I don’t know about you, but for me, the moment of truth about music videos came when I first saw Pat Benatar’s sleazoid epic of society’s childom, “Love Is A Battlefield.” I mean, here was the first video I’d seen in which the song meant little, if anything, to the video. Not that it’s a bad song—it isn’t—but because somewhere in the planning stages, the “creators” of this film (made, after all, to promote the song) saw that song as little more than soundtrack material, with little (outside of the title, perhaps) to draw from for their mini-drama. In other words, the song’s basic female love/pain/teens /angst turf, turf that Ms. Benatar has, for some time now, held reign over (Lesley Gore, where are you now that we really need you?), was apparently deemed not “high concept” enough to build on.