1973 US film directed by George Lucas
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9 episodes with American Graffiti
6 episodes with American Graffiti
3 episodes with American Graffiti
4 episodes with American Graffiti
3 episodes with American Graffiti
4 episodes with American Graffiti
3 episodes with American Graffiti
3 episodes with American Graffiti
4 episodes with American Graffiti
In this episode, I discuss with author Bruce Handy his book " Hollywood High: A Totally Epic, Way Opinionated History of Teen Movies". From a longtime Vanity Fair writer and editor, a delightfully entertaining, intelligent, and illuminating history and tribute to teen movies—from Rebel Without a Cause to Fast Times at Ridgemont High, and on to John Hughes, Mean Girls, The Hunger Games, and more.What influence did Francis Ford Coppola have on George Lucas's American Graffiti? And Lucas on John Singleton's Boyz n the Hood? How does teenage sexuality in Fast Times at Ridgemont High compare to Twilight? Which teen movies pass the Bechdel test? Why is Mean Girls actually the last great teen film of the 20th century?Doug Hess is the Producer and HostFollow on Facbook @forgottenhollywood
The Casuals discuss the film American Graffiti 1973.
Partners Elizabeth Avery and Liana Witt report back from a very different American Bar Association Spring Meeting in Washington DC, and take us through recent upheavals in US competition and consumer law. What is the new “America First” antitrust, what does it mean for global deals, big tech and AI, and how will it impact Australia and the rest of the world? Plus digital platforms and the new regime, the ACCC bags a penalty in ocean plastics and has no truck with LDV's SUVs, and what to expect from the newly returned government … All this and more with co-hosts Moya Dodd and Matt Rubinstein. [Links] Meet the Gilbert + Tobin Competition, Consumer + Market Regulation team Email us at edge@gtlaw.com.au Support the show: https://www.gtlaw.com.au/See omnystudio.com/listener for privacy information.
In April 1972, Wolfman Jack hosted his final show on XERB, the legendary Tijuana border blaster that launched him into the atmosphere and onto American culture. He began nine years earlier on XERF in Ciudad Acuna, Mexico, right across the border from Del Rio, Texas. Did you know that until his grand unveiling in the 1973 coming-of-age classic “American Graffiti,” directed by George Lucas, nobody knew who he was, what he looked like or even his ethnicity? In his latest article for the Strange Brew, author Scott G. Shea peels back the layers of his incredible rise to fame and separates fact from fiction in this unbelievable tale of arguably the greatest disk jockey of all time. I hope you consider having Scott G. Shea, leading music historian and author of the best-selling book, “All the Leaves Are Brown: How the Mamas & the Papas Came Together and Broke Apart,” on your program to talk about this entertainment icon. Scott not only shares the incredible story of how Wolfman Jack got on the radio and set the airwaves on fire nightly, but also delves deep into the character of Robert Weston Smith, the man behind the mic with the gravelly voice and soulful rap who became a national treasure.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.
In April 1972, Wolfman Jack hosted his final show on XERB, the legendary Tijuana border blaster that launched him into the atmosphere and onto American culture. He began nine years earlier on XERF in Ciudad Acuna, Mexico, right across the border from Del Rio, Texas. Did you know that until his grand unveiling in the 1973 coming-of-age classic “American Graffiti,” directed by George Lucas, nobody knew who he was, what he looked like or even his ethnicity? In his latest article for the Strange Brew, author Scott G. Shea peels back the layers of his incredible rise to fame and separates fact from fiction in this unbelievable tale of arguably the greatest disk jockey of all time. I hope you consider having Scott G. Shea, leading music historian and author of the best-selling book, “All the Leaves Are Brown: How the Mamas & the Papas Came Together and Broke Apart,” on your program to talk about this entertainment icon. Scott not only shares the incredible story of how Wolfman Jack got on the radio and set the airwaves on fire nightly, but also delves deep into the character of Robert Weston Smith, the man behind the mic with the gravelly voice and soulful rap who became a national treasure.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.
We start off right with the 2025 Rock N Roll HOF inductees then get into a discussion of TV shows we find over rated. Then we review American Graffiti and The Marshall Mathers LP2.
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Éxitos Originales de la Banda Sonora de American Graffiti es el álbum oficial de la película American Graffiti de 1973. Fue certificado triple platino en Estados Unidos, donde alcanzó el puesto número 10 en la lista Billboard 200 . Incluidas en la película, pero no en la banda sonora, están " Ge " de los Crows , " Louie Louie " de Flash Cadillac & the Continental Kids y la interpretación a capela de Harrison Ford en el personaje de " Some Enchanted Evening " (aunque el motivo de la exclusión de las dos últimas es porque esas secuencias no se agregaron a la película hasta el relanzamiento de 1978, estaban ausentes en la versión original lanzada en 1973) Una segunda recopilación, titulada More American Graffiti (MCA 8007) (que no debe confundirse con la secuela cinematográfica de 1979 del mismo nombre ), fue publicada por MCA a principios de 1975 con la aprobación de George Lucas. incluye más éxitos de rock y doo-wop de finales de los 50 y principios de los 60 (solo uno de ellos, «Gee» de The Crows, apareció en la película), junto con diálogos adicionales de Wolfman Jack. Una tercera y última recopilación de clásicos, titulada American Graffiti Vol. III (MCA 8008), también fue publicada por MCA a principios de 1976. Los tres álbumes se lanzaron como conjuntos de dos discos o como cintas de doble duración y actualmente están totalmente agotados. 01. "Rock Around the Clock" - Bill Haley & the Comets 1954/1955 02. "Why Do Fools Fall in Love" - Frankie Lymon & the Teenagers 1956 03. "Runaway" - Del Shannon 1961 04. "That'll Be the Day" - Buddy Holly & The Crickets 1957 05. "The Stroll" - The Diamonds 1957 06. "See You in September" - The Tempos 1959 07. "(He's) The Great Imposter" - The Fleetwoods 1961 08. "At the Hop" - Flash Cadillac & the Continental Kids 1973 08. "She's So Fine" - Flash Cadillac & the Continental Kids 1973 09. "16 Candles" - The Crests 1958 10. "Fannie Mae" - Buster Brown 1959 11. "Almost Grown" - Chuck Berry 1959 12. "Little Darlin" - The Diamonds 1957 13. "Barbara Ann" - The Regents 1961 14. "Smoke Gets in Your Eyes" - The Platters 1958 15. "Peppermint Twist – Part 1" Joey Dee and the Starlighters 1961 16. "The Book of Love" - The Monotones 1958 17. "Maybe Baby" - Buddy Holly 1957 18. "Ya Ya" - Lee Dorsey 1961 19. "The Great Pretender" - The Platters 1955 20. "Party Doll" - Buddy Knox 1957 21. "Ain't That a Shame" - Fats Domino 1955 22. "You're Sixteen" - Johnny Burnette 1960 23. "Love Potion No. 9" - The Clovers 1959 24. "Chantilly Lace" - The Big Bopper 1958 25. "Johnny B. Goode" - Chuck Berry 1958 26. "Come Go with Me" - The Del-Vikings 1956 27. "Since I Don't Have You" - The Skyliners 1958 28. "Get a Job" - The Silhouettes 1958 29. "Do You Want to Dance" - Bobby Freeman 1958 30. "To the Aisle" - The Five Satins 1957 31. "I Only Have Eyes for You" - The Flamingos 1959 32. "A Thousand Miles Away" - The Heartbeats 1957 33. "All Summer Long" - The Beach Boys 1964 34. "Teen Angel" - Mark Dinning 1959 35. "Crying in the Chapel" - Sonny Till & the Orioles 1953 36 ."Only You (And You Alone)" - The Platters 1955 37. "Goodnight, Well it's Time to Go" - The Spaniels 1954😎Escucha este episodio completo y accede a todo el contenido exclusivo de EDITORIAL GCO. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/2313218
Seven more 70's movies, we can scratch off our list. Welcome to Reviews number #50. Done over 70 movie showcases, and now 50 episodes of movie reviews equalling over 400 films. Amazing, great work team. 1. (Dusty and Sweets Mcgee 1971) Here is neat documentary style look at drug addiction as people walk around L.A. looking to score. 2. (1776 1972) A musical I had not seen, annnnnd I'm a musical learner so I actually learned more from this story written by a history teacher then I did in school. This story and School house rock! Knight riders car and DR. Green's dad from E.R. are here. 3. (Top of the Heap 1972) Sadly here is another buried film, thanks Racism. It's starting to come around and I hope we can help. It's serious and heavy and it's written, directed and stars Christopher St. John whom we should have seen much more of. Paula Kelly from many films including The spook who sat by the door is here, and she has a poster of Baphomet! 4. (California Reich 1974) This Academy award nominated documentary should definitely be seen and is available on YouTube. This and Jesus Camp 2006 should be on a shelf marked, Well we did fucking warn you! 5. (Sorcerer 1977) Yeah F what the director says this is definitely false advertising. Movie is cool and we get More Roy Scheider and an amazing soundtrack by Tangerine Dream, but there are absolutely no witches wizard or magic at all in this film. 6. (Phantasm 1979) Great flippin title. Group of hard working ambitious stoners make a movie that is very creative, cray, and not a Women hating slasher film. I'm here for it. 7. (More American Graffiti 1979) I wanna just say cash grab, but they waited 6 years. I guess you had happy days in 74. Grease was 78 sooooo they probably tackled George to make sequel for some beach houses. George had little to do with this, editing the screenplay and apparently “Supervising.” People like to dismiss, but we found a few things here that we dug, also some real weirdness, which I keep writing about some and then erasing, meaning, if you saw the first one this is worth a watch. Thanks always for listening. Please like and subscribe, why not.
Bob Dylan predikar om domen, tystnar i marginalen, hittar hem på vägen. 80- och 90-talets Amerika flimrar förbi – med gospel, plasttrummor och ett oväntat mästerverk. Till sist: en lista över allt det som gör honom till just honom. Detta är det sista avsnittet av Bob Dylans Amerika.Musikpodden finns även på:Instagram: Musik_poddenSpotify / Apple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:Denna serie bygger på ett omfattande researcharbete med både primära och sekundära källor. Här är en mer detaljerad sammanställning av det material som legat till grund för avsnitten – alltifrån biografier, journalistik och akademiska artiklar till dokumentärer, intervjuer, musikanalyser och film.Böcker & biografier– Chronicles: Volume One – Bob Dylan (2004)– Down the Highway: The Life of Bob Dylan – Howard Sounes (2001)– No Direction Home: The Life and Music of Bob Dylan – Robert Shelton (1986)– Bob Dylan in America – Sean Wilentz (2010)– Dylan Goes Electric! – Elijah Wald (2015)Tidskrifter, tidningar & reportage– The Guardian, The New York Times, Rolling Stone, Washington Post, Mojo Magazine– Dissent Magazine – särskilt om Dylans roll efter 60-talet och det politiska landskapet– New Yorker och The Atlantic – essäer om Dylan och USA:s kulturella utveckling– Artiklar från The Bob Dylan Encyclopedia och The Dylan ReviewFilmer, dokumentärer & visuell media– Don't Look Back (D.A. Pennebaker, 1967)– No Direction Home (Martin Scorsese, 2005)– Rolling Thunder Revue: A Bob Dylan Story (Martin Scorsese, 2019)– I'm Not There (Todd Haynes, 2007)– The Other Side of the Mirror (Murray Lerner, 2007)– Slutscenen i Manhattan (Woody Allen, 1979)Musik & konsertmaterial– Samtliga studioalbum, med särskilt fokus på:Time Out of Mind (1997)Blood on the Tracks (1975)Highway 61 Revisited (1965)Slow Train Coming, Infidels, Oh Mercy, Desire, Self Portrait, m.fl.– The Bootleg Series Vol. 1–17 – för tidigare outgivet material och alternativa tagningar– Liveinspelningar från Newport 1965, Rolling Thunder Revue, Live Aid (1985), Unplugged (1994)Intervjuer & offentliga framträdanden– Dylans tal vid Nobelpriset i litteratur (2016)– Grammy Awards & Rock and Roll Hall of Fame (1988, 1991)– Presskonferenser från 60- och 70-talet– Livekommentarer, scensnack och publikreaktioner dokumenterade i bootlegsWebbresurser & digitala arkiv– Expecting Rain – Dylanforum med texttolkningar, nyhetsarkiv och bootlegs– BobDylan.com – officiella texter, turnédatum, utgivningar– Highway 61 Interactive (CD-ROM, 1995)– Clintonwhitehouse4.archives.gov – tal från Kennedy Center Honors, 1997– Farmaid.org – historiken kring Live Aid och starten av Farm AidÖvrigt– Quentin Tarantinos recension av American Graffiti – använd som kulturell parallell– Citat, anekdoter och bakgrund från svenska och internationella radioprogram, fanzines och Dylan-forskare– Diverse samtal, egna tolkningar och anekdoter vävda in medvetet subjektivtJazz musician playing under a train bridge by koulaxizis -- https://freesound.org/s/546210/ -- License: Attribution NonCommercial 4.0 Hosted on Acast. See acast.com/privacy for more information.
Our unscheduled George Lucas Bi-Week continues as one movie finally ventures to answer a question no others ever had: what was it like in the 1960s in the United States? Plus: can drag racing transcend language? And will you watch out for those trash cans?Mitch is scheming to get home from the war.Art by Jade Dickinson: @jadesketches on Instagram | @jadesketches on TikTokListen to Liam's Weezer podcast hereListen to "Like the Weather," the new EP from Liam's band Guest Room StatusFind the show on InstagramFind Corey and Liam on TwitterFind MK Podquest and Strat 2 hereReach us via email: tmaopodcast@gmail.com"Eighties Action" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/
Subscriber-only episodeWell, the season mysteries are all wrapped up, so this week Veronica takes on the geopolitical climate of the mid 2000s. Meanwhile Daddy Mars goes hard on avenging one boy. Wallace and Piz are sharing a woman, while Dick tries to get two women to share him. Just curious, what food oil would YOU go with for sex? And have you guys seen The Room?Subscribe to our Patreon to access the video version, our Discord community, plus all of our other bonus content. Send us a text
Si nous avons fait connaissance avec Harrison Ford grâce à son rôle d'Han Solo dans Star Wars à la fin de l'année 1977, l'acteur était pourtant arrivé de sa province profonde, à Hollywood, en 1964. Alors pourquoi ces treize années dans l'ombre ? Et bien parce que le jeune comédien, bien que recommandé auprès d'un grand studio, n'entend pas faire n'importe quoi. Il est là pour bien jouer de bons rôles, il vient du théâtre. Alors les conneries des gens du studio, genre lui faire une coupe de cheveux à la Elvis Presley parce que c'est dans le vent et aussi, ça c'est le pompon, prendre un pseudonyme, ils peuvent se le foutre au cul. C'est pas moi qui le dit, c'est Harrison Ford dans le bureau de Jerry Tarkovski, le vice-président de la Columbia qui le paie au mois. Le gars étant du genre sanguin, Ford est d'abord mis à pied puis finalement viré et blacklisté. Ne l'engagez pas, vous n'aurez que des problèmes avec lui.Et en effet, Harrison Ford galère pour nourrir sa famille. Il doit ainsi retaper lui-même la maison qu'il vient d'acheter, une bonne affaire mais elle est en mauvais état, y a pas de miracle. Et se découvrant des talents dans le bâtiment, il les met au service d'autres acteurs et de musiciens en exécutant leurs travaux. L'affaire marche plutôt bien, il finit par avoir des chantiers partout. Il a toujours son agent qui lui trouve des castings mais quand son artiste s'y rend, il n'est pas sûr qu'il va en revenir avec un contrat. Et parfois pour des raisons autres qu'artistiques : je ne vais pas accepter un rôle qui me rapporte moins que la menuiserie ! Jusqu'à ce jour où, travaillant de nuit dans les bureaux de Francis Ford Coppola, dans un film duquel il a déjà tenu un petit rôle, il tombe, tôt le matin, sur George Lucas. En bleu de travail, et avec ses outils, Ford est bien embarrassé car il a aussi joué pour Lucas, un petit rôle mais dont on a parlé, dans ce qui est alors l'unique grand succès du réalisateur : American Graffiti.George, comment vas-tu ? Je viens faire passer des castings pour ma prochaine production, je prépare un film de Science-Fiction. Bon, ben, salut.Lucas l'a à peine quitté qu'il se dit que Ford pourrait donner la réplique aux candidats du casting. Il le rattrape et pendant des jours Harrison Ford briefe les acteurs et joue le rôle d'un contrebandier assez rustre dans lequel il est vachement bon, idéal même. La suite, vous la connaissez. Ce qu'on sait moins, c'est que l'actrice chez qui Harrison Ford n'est jamais venu terminer un chantier dans sa cuisine, a mis une pancarte sur l'échelle avec ces mots Harrison Ford a laissé ça ici.La conclusion de cette histoire incroyable de gens de l'ombre qui sont devenus des stars, c'est vingt ans plus tard, Harrison Ford, alors devenu l'acteur le mieux payé d'Hollywood arrive dans un restaurant huppé de Los Angeles. Et alors qu'il vient de s'installer, un garçon lui apporte une carte de visite. C'est celle de Jerry Tarkovski avec ces mots écrits au dos : « Je me suis planté ». Se retournant sur la salle, Harrison Ford avouera ne pas reconnaître le visage de son ancien tortionnaire parmi les clients du restaurant.
The use of non-diagetic songs in cinema is often designed to provoke a type of nostalgia, or at least an understanding of the era the film is set in. Apocalypse Now opens very effectively to the sounds of The End by The Doors. Goodfellas keeps updating the jukebox as the story travels over the years (Scorsese is a master of that). So, if you watch a film set in the 50s like American Graffiti or That'll Be The Day, the jukebox soundtracks to these films are like characters constantly reminding the viewers where they are timewise. The romantic (and sometimes lascivious) songs of the doo wop era paint a picture of American life in the 50s somewhat removed from the turmoils of segregation, a conflict in Korea, and McCarthyism….they paint the picture that many films are trying to portray. Welcome to episode 125 of See Hear Podcast. One of the singers in the latter part of the original doo wop era was Kenny Vance, a member of beloved group, Jay & The Americans. His experience as a young man singing with the group brought him into contact with so many other doo wop groups and eventually figures in the soul and pop world (he supported The Beatles on an American tour). He went on to be a musical director consultant for many films focusing on the 50s era. Eventually, he decided to become a director and document the original doo wop scene as he and some of his colleagues recalled it, what they went on to do, and how their pioneering sound influenced many others who don't even realise the gigantic shoulders they're standing on. The film he directed is called “Heart & Soul: A Love Story”, and it is a thing of beauty. Tim and I were joined by Melbourne doo wop guru Peter Merrett (of the Malt Shop Hop radio show) to chat with Kenny not only about his film, but a vast number of topics all related to his time in doo wop, the people who ran the labels, the session musicians, and the singers he worked with. WE get stories about Little Anthony & The Imperials, The Flamingos, The Chantels and so much more. I have to say that Kenny's memory is sharp and he regaled us with many incredible stories from a life in music. He's a true mentsch….and he even sang for us!!!! We've done our share of episodes, but this is one I will be remembering for a long time. If you haven't tuned into an episode in a while (or never have), start here….you don't need to have seen the film to appreciate this wonderful conversation, but we would certainly encourage watching it first chance you get. Our thanks not only go to Kenny for hanging out with us, but also to executive producer Liz Nickles who put us in contact with him. Tim and I also are grateful to Peter Merrett for bringing his expertise to the conversation. For details about screenings, go to https://www.heartandsoulthemovie.com/ If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com . Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). You can also download the episode from the website at https://seehearpodcast.blogspot.com/2025/03/see-hear-125-interview-with-kenny-vance.html Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices
The use of non-diagetic songs in cinema is often designed to provoke a type of nostalgia, or at least an understanding of the era the film is set in. Apocalypse Now opens very effectively to the sounds of The End by The Doors. Goodfellas keeps updating the jukebox as the story travels over the years (Scorsese is a master of that). So, if you watch a film set in the 50s like American Graffiti or That'll Be The Day, the jukebox soundtracks to these films are like characters constantly reminding the viewers where they are timewise. The romantic (and sometimes lascivious) songs of the doo wop era paint a picture of American life in the 50s somewhat removed from the turmoils of segregation, a conflict in Korea, and McCarthyism….they paint the picture that many films are trying to portray. Welcome to episode 125 of See Hear Podcast. One of the singers in the latter part of the original doo wop era was Kenny Vance, a member of beloved group, Jay & The Americans. His experience as a young man singing with the group brought him into contact with so many other doo wop groups and eventually figures in the soul and pop world (he supported The Beatles on an American tour). He went on to be a musical director consultant for many films focusing on the 50s era. Eventually, he decided to become a director and document the original doo wop scene as he and some of his colleagues recalled it, what they went on to do, and how their pioneering sound influenced many others who don't even realise the gigantic shoulders they're standing on. The film he directed is called “Heart & Soul: A Love Story”, and it is a thing of beauty. Tim and I were joined by Melbourne doo wop guru Peter Merrett (of the Malt Shop Hop radio show) to chat with Kenny not only about his film, but a vast number of topics all related to his time in doo wop, the people who ran the labels, the session musicians, and the singers he worked with. WE get stories about Little Anthony & The Imperials, The Flamingos, The Chantels and so much more. I have to say that Kenny's memory is sharp and he regaled us with many incredible stories from a life in music. He's a true mentsch….and he even sang for us!!!! We've done our share of episodes, but this is one I will be remembering for a long time. If you haven't tuned into an episode in a while (or never have), start here….you don't need to have seen the film to appreciate this wonderful conversation, but we would certainly encourage watching it first chance you get. Our thanks not only go to Kenny for hanging out with us, but also to executive producer Liz Nickles who put us in contact with him. Tim and I also are grateful to Peter Merrett for bringing his expertise to the conversation. For details about screenings, go to https://www.heartandsoulthemovie.com/ If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com . Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices
Howdy film fans, today yer Decade under the influence crew takes on 1973's American Graffiti. Much has been said about this movie by Director George Lucas. Here of course is 2 hours more of it. I believe we have some interesting perspectives to add, but ultimately you the nice listener will get to decide. It definitely one of the best films ever made on a dare. You could also call this film, the one he did before Star Wars, or the one that launched all that 50's nostalgia, though it takes place in 1962, which was seriously right when all that was about to change. we hope you enjoy this one, thanks for listening.
Howdy film fans, today yer Decade under the influence crew takes on 1973's American Graffiti. Much has been said about this movie by Director George Lucas. Here of course is 2 hours more of it. I believe we have some interesting perspectives to add, but ultimately you the nice listener will get to decide. It definitely one of the best films ever made on a dare. You could also call this film, the one he did before Star Wars, or the one that launched all that 50's nostalgia, though it takes place in 1962, which was seriously right when all that was about to change. we hope you enjoy this one, thanks for listening.
By the mid-70's the Beach Boys appeared to be a band that had been left behind. Sales had been only moderate for their previous albums, and the band was struggling to determine their direction musically. In the summer of 1973 the movie "American Graffiti" featured several Beach Boys songs, creating nostalgia for the earlier surfing music.Between the revived interest sparked by "American Graffiti" and the success of the Beatles "Red" and "Blue" compilation albums, the Beach Boys released a collection of hits from their early 60's catalogue called Endless Summer. This featured songs from their Capitol Records days, 1962-1965. It was a near-instant success reaching the top of the charts in the United States four months after its release, and becoming their second number 1 album on the US charts. After the success of Endless Summer, the Beach Boys would reposition themselves as an oldies act, continuing in this vein for many years. Brian Wilson would pen one further Beach Boys studio album in 1977 which would meet with meager sales. Afterwards the band would focus on their classics until seeing a resurgence in the late 80's generated from another popular film, Tom Cruise's "Cocktail" Wayne brings us this surfin' themed compilation for this week's podcast. Catch A WaveA true surfing song, this tune is about being on a surfboard, waiting for the right wave to come along. This song was originally released on the 1963 album "Surfer Girl," and a rewritten version was recorded by Jan and Dean as "Sidewalk Surfin."Little Deuce CoupeThis track is about a 1932-vintage Ford model 18 hot rod used in drag racing on the streets of California. "American Graffiti" had featured the deuce coupe prominently, along with the Beach Boys song. The lyrics were written by local radio DJ Roger Christian.Shut DownAnother song about drag racing, "shut down" means you are about to beat the person in the race. The phrase "tach it up" may have lost some meaning in the era of automatic transmission, but the tachometer would run high for a drag race. The song is told from the perspective of the driver of a 1963 Corvette Sting Ray in a race against a 1962 Dodge Dart.Fun, Fun, FunThe inspiration for this song was a story the Beach Boys heard during a radio interview. The station owner described his daughter "borrowing" his 1963 Thunderbird to go to a drive-in hamburger shop. The opening riffs were inspired by Chuck Berry's "Johnny B. Goode." ENTERTAINMENT TRACK:Uptown Saturday Night by Dobie Gray (from the motion picture “Uptown Saturday Night”)Sidney Poitier starred in and directed this action comedy which co-starred Bill Cosby, Harry Belafonte, Richard Pryor, and Flip Wilson. STAFF PICKS:The Joker by the Steve Miller BandLynch leads off the staff picks with a well known song from Steve Miller. The names in the first line reference several of Miller's previous songs, as well as the made-up word "pompatus." It barely cracked the top 40 in the US, hitting 40 on the Billboard Hot 100. Miller borrowed some lyrics from the song "Lovey Dovey" when he talks about wanting to "shake your tree."The Air that I Breathe by the HolliesRob brings us a slow burning but iconic ballad that the Hollies covered. The original was from Albert Hammond, and previously covered by Phil Everly. The Hollies version was the most successful, going to number 6 on the Billboard Hot 100. Alan Parsons was the engineer on this song.Hollywood Swinging by Kool & the GangBruce's staff pick is the first number 1 R&B Single from Kool & the Gang. It was a crossover hit as well, going to number 6 on the Billboard Hot 100. Rick Westfield is the keyboardist for it and sings lead. The song is a true story of the keyboardist wanting to become "a bad piano-playing man" with the group. Rock and Roll Heaven by The Righteous BrothersWayne's features an ode to the rock stars who had died at an early age. This song is another example of a song that was covered, and did better than the original. Climax performed this song in 1973 but did not chart, while the Righteous Brothers took it to the top 10 in the United States. Lyric would be added in the years to come as more rock stars passed. INSTRUMENTAL TRACK:Chameleon by Herbie HancockThis jazz funk instrumental track closes out the podcast for the week. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
Peter Sobczynski joins Erik Childress again to get you caught up on a couple weeks of new physical media. They include drama from Charlie Chaplin and Michael Mann's feature debut. Godzilla returns as does the creepy Roger Corman sci-fi of the early ‘80s. Renny Harlin brings the sharks, Skippy from Family Ties battles a heavy metal killer and Peter reminds us of another piece of ‘80s horror that some parents would like to forget. There is also more weirdness including Steve Allen studying sex, John Travolta investigating sex and Eddie Murphy brought in to save a comedy. All that might be nothing compared to the visualization of The Who's rock opera brought to life by Ken Russell. 0:00 - Intro 2:11 - Criterion (A Woman of Paris, Thief 4K, Godzilla vs Biollante 4K) 18:53 - Arrow (Deep Blue Sea 4K) 27:08 - Kino (College Confidential, The Godsend, Best Defense, The General's Daughter 4K, The Black Tulip, Half a Chance) 58:46 - Sony (Bon Voyage) 1:03:57 - Synapse (Trick or Treat 4K) 1:13:01 - Shout (Forbidden World 4K, Tommy 4K) 1:40:27 – New TV on Blu-ray (The Penguin 4K, The Last of Us 4K, Tulsa King Season 2) 1:45:38 – New Theatrical Titles on Blu-ray (Wildcat, Moana 2 4K, Wolf Man 4K) 1:48:00 – New Blu-ray Announcements
Part 2 of Juliet's chat with Charles Martin Smith. This is Charles' most in-depth interview about directing the first episode of Buffy, EVER! An iconic actor, writer, director, he is known for projects including The Brady Bunch, American Graffiti, Star Man, The Untouchables and so much more! If you'd like to hear 35 minutes of additional interview covering everything from acting in Star Man to working with Peter O'Toole to behind the scenes on the Untouchables, Charlie's brilliant directing of Snow Walker and Stone of Destiny which he shot partly in Westminster Abbey, and so much more, please visit our Patreon page: https://www.patreon.com/ReVampedwithJulietLandauEditor: Paranormal Patrick Composer: Little Lamb Timmy Artwork: GirlpireThank you: Council Kerri & Haunted Harmony Send us a textYouTube - http://www.youtube.com/@slayinitpodcastTwitter/X - @julietlandauInstagram - https://www.instagram.com/juliet_landau Facebook - Juliet Landau Official (Page) https://www.facebook.com/julietlandauofficialFacebook - Fans of Juliet Landau (Group) https://www.facebook.com/groups/julietlandau/Email: revampedpod@gmail.com Juliet Landau's directorial feature debut, A Place Among The Dead Trailer: https://vimeo.com/791299045/5b5d98726a A Place Among The Dead Blu-Ray with nearly 5 hours of bonus extras: https://www.amazon.com/gp/product/B0CJJY4MB9/ref=ox_sc_saved_image_4?smid=ATVPDKIKX0DER&psc=1
So what makes a great hangout film like “Dazed & Confused” or “American Graffiti”? That's what IndieWire's Chris O'Falt asks director Carson Lund, a student of the sub-genre and who just made a great one with his baseball film “Eephus,” the story of two recreational baseball teams, up in small town New England, playing their last game on their beloved field before it gets torn down. Learn more about your ad choices. Visit megaphone.fm/adchoices
Part 1 of Juliet's chat with Charles Martin Smith. Charles has led a long and storied career as an actor, writer, and director in films and television projects from The Brady Bunch to American Graffiti, to Star Man to The Untouchables and everything in between. He brought his expertise to bear directing the first episode of Buffy the Vampire Slayer. Editor: Patrick Sheffield Composer: Tim Steemson or as Dru calls him, “Little Lamb Timmy.” Artwork: GirlpireThank you: Council Kerri – Kerri Summers and Haunted Harmony - Harmony Davidson Send us a textYouTube - http://www.youtube.com/@slayinitpodcastTwitter/X - @julietlandauInstagram - https://www.instagram.com/juliet_landau Facebook - Juliet Landau Official (Page) https://www.facebook.com/julietlandauofficialFacebook - Fans of Juliet Landau (Group) https://www.facebook.com/groups/julietlandau/Email: revampedpod@gmail.com Juliet Landau's directorial feature debut, A Place Among The Dead Trailer: https://vimeo.com/791299045/5b5d98726a A Place Among The Dead Blu-Ray with nearly 5 hours of bonus extras: https://www.amazon.com/gp/product/B0CJJY4MB9/ref=ox_sc_saved_image_4?smid=ATVPDKIKX0DER&psc=1
Follow Brian: https://bsky.app/profile/brianjayjones.com https://www.instagram.com/brianjayjones?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== In which biographer Brian Jay Jones joins the podcast for a wide-ranging discussion, including his writing process, American Graffiti, his biographies on Jim Henson & George Lucas, and much more! Plus a special announcement in the middle of the episode. Independent Creator Studios YouTube channel: https://youtube.com/@independentcreatorstudios6741?si=t2KsCS50z2SXLlxE instagram: https://www.instagram.com/andrewfrankg/ X(twitter): https://x.com/indie_creators BlueSky: https://bsky.app/profile/indiecreators.bsky.social
George Lucas, cinéaste visionnaire, est l'homme derrière deux des plus grandes sagas de l'histoire du cinéma : Star Wars et Indiana Jones. Après un début de carrière marqué par le succès de American Graffiti en 1973, il se lance dans la création de son univers galactique malgré le scepticisme des studios. Persistant face aux refus et aux difficultés financières, Lucas finance une grande partie de Star Wars lui-même. Grâce à des innovations techniques et un casting emblématique, le film révolutionne l'industrie dès sa sortie en 1977, devenant un phénomène mondial. Lucas transforme Star Wars en une franchise culte avec des suites, des produits dérivés et un univers étendu. En 2012, il vend sa société Lucasfilm à Disney, mais son héritage demeure. Inspiré par ses passions, Lucas a redéfini la science-fiction et marqué à jamais l'imaginaire collectif. Merci pour votre écoute Vous aimez l'Heure H, mais connaissez-vous La Mini Heure H https://audmns.com/YagLLiK , une version pour toute la famille.Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/22750 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : Un jour dans l'Histoire : https://audmns.com/gXJWXoQL'Histoire Continue: https://audmns.com/kSbpELwAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvVous aimez les histoires racontées par Jean-Louis Lahaye ? Connaissez-vous ces podcast?Sous le sable des Pyramides : https://audmns.com/rXfVppv36 Quai des orfèvres : https://audmns.com/eUxNxyFHistoire Criminelle, les enquêtes de Scotland Yard : https://audmns.com/ZuEwXVOUn Crime, une Histoire https://audmns.com/NIhhXpYN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
American Graffiti 1973 with Frank Burke
This week, Eric and Josh are joined by Nick to discuss: Cyndi Lauper, the Portland Trail Blazers, Will & Harper, camera drones, Free Solo, The Stand, Civil War, American Graffiti, Batman '89, Paint Your Wagon, The Simpsons, and more! They also chat about some of the movies screening the week of Friday December 6 - Thursday December 12: Porcelain War, Invasion U.S.A., and Mountains On Stage. They neglect to mention three movies: North By Northwest, The Return, and Silent Night, Deadly Night. They recorded this episode a couple of weeks early thanks to Josh being off visiting Portland, Oregon, so they didn't have all the booking info. You can always find up to date listings at mayfairtheatre.ca!
Galactic Goonies strap in, we're going on an adventure! This is a spoiler review and discussion of Skeleton Crew Episodes 1 & 2. We have an in-depth discussion about both episodes, reveal our favorite moment, and tip our hat to some great references and Easter Eggs, including American Graffiti and a nod to the first video game ever made! We also rate the episodes on a scale of 0 to 10 “Neels” and ask the first question in our Treasure Hunt giveaway contest! Save your answers for the end of the series! Thank you for listening to Galactic Goonies: THE SKELETON CREW Aftershow by The Resistance Broadcast! We'll be back next week to talk about episode 3 with our guests Alex and Mac from the great Star Wars podcast Children of the Watch!
Frank starts the show joined by WABC host Dominic Carter to talk about using Ozempic and its unknown side effects, good and bad. He also discusses radio personality appearances in other media like Wolfman Jack in American Graffiti. Learn more about your ad choices. Visit megaphone.fm/adchoices
Frank starts the show joined by WABC host Dominic Carter to talk about using Ozempic and its unknown side effects, good and bad. He also discusses radio personality appearances in other media like Wolfman Jack in American Graffiti. Frank talks about the prevalence of short-length media. He also opens listener mail. He then gives the UFO Report on mysterious orbs hovering above Manchester Airport. Frank starts the third hour discussing Rick Rescorla, the man who predicted 9/11 and asks about what people should have movies about them who don't already. He then gives the Conspiracy of the Day on the election conspiracy film, 2000 Mules. Frank wraps up the show asking if people unpack their suitcases while on vacation. He is also joined by James Flippin for News You Can Use. Learn more about your ad choices. Visit megaphone.fm/adchoices
Cʹest parti pour un voyage en arrière, direction les sixties. Plus précisément 1962. Car cʹest en 1962 que George Lucas ancre son film American Graffiti sorti en 1973. Mais quʹest-ce que cʹest American Graffiti ? Cʹest un portrait attachant de teen-agers, des jeunes gens tout frais tout neufs, qui ont terminé leur College, donc leur lycée, en 1962 et vont sʹen aller dans une High School. Tout se passe au cours dʹune nuit dans une cité californienne, à travers une série de saynètes. Filles et garçons circulent en voitures, se côtoient, se draguent, et font des courses de voitures comme dans La Fureur de vivre. Ils se retrouvent à une boum pour danser le rock nʹroll, ils sourient, ils sʹaiment, sʹennuient ou se perdent. Cette nuit, faite de frasques et de tristesses, est de celle qui marque une vie. Car elle est le point de bascule entre lʹenfance et lʹâge adulte. Le point nodal. On quitte ce que lʹon connaît, ses amis, sa famille, sa matu en poche pour, à lʹaube, devenir un homme ou une femme, partir vers son futur : la fac, les affaires ou le service militaire. Rien de tapageur dans ce film mais des annotations discrètes, des graffitis émotionnels, basés sur les souvenirs de George Lucas et de ses co-scénaristes. Film sur le passage à lʹâge adulte, il est le deuxième film de George Lucas après THX 1138. Produit par Francis Ford Coppola, le film fait la part belle à de nombreux jeunes actrices et acteurs, peu connus voir inconnus : Richard Dreyfuss, Ron Howard, Paul Le Mat, Candy Clark, Cindy Williams, Bo Hopkins et Harrison Ford. Et surtout laisse une place de choix à la musique, cette musique des fifties et du début des années 60 que le réalisateur écoutait en boucle adolescent. Dès lors, ne tardons plus, embarquons pour la Californie du Sud avec un groupe de jeunes, des voitures, de la drague et du rock nʹroll. REFERENCES Marcus Hearn, Le Cinéma de George Lucas, La Martinière, 2005 American Graffiti - Making Of Special Ron Howard,• George Lucy's • Richard Dreyfus • Harrison Ford https://www.dailymotion.com/video/x8ma7yc Harrison Ford est l'invité de Christian Defaye à l'occasion de la sortie de Star Wars : https://www.rts.ch/archives/tv/divers/archives/3468494-harrison-ford.html George Lucas on American Film Institute https://www.youtube.com/watch?v=WvmFpj2Bgyc
American Graffiti is a 1973 American coming-of-age comedy-drama film directed by George Lucas, produced by Francis Ford Coppola, written by Willard Huyck, Gloria Katz and Lucas, and starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Bo Hopkins, and Wolfman Jack. Set in Modesto, California, in 1962, the film is a study of the cruising and early rock 'n' roll cultures popular among Lucas's age group at that time. Through a series of vignettes, it tells the story of a group of teenagers and their adventures over the course of a night.
We haven't touched on George Lucas' cinematic sins in a while, but this probably wasn't the one you were expecting us to tackle next. This week, we take a trip to Nostalgiatown, California as we examine the sequel to one of the most profitable films of all time, American Graffiti. Website: www.sequelisers.com/ Discord: www.sequelisers.com/discord Shop: www.sequelisers.com/shop Twitter: twitter.com/sequelisers Instagram: instagram.com/sequelisers TikTok: tiktok.com/@sequelisers Music by Daniel Williams Learn more about your ad choices. Visit megaphone.fm/adchoices
Ever wondered what makes the 2025 Chevy Trax a standout in the world of small station wagons? On today's episode of the In Wheel Time Car Talk Show, we kick off with some light-hearted banter about our technical mishaps and then take you on an in-depth ride through the latest automotive news. From the surprising affordability and practicality of the new Chevy Trax to addressing a curious listener's question about the origins of "Mr. Duff," we cover it all. Plus, we tackle significant vehicle recalls affecting the Jeep Gladiator, Jeep Wrangler, and Ram 1500 pickups, and we delve into concerns about mysterious fires in Stellantis models and defects in Volkswagen's ID.4 compact crossovers. Trust us, you won't want to miss this blend of humor, reviews, and essential automotive updates delivered with our signature on-the-fly style.But that's not where the fun ends! Join us for a spirited discussion on classic car auction prices where we put our guessing skills to the test. From a restomod reminiscent of "American Graffiti" to a 1987 Chevrolet Corvette, a 1969 Chevrolet Nova, a 1965 Ford Mustang convertible, and the iconic 1957 Chevy Bel Air, we've got bets, banter, and a whole lot of classic car culture to explore. We also share a cautionary tale about the importance of car maintenance, highlighted by a recent mass airflow sensor failure. To wrap things up, we'll talk about plans to keep an older Corvette running smoothly. So, buckle up and get ready for an episode packed with laughs, insights, and valuable car tips!Be sure to subscribe for more In Wheel Time Car Talk!The Original Lupe' Tortilla RestaurantsLupe Tortilla in Katy, Texas Gulf Coast Auto ShieldPaint protection, tint, and more!ProAm Auto AccessoriesProAm Auto Accessories: "THE" place to go to find exclusive and hard to find parts and accessories!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.---- ----- Want more In Wheel Time Car Talk any time? In Wheel Time Car Talk is now available on iHeartRadio! Just go to iheartradio.com/InWheelTimeCarTalk where ever you are.----- -----Be sure to subscribe on your favorite podcast provider for the next episode of In Wheel Time Car Talk and check out our live broadcast every Saturday, 10a - 12noonCT simulcasting on iHeartRadio, YouTube, Facebook, Twitter, Twitch and InWheelTime.com.In Wheel Time Car Talk podcast can be heard on you mobile device from providers such as:Apple Podcasts, Pandora Podcast, Amazon Music Podcast, Spotify, Google Podcasts, iHeartRadio podcast, TuneIn + Alexa, Podcast Addict, Castro, Castbox and more on your mobile device.Follow InWheelTime.com for the latest updates!Twitter: https://twitter.com/InWheelTimeInstagram: https://www.instagram.com/inwheeltime/https://www.iheart.com/live/in-wheel-time-car-talk-9327/https://www.youtube.com/inwheeltimehttps://www.Facebook.com/InWheelTimeFor more information about In Wheel Time Car Talk, email us at info@inwheeltime.comTags: In Wheel Time, automotive car talk show, car talk, Live car talk show, In Wheel Time Car Talk
A song about walking that I missed, more bullshit from Silicon Valley, the tragedy of Buca di Beppo, a cross eyed waiter, dreaming with Ryan Reynolds, getting trapped with M. Night Shyamalan, post-vacation depression, a couple of Starmen, the perils of driving a stick shift in San Francisco, changing gears in real life, a made up movie about pinball and love, a couple devastatingly great songs, a satanic seventy-six trombones, and my attempt at an Italian giallo song. Stuff mentioned: Missing Persons "Walking in L.A." (1982), Missing Persons Spring Session M (1982), F. Scott Fitzgerald "The Great Gatsby" (1925), Just Friends (2005), Trap (2024), The Man with Two Brains (1983), The Godfather Part III (1990), Starman (1984), Raiders of the Lost Ark (1981), David Bowie "Starman" (1972), American Graffiti (1973), David Bowie The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), Jack Nitzsche "Starman" (1984), Jack Nitsche Starman (1984), Liza Minnelli "Bye Bye Blackbird" (1972), Liza with a Z (1972), Meredith Wilson "Till There Was You" (1957), Meredith Wilson "The Music Man" (1957), The Music Man (1962), The Music Man "Seventy-Six Trombones" (1962), and The Beatles "Till There Was You" (1963).
The "coming of age" 1973 movie about life in the fifties
Travel with us to Modesto, California and dive deep into the history of young George Lucas growing up here. On this special episode of Skytalkers, Caitlin, architectural historian, details: Learn the history of the two houses he grew up in, plus notable locations like his father's stationary store and the car crash site. Go on a journey with us about George's childhood movie theater, and whether or not it inspired the world-renowned Stag Theater at Skywalker Ranch. The relationship between George and his hometown and how that inspired Star Wars and American Graffiti. … and so much more! Follow along on our website for photos + more historical context from Caitlin. Our San Ansemlo episode is here. Join our Patreon community and unlock bonus episodes + more! Our website! Follow us on Twitter/X @skytalkerspod Follow us on TikTok @skytalkers Follow us on Facebook Follow us on Instagram @skytalkerspodcast Follow Charlotte on Twitter/X @crerrity Follow Caitlin on Twitter/X @caitlinplesher Email us! hello@skytalkers.com Our theme music is by Christy Carew.
Nostalgia is a helluva drug. Remembering a bygone era can make us feel better. Memories are often unreliable and present things in a preferred narrative. As children, we didn't have the responsibilities of adulthood; therefore we tend to remember the years of our childhood as being a ‘better' or ‘simpler' time. Entertainment taps into those feeling by presenting stories set in the times of our youth or by bringing back an IP that you enjoyed in an effort to entice you to watch. Some of those films tell a good story set in those times. Other just copy and paste the original into a newer package. Picks: JK: the sandlot, back to the future AO: Superbad JD: Ghost Busters: Afterlife; American Graffiti
The Stuff Dreams Are Made Of dives headfirst into another great Propstore catalog. This one has giant studio-scale models like the '89 Batwing and the Nostromo, American Graffiti license plates, Handbooks for the Recently Deceased, Deckard shirts, Bonnie & Clyde shirts, books stitched together in human skin, Harry Potter wands galore, screen-matched Indiana Jones fedoras!, Men in Black suits, Shining parkas, Douglas Trumbull collections, a screen-matched 60s Trek tricorder, a Biker Scout helmet for David and Ryan to argue about, and the greatest hero Stormtrooper blaster of all time. You want this... don't you? FOLLOW ALONG WITH THE CATALOG HERE: https://rb.gy/yd8ssb SDAMO - Instagram https://www.instagram.com/propspodcast/ SDAMO - Threads https://www.threads.net/@propspodcast SDAMO - Twitter https://twitter.com/propspodcast?lang=en SDAMO - Facebook https://www.facebook.com/propspodcast/ SDAMO - TikTok https://www.tiktok.com/@props.podcast David Mandel - Instagram https://www.instagram.com/davidhmandel/
Jim chats with return guest Connor Ratliff about George Lucas' second feature length film, American Graffiti — and how it gave him the momentum to create Star Wars. Sign up to our newsletter for more insights! Brought to you By: The Sonar Network https://thesonarnetwork.com/
Bringing you another out of the vault, off the rarity's album episode of Via VHS on OMO Presents with a classic, rewind review. This time we are going back in time to two eras. 1993 when this movie was made and 1976 when the film takes place. Dazed and Confused, the all time classic hang out picture that just makes you want to be there on that end of school, start of summer vacation night. It's like the 70s version of American Graffiti and filled with probably one of the top tier soundtracks of all time. I know I watched the living daylights out of this movie in the past, especially during my high school years. Richard Linklater the director and writer captures the magic of that pocket era that is still relatable to this day, even if it is now almost a half century back. Weird to think about it that way. This film also introduced tons of later day big stars, like Matthew McConaughey, Ben Affleck, Joey Lauren Adams, Milla Jovovich, and Parker Posey to name a few. So, come on by and join us on another adventure of OMO Podcast Presents Via VHS. Old Man Orange is Spencer Scott Holmes & Ryan Dunigan. Via VHS is Wes Younger & Spencer Scott Holmes - 2024 - "Young Adults, Old Man Attitude. Talking retro games, classic films and comic good times with a crisp of Orange taste." - www.OldManOrange.com Our link tree with all the places one could go for our podcasts like Old Man Orange, Via VHS, and more of our radio filled adventures. Plus, Pizza Boyz Comics, the sitcom styled, retro fueled indie series from Spencer Scott Holmes in physical and digital reading forms. Then topped out nicely with our old videos, animations, and other experiments over the years too for the amusement. - https://linktr.ee/OldManOrange I also have my new workout and strength motivation book, "Pull-Ups For Life" up on Amazon Kindle and included in the Unlimited Membership too. Link in the Link Tree Above or you can look it up on Kindle. And be sure to listen to Via VHS with Wes Younger and Spencer Scott Holmes at - https://linktr.ee/viavhs Support the Show the easy and simple way, by using one of our Amazon Links to make your purchases. Doesn't cost you a penny but sends a little something our way. Thanks! Dazed and Confused Criterion Blu Ray - https://amzn.to/3LyddgL Grab some comedy with, Pizza Boyz, the sitcom styled Indie Comic series by Spencer Scott Holmes - Read at Indy Planet, Amazon Comixology, and Global Comix - https://linktr.ee/OldManOrange
Our guest is Josh Seybert! Andy talks with Josh about his podcast, Screaming at Clouds. Subscribe to Screaming at Clouds here. On Rachel's Chart Chat, Rachel from Des Moines offers up a discussion of the movie American Graffiti (1973) and its soundtrack.
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com! Get the commercial-free version by joining the Darkness Syndicate at https://weirddarkness.com/syndicate!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRODUCTION00:01:54.482 = The Deadly Blind Man's Bluff (September 25, 1974)00:47:32.000 = The Spectral Bride (September 26, 1974)01:33:04.000 = Murder To Perfection (September 30, 1974)02:18:37.287 = The Bride That Wasn't (October 01, 1974)03:04:34.000 = The Golden Blood of the Sun (October 03, 1974)03:50:24.000 = Sister of Death (October 07, 1974)04:36:05.000 = Trapped (October 09, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-018
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRODUCTION00:01:54.482 = Double Exposure (September 09, 1974)00:47:02.196 = The Hand That Refused To Die (September 11, 1974)01:32:06.177 = The Trouble With Murder (September 12, 1974)02:17:02.229 = What Happened To Mrs. Forbush (September 16, 1974)03:01:48.871 = Thicker Than Water (September 17, 1974)03:46:40.018 = The Garden (September 19, 1974)04:31:25.928 = Island Of The Lost (September 23, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-017
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRODUCTION00:01:54.482 = The Case of MJH (August 22, 1974)00:46:43.193 = The Deadliest Favor (August 26, 1974)01:31:38.360 = The Fatal Marksman (August 28, 1974)02:16:41.790 = Medium Rare (August 29, 1974)03:01:39.324 = The Return of Anatole Chevenic (September 02, 1974)03:46:35.909 = The Imp In The Bottle (September 03, 1974)04:31:42.592 = Deadline For Death (September 05, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-016
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRODUCTION00:01:54.482 = The Beach Of Falesa (August 12, 1974)00:46:56.401 = The Frontier of Fear (August 13, 1974)01:31:57.708 = Journey Into Terror (August 14, 1974)02:16:29.201 = The Final Vow (August 15, 1974)03:01:35.304 = The Hands Of Mrs. Mallory (August 19, 1974)03:47:10.685 = A Preview Of Death (August 20, 1974)04:32:14.778 = Having A Horrible Time (August 21, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-015
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRODUCTION00:01:54.482 = Ghost at High Noon (July 29, 1974)00:46:54.396 = The Only Blood (July 31, 1974)01:31:45.305 = The Hit Man (August 01, 1974)02:16:26.079 = I Thought You Were Dead (August 05, 1974)03:01:30.661 = The Headstrong Corpse (August 06, 1974)03:46:49.707 = The Picture of Dorian Gray (August 07, 1974)04:33:15.631 = You Only Die Once (August 08, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-014
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRODUCTION00:01:54.482 = The Devil God (July 11, 1974)00:47:10.859 = The Canterville Ghost (July 15, 1974)01:32:04.487 = The Real Printer's Devil (July 17, 1974)02:17:16.069 = The Dream Woman (July 18, 1974)03:01:50.137 = The Deadly Process (July 22, 1974)03:47:02.841 = Adam's Astral Self (July 23, 1974)04:32:25.822 = My Sister, Death ( July 25, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-013
What I learned from rereading George Lucas: A Life by Brian Jay Jones.----Get access to the World's Most Valuable Notebook for Founders at Founders Notes.comYou can read, reread, and search all my notes and highlights from every book I've ever read for the podcast. You can also ask SAGE any question and SAGE will read all my notes, highlights, and every transcript from every episode for you. A few questions I've asked SAGE recently: What are the most important leadership lessons from history's greatest entrepreneurs?Can you give me a summary of Warren Buffett's best ideas? (Substitute any founder covered on the podcast and you'll get a comprehensive and easy to read summary of their ideas) How did Edwin Land find new employees to hire? Any unusual sources to find talent?What are some strategies that Cornelius Vanderbilt used against his competitors?Get access to Founders Notes here. ----(0:01) George Lucas unapologetically invested in what he believed in the most: himself.(1:00) George Lucas is the Thomas Edison of the modern film industry.(1:30) A list of biographies written by Brian Jay Jones(6:00) Elon Musk interviewed by Kevin Rose (10:15) How many people think the solution to gaining quality control, improving fiscal responsibility, and stimulating technological innovation is to start their own special-effects company? But that's what he did.(17:00) When I finally discovered film, I really fell madly in love with it. I ate it. I slept it. 24 hours a day. There was no going back.(18:00) Those on the margins often come to control the center. (Game of Thrones)(21:00) As soon as I made my first film, I thought, Hey, I'm good at this. I know how to do this. From then on, I've never questioned it.(23:00) He was becoming increasingly cranky about the idea of working with others and preferred doing everything himself.(34:00) Francis Ford Coppola: A Filmmaker's Life by Michael Schumacher. (Founders #242)(42:00) The film Easy Rider was made for $350,000. It grossed over $60 million at the box office.(45:00) The Founders: The Story of PayPal and the Entrepreneurs Who Shaped Silicon Valley by Jimmy Soni. (Founders #233)A Mind at Play: How Claude Shannon Invented the Information Age by Jimmy Soni and Rob Goodman (Founders #95)Steve Jobs & The NeXT Big Thing by Randall Stross. (Founders #77)(47:00) What we're striving for is total freedom, where we can finance our pictures, make them our way, release them where we want them released, and be completely free. That's very hard to do in the world of business. You have to have the money in order to have the power to be free.(49:00) You should reject the status quo and pursue freedom.(49:00) People would give anything to quit their jobs. All they have to do is do it. They're people in cages with open doors.(51:00) Stay small. Be the best. Don't lose any money.(59:00) That was a very dark period for me. We were in dire financial strait. I turned that down [directing someone else's movie] at my bleakest point, when I was in debt to my parents, in debt to Francis Coppola, in debt to my agent; I was so far in debt I thought I'd never get out. It took years to get from my first film to my second film, banging on doors, trying to get people to give me a chance. Writing, struggling, with no money in the bank… getting little jobs, eking out a living. Trying to stay alive, and pushing a script that nobody wanted.(1:02:00) “Opening this new restaurant might be the worst mistake I've ever made."Stanley [Stanley Marcus of Neiman Marcus] set his martini down, looked me in the eye, and said, "So you made a mistake. You need to understand something important. And listen to me carefully: The road to success is paved with mistakes well handled."His words remained with me through the night. I repeated them over and over to myself, and it led to a turning point in the way I approached business.Stanley's lesson reminded me of something my grandfather Irving Harris had always told me:“The definition of business is problems."His philosophy came down to a simple fact of business life: success lies not in the elimination of problems but in the art of creative, profitable problem solving. The best companies are those that distinguish themselves by solving problems most effectively.Setting the Table: The Transforming Power of Hospitality in Business by Danny Meyer. (1:05:00) My thing about art is that I don't like the word art because it means pretension and bullshit, and I equate those two directly. I don't think of myself as an artist. I'm a craftsman. I don't make a work of art; I make a movie.(1:06:00) I know how good I am. American Graffiti is successful because it came entirely from my head. It was my concept. And that's the only way I can work.(1:09:00) Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs by Ken Kocienda. (Founders #281)(1:21:00) The budget for Star Wars was $11 million. In brought in $775 million at the box office alone!(1:25:00) Steven Spielberg made over $40 million from the original Star Wars. Spielberg gave Lucas 2.5% of Close Encounters of the Third Kind and Lucas gave Spielberg 2.5% of Star Wars. That to 2.5% would earn Spielberg more than $40 million over the next four decades.----Get access to the World's Most Valuable Notebook for Founders at Founders Notes.com----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRODUCTION00:01:54.482 = Where Fear Begins (June 25, 1974)00:46:09.444 = Yesterday's Murder (June 27, 1974)01:30:22.516 = Hurricane (July 01, 1974)02:14:41.491 = The Secret Life of Bobby Deland (July 03, 1974)02:59:07.847 = The Young Die Good (July 04, 1974)03:43:37.985 = Too Many Women Can Kill You (July 08, 1974)04:28:35.623 = And Death Makes Even Steven (July 09, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-012
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it.People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script.There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end.Or did it?In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again.One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience.In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares.Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRODUCTION00:01:54.482 = A Bargain In Blood (June 10, 1974)00:47:20.047 = The Rat (June 12, 1974)01:31:30.267 = The House of the Seven Gables (June 13, 1974)02:15:35.422 = The Times Dead (June 17, 1974)03:00:48.349 = Dr Jekyll and Mr Hyde (June 18, 1974)03:45:03.193 = The Secret Doctrine (June 20, 1974)04:29:14.530 = Escape! Escape! (June 24, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-011
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it.People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script.There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end.Or did it?In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again.One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience.In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares.Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.00:00:00.000 = INTRO00:01:54.482 = The Bleeding Statue (May 23, 1974)00:46:21.986 = Mirror For Murder (May 27, 1974)01:30:27.244 = The Phantom Lullaby (May 29, 1974)02:14:39.905 = Dressed To Kill (May 30, 1974)02:59:05.145 = To Kill With Confidence (June 03, 1974)03:43:09.434 = An Occurrence at Owl Creek Bridge (June 04, 1974)04:27:15.215 = Darling Deadly Dolores (June 06, 1974)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-010
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