Posted in 1980s, 1984

55–Ghostbusters

Dan Aykroyd, who is well-known for being interested in parapsychology, came up with the idea of creating a comedy horror film in the tradition of the movie comedians he’d grown up watching. The first draft was a bit of a mess, but Aykroyd is a good egg in this respect and knows that he’s a better Idea Guy than a Polished Script Writer, so he handed off the project to director Ivan Reitman and a few others, and threw in some jargon and other ideas along the ride. 

Reitman and his (and Aykroyd’s) agent Michael Ovits went to Columbia Pictures and, pulling a dollar figure out of a hat (roughly three times what Reitman spent on Stripes), got a budget of $25,000,000, which was HUGE for a comedy at that time. Columbia slated the film to open about a year later, which really put the team in a crunch position, especially since the script was still being re-written and there were lots of special effects to create. 

Parker says he still has this original shirt, but he doesn’t wear it because he doesn’t want it worn out. Instead he wears one of many copies he has. 

So many things could have gone wrong and made the film a flop (in fact, Columbia execs thought so at first), but it caught on with audiences, and part of that success was the support it got from its theme song, written by Ray Parker Jr after several other musicians had either turned down the project, or given it a shot and found lacking. But his original 20-second effort (what he was commissioned for) excited Reitman so much that he convinced Parker to write a complete song, and he’d support it with a video. That video became only the second one featuring an African-American artist on MTV. 

Cindy Harrell in the video. Shortly before making the video,
she married producer Alan Horn, and she retired from acting a few years later. 
They have two children, one of whom is actress Cody Horn.  

As I mention during the show, the video involved a lot of items painted on glass, and then the camera shot through the glass, giving everything a funky, ethereal look. 

Glass shots were also popularly used in films as a cheap way of creating illusions that are more easily done nowadays with green screens and CGI imagery. In this shot from Star Wars below, only the walkway to the right (where the stormtroopers are standing) and the cone-shaped gizmo on which Obi-Wan Kenobi is standing is real and full-size. Everything else, including the pillar below the cone-shaped gizmo, is painted on a sheet of glass carefully placed in front of the camera. It’s like doing a matte shot on the cheap. 

By now you should be seeing the show in your podcatcher, but if not, give it a listen or a download right here: 

And, of course, leaving a rating wherever you get your shows is always appreciated. 

Posted in 1970s, 1973

54–Walk on the Wild Side

Click here for a transcript of today’s show. 

Lou Reed had been out of the Velvet Underground for about two years, and his first solo album had tanked, but people like David Bowie still believed in him, and brought him to London to record his second album. One of the songs he recorded during the ten days they spent on Transformer was a song he’d been noodling with for about a year. It started out as part of the score for a show that never materialized, but over time it morphed into a tribute to several of Andy Warhol’s “Superstars” at his studio-cum-crash pad, The Factory. 

Candy Darling
Holly Woodlawn

Jackie Curtis

Joe D’Alessandro (left) in a still from the film Flesh that was cropped to create The Smiths’ first album sleeve.

The song got a remarkable amount of airplay despite its subject matter (and because of how well it was coded), and propelled Transformer into the Billboard Top 30, cementing its place as a touchstone of the Glam Rock genre of music.

Incidentally, the album’s cover was photographed by Mick Rock, who’d accidentally over-exposed the image in the darkroom, but he liked the way it came out and submitted it as a possible cover anyway.

And if you know anything about this show then you know if you’re reading this, then your podcatcher software already has it, but if you’re not one of the billions of users of Podcast Republic, you can always listen to, or download the show from right here: 

And, as usual, leaving a rating and a review makes my world go round, so have at it.

Posted in 1960s, 1967, 1968, 2000

Episode 53–Both Sides Now

Click here to view a transcript of this show. 

Sweet Judy Blue Eyes. They’re still stunning to look at. 

The late 1960s was a great time for the fusion of folk and pop music, and a lot of singer-songwriters made their marks with recording their songs, and those of other performers, during that time. So it was when Judy Collins first heard Joni Mitchell singing “Both Sides Now” down a telephone line one late night in 1967. Collins met with Mitchell and Al Kooper that very night in the bar  from which Kooper placed the phone call, and the song wound up as the opening track to Side Two of Collins’ seventh album, Wildflowers.

For whatever reason, though, the song wasn’t released as a single for about a year, but releasing the song turned out to be a great idea, because it turned into Collins’ first foray into Billboard’s Top 40 and propelled Wildflowers to the Number 5 position on their albums chart. 

Joni Mitchell, in the meantime, managed to score a recording contract of her own and recorded it, along with several other songs that had already been cut by other artists (including “Chelsea Morning”, which Collins had recorded and released as a single earlier that year) and a few new tracks. “Both Sides Now” became a stealth title track for her self-produced second album, Clouds, and finally propelled her into the public light. 

The song has been covered literally dozens of times from 1967 all the way up to this decade, and by artists of all ages and genres so clearly this is a song whose impact will be felt for many years to come. 

As usual, your podcast software should have this show by now, but if you dig listening to it from here (looking at you, Brother Of Mine), by all means have at it:

And, of course, I’d be thrilled beyond measure if you were to leave a comment or a rating/review wherever you get your podcasts. 

Posted in House Keeping, Production

What’s New, Pussycat

Hi-yoooooooooooooooo!

In an effort to make the show as a whole more compliant with the Americans with Disabilities Act (and, let’s face it, to make it more visible to search engines), transcripts of each show will now be available. 

As it happens, because the show is heavily scripted, and because I’m weirdly obsessive about saving digital stuff, I still have the original Microsoft Word files for most episodes. I lost a few to accidental overwrites, but I’ll figure something out for those shows as well. 

So, beginning this week when the show returns for Episode 53, there will be a transcript linked from the episode’s blog post. In addition, I’ll be backfilling the older episodes over the next couple of weeks until everything is caught up. 

See you on Saturday!