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It intercuts footage of Bowie and band in live performance with contrasting footage of the team in a photographic studio, sporting black phase outfits, and standing from a white track record. It also consists of spot footage with Bowie and Cyrinda Foxe (a MainMan worker and a mate of David and Angie Bowie) shot in San Francisco outside the house the famous Mars Hotel, with Fox posing provocatively in the street although Bowie lounges towards the wall, smoking cigarettes. The clip concludes with scenes of the Stones in the studio intercut with footage that experienced beforehand been utilised in the "live performance variation" promo clip for "Have You Seen Your Mother, Baby". Jagger's girlfriend Marianne Faithfull appears in the demo scenes and offers the "decide" (Richards) with what might be the notorious fur rug that had highlighted so prominently in the press experiences of the drug bust at Richards' property in early 1967. When it is pulled back again, it reveals an evidently bare Jagger with chains all over his ankles. Rock directed and edited 4 clips to advertise four consecutive David Bowie singles-"John, I'm Only Dancing" (May 1972), "The Jean Genie" (November 1972), the December 1972 US re-release of "Space Oddity" and the 1973 release of the single "Life on Mars?" (lifted from Bowie's previously album Hunky Dory)

High Diving Hare" with Bugs Bunny and Yosemite Sam "Terrier-Stricken" with Claude Cat and Frisky Puppy "Canary Row" with Tweety, Sylvester, and Granny Part TWO "Mutiny On the Bunny" with Bugs Bunny and Yosemite Sam "Cats A-Weigh! Knights Must Fall" with Bugs Bunny and Sir Pantsalot of Dropseat Manor "Mother Was a Rooster" with Foghorn Leghorn "Canary Row" with Tweety, Sylvester, and Granny Part TWO "Bewitched Bunny" with Bugs Bunny and Witch Hazel Clip from "Lighthouse Mouse" with Sylvester and Hippety Hopper "Cats A-Weigh! Bugs Bunny & Tweety Show- Season 3, Show 6 contained, among the its seven highlighted cartoons, "Bully For Bugs", "Martian Through Georgia", and "Mutiny On the Bunny", which concerned bullfighting, a bored alien choosing to go to world Earth for a visit, and Shanghai (Yosemite) Sam promoting in his trying to find for another person to crew his brutally taken care of and ruthlessly disciplined ship. Bunker Hill Bunny", an abduction of Bugs on to the spaceship of Marvin Martian in "Spaced-Out Bunny", and fright for Sylvester as Tweety keeps shifting into a monster in "Hyde and Go Tweet", 3 of the seven showcased cartoons in Bugs Bunny & Tweety Show- Season 3, Show 19. Show 19's cartoons included "14 Carrot Rabbit", "Hare-Abian Nights", "Sandy Claws", "Rabbit of Seville", "Bunker Hill Bunny", "Spaced-Out Bunny", and "Hyde and Go Tweet". About the only obvious connections in this seemingly incongruous assembly of cartoon shorts are the continuing close romantic relationship among "Sandy Claws" and "Hyde and Go Tweet" and the monstrous Abominable Snowman and remodeled Tweety of the remaining two cartoons. Also, Bugs faucets the back of the Snowman, and the transmuted Tweety, with his obscenely extended fingers, first gains Sylvester's notice by the exact process. Show twenty was comprised of these seven cartoons: "A-Lad-in His Lamp", "Little Boy Boo", "Tweet Dreams", "Hare-Breadth Hurry", "A Scent of the Matterhorn", "Hare-Way to the Stars", and "A Pizza Tweety-Pie". The shaking bottle of Hyde method from which the Tweety monster grows in Show 19's "Hyde and Go Tweet" compares with Aladdin's Lamp's jarring and trembling prior to the overall look therefrom of Smoky the Genie in "A-Lad-in His Lamp". Egghead Jr.'s chemistry set in "Little Boy Boo" also aptly follows the prior episode's "Hyde and Go Tweet". The correspondence among the liquid-born monster-birds in "Hyde and Go Tweet" and "Hare-Way to the Stars", initial noted by the physical appearance of these two cartoons in Show 3, is recurring in this article in coinciding episodes 19 and 20. Camels are shared pictures of Show 19's "Hare-Abian Nights" and this episode's "Tweet Dreams" (Sylvester's recollection of "Tweety's Circus"). Possibly the most cogent link among episodes 19 and twenty is the inclusion of two cartoons ("Hare-Abian Nights", "A-Lad-in His Lamp") positioned in the Arabia area. "The Windblown Hare", "Heaven Scent", "A Street Cat Named Sylvester", "Dr