American Cinematographer - August 1998 - 75

the band's infamous tag line:
not men? We are Devo!"

"Are

we

Far ahead of their

thus advanced the

time, Devo

art

of music

video before

they even became a
bona-fide band. Co-founder Gerald
Casale directed all of the act's 22

videos, including the memorable

clips

"Whip

for

It"

and

"Satisfaction" (both included on

Rolling Stone magazine's list of the
of all time), as well as

top 100 videos

"Girl U Want," "That's Good," and
"It's a Beautiful World," which occu¬

pies

position in New
Whitney Museum. In 1986,
Casale also began shooting videos
for other musical acts, among them
The Cars, Jane Siberry, Rush,
Blancmange, Silverchair, The Foo
Fighters, Soundgarden and Mint
a permanent

York's

Condition.
Before

his
major at
Kent State University, where he was
introduced to cinema production in
a class
taught by underground film¬
maker Richard Myers.
While
attending Kent State, Casale became
acquainted with Chuck Statler, a
career,

embarking

Casale

upon

was an art

fellow student and future friend
who would go on to shoot some of
Devo's earliest videos. "Chuck and I
had similar aesthetic sensibilities,

and

we ran

around [with his

Bolex]

making really bizarre little movies
with no real plots - just sequences
of image-driven events that were
evocative, funny, dark and nasty.
Usually, I would end up in front of
An assortment of actual frames from
Devo videos directed by Gerald Casale.

the

Above, top to bottom: "Secret Agent
Man," "Jocko Homo" (frames 2 and 3)
"Satisfaction"

(featuring the shot of a
baby jabbing a fork into a toaster, which
led to the clip being banned from the
British TV program Top of the Pops) and
"Whip It." Right: "It's A Beautiful World"
(frames 1-3) and "That's Good" (frames
3-6). In the latter video, the
juxtapositioning of two rear-projected
shots - the French fry penetrating the
donut and the woman smiling in ecstasy
led MTV to ban the 1982 video from

-

the airwaves.

in

camera

one

of the various

that I'd made."

costumes

Casale

later

made

the

acquaintance of fellow musician
Mark Mothersbaugh, and the pair
soon

enlisted

drummer

Alan

Meyers and their respective younger
brothers

-

both named Bob. The

concept behind the band was "de¬
evolution," and the quintet began

designing

a

soundtrack which

would

help illustrate their philoso¬
phies. After saving up $3,000 from a

silkscreening and rubber-stamp
American

Cinematographer 73



American Cinematographer - August 1998

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