tangents you go off on. that kind of ratio is determined by the limited amount of time you have. i’m not sure if i’d change that because you have to be surprised by stuff, else its no fun.

Q: were they children or small people?

A: i think there were two kids and the rest were midget adults. if you look closely you can see they’ve got hairy arms. that’s one of my favourite things about the video. little hairy armed kids!

Q: you shot a lot of set-ups…

A: yeah. i think i had to go back for another day and shoot some more inserts. i didn’t have enough footage and it was pretty ambitious. i knew that this was my chance, i knew that i’d finally got a track i was excited about and i wasn’t going to have what happened on autechre. i wasn’t going to have it fuck up because of inexperience again. so i went out of my way on come to daddy to try and make it work.

Q: what was your reaction when you first started editing and saw it was coming together, were you thrilled or excited?

A: yeah, i was, although there are still things about it which i can’t bear to look at because they’re so shit but it had the energy that i wanted my videos to have, that so far, i hadn’t been able to get. i just wanted to make stuff that was visceral or whatever. i love watching stuff that you can feel in your stomach, so i was happy that it was starting to come together.

Q: it got played unedited?

A: MTV played it late at night

Q: In the states it aired quite a bit and was so obviously from a different direction, way darker and more deranged than anything it was airing up against. do you remember anything from the shoot of come to daddy?

A: i remember standing next to our “on set security guard” and he said “oh, this is just sick, like, what sick fuck is responsible for this?”, and he quit, he left. i remember just thinking, blimey its just some kids wearing rubber masks… he can’t get out much. my upbringing was pretty liberal and happy. my parents and grand parents were just so open minded. i used to make severed heads or set up stabbing effects and my parents and grandparents loved it, they just saw it as creativity. so i was always encouraged and from an early age, no matter what i did, nothing shocked them. and so i suppose, now, i do stuff and if it offends someone i’m always surprised.

only a little interview with chris, but interesting none the less.

never seen the rubber johnny video? look here -

the chris cunningham interview part muthafucking 2:-

1998 aphex twin : windowlicker

Q: what was the treatment?

A: windowlicker was me trying to make a more commercial video for aphex. the last half of the track sounded really pornographic, it made me think of girls arses. so, i thought, okay, that’s definitely how the video’s got to end and the first half of the track sounded like driving around in the sun. at first i was a bit hesitant to go back to using the head-swap idea, but it seemed to be in a different tone to come to daddy, that i thought it might be worth doing an LA sequel.

Q: but were you conscious about trying not to repeat yourself?

A: definitely. by this point i was consciously trying to make each video completely different to the last. there were three options left, i could either put his head on a woman’s body and change the sex, put his head on an animals body, or put it on an old persons body. the track sounded so sexual and feminine, i thought i’d go for the sex angle. that’s another video i really wanted to make like a cartoon. i didn’t want the dialogue to be too realistic or anything, i just wanted it to be really over the top.

Q: where did you shoot it… was it at the venice beach area?

A: yeah, we shot it at venice beach and in downtown.

Q: what about the choreography of the dance and tap routines?

A: that was vince patterson. i felt spoiled having him work on the video. i said to him look, can you just come up with some really immature and perverted takes on buzz berkeley’s moves. he came up with so much good stuff, it worked out great. a really smart and conscientious collaborator.

Q: with windowlicker it seemed warp made an effort to put that out for people to see…

A: yeah. i ended up doing all the imagery that was out on the record sleeves and tie-in posters. even a new version for the NME cover. i think they put those posters of richard with tits everywhere. with windowlicker, i was trying to make the imagery as commercial as possible, but the content totally bent. i think the track itself could be described like that. there’s more chance of infiltrating MTV if i make this video sit more snuggly against all these other dance and rap videos. it didn’t work in the US because MTV wouldn’t show it! warp put it out on vhs instead.

Q: at that point people here definitely knew your name and were aware of your work… having that come out that was so striking, were you getting more attention?

A: yeah, i think after that video i was getting a lot of calls.

Q: what sort of people would be approaching you, like different production companies, labels and bands?

A: yeah, a lot of big acts. but i didn’t really get into doing music videos in order to be a big time music video director. being asked to do the madonna video straight after come to daddy had a novelty value, which was really exciting. but once i got that out of my system, what i really wanted to do was to carry on making videos for people like richard or music i love, but maybe with a bit more money or a bit more scope. so rather than go off and start doing videos for elton john, with millions of pounds, i managed to make another video for aphex with a bit of a bigger budget.

i like how the quote "it made me think of girls arses" - magic!

MTV... i don't care... i don't have this channel...

  yetihunter said:

the chris cunningham interview part muthafucking 2:-

 

1998 aphex twin : windowlicker

 

Q: what was the treatment?

A: windowlicker was me trying to make a more commercial video for aphex. the last half of the track sounded really pornographic, it made me think of girls arses. so, i thought, okay, that’s definitely how the video’s got to end and the first half of the track sounded like driving around in the sun. at first i was a bit hesitant to go back to using the head-swap idea, but it seemed to be in a different tone to come to daddy, that i thought it might be worth doing an LA sequel.

 

Q: but were you conscious about trying not to repeat yourself?

A: definitely. by this point i was consciously trying to make each video completely different to the last. there were three options left, i could either put his head on a woman’s body and change the sex, put his head on an animals body, or put it on an old persons body. the track sounded so sexual and feminine, i thought i’d go for the sex angle. that’s another video i really wanted to make like a cartoon. i didn’t want the dialogue to be too realistic or anything, i just wanted it to be really over the top.

 

Q: where did you shoot it… was it at the venice beach area?

A: yeah, we shot it at venice beach and in downtown.

 

Q: what about the choreography of the dance and tap routines?

A: that was vince patterson. i felt spoiled having him work on the video. i said to him look, can you just come up with some really immature and perverted takes on buzz berkeley’s moves. he came up with so much good stuff, it worked out great. a really smart and conscientious collaborator.

 

Q: with windowlicker it seemed warp made an effort to put that out for people to see…

A: yeah. i ended up doing all the imagery that was out on the record sleeves and tie-in posters. even a new version for the NME cover. i think they put those posters of richard with tits everywhere. with windowlicker, i was trying to make the imagery as commercial as possible, but the content totally bent. i think the track itself could be described like that. there’s more chance of infiltrating MTV if i make this video sit more snuggly against all these other dance and rap videos. it didn’t work in the US because MTV wouldn’t show it! warp put it out on vhs instead.

 

Q: at that point people here definitely knew your name and were aware of your work… having that come out that was so striking, were you getting more attention?

A: yeah, i think after that video i was getting a lot of calls.

 

Q: what sort of people would be approaching you, like different production companies, labels and bands?

A: yeah, a lot of big acts. but i didn’t really get into doing music videos in order to be a big time music video director. being asked to do the madonna video straight after come to daddy had a novelty value, which was really exciting. but once i got that out of my system, what i really wanted to do was to carry on making videos for people like richard or music i love, but maybe with a bit more money or a bit more scope. so rather than go off and start doing videos for elton john, with millions of pounds, i managed to make another video for aphex with a bit of a bigger budget.

 

 

i like how the quote "it made me think of girls arses" - magic!

where'd you get these two interviews from? do they have it anything about rubber johny? thanks so much for posting these

Thanks for the interview, nice read.

Anyway are we talking about CtD and W as albums or tracks? There's nothing remotely "mainstream" in CtD as an album, it's surely accessible tracks but it's as challenging as the RDJ album. There's no trowaways, it doesn't feel like an EP for sure.