Podcasts about Boogie Wonderland

Llega la tercera edición del RDR Live!, un reto que mezcla actuación con comedia, pero que pareciera que tiene al fandom un poco cansado. En esta oportunidad, @katralicious.a es la anfitriona y junto a @sagita_kabu analizamos el desafío, la pasarela rosada, y toda la polémica que generaron los resultados, incluyendo un dramático Untucked. ¿Cómo quedaste con el lipsync de “Boogie Wonderland”? ¿Qué te pareció el cierre del BADONKA DUNK? ¿Quién debería ser la próxima eliminada entonces?

Pippa speaks to Helen Hansen about Boogie Wonderland, a regular dance event where everyone is over 30 and loves to dance and socialise. The next party is on Saturday 25 January at the Cape of Storms Distillery in the Spice Yard in Salt River. Tickets are R250 on QuicketSee omnystudio.com/listener for privacy information.

If you know the Earth, Wind & Fire songs September and Boogie Wonderland, The Pointer Sisters Neutron Dance or "I'll Be There For You" aka the opening theme song from Friends, then you are familiar with some of the songwriting work from Allee Willis. But that is only half the story. Director Alexis Spraic and Producer Prudence Fenton join the What Difference Does It Make Podcast to tell us about The World According To Allee Willis, a documentary about the multi-layered life of a multi-layered personality. It's a fascinating documentary about a fascinating individual personally documenting most every moment of her life since 1978. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you know the Earth, Wind & Fire songs September and Boogie Wonderland, The Pointer Sisters Neutron Dance or I'll Be There For You, aka the opening theme from Friends, then you're familiar with some of the songwriting work of Allee Willis. But that's only half the story. Director Alexis Spraic and Producer Prudence Fenton join the What Difference Does It Make Podcast to tell us about The World According To Allee Willis, a documentary about the multi-layered life of a multi-layered personality. It's a fascinating documentary about a fascinating individual that personally documented most every moment of her life since 1978. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dennis is joined via Zoom by two women from the documentary The World According to Allee Willis; director Alexis Spraic and Executive Producer Prudence Fenton who was also Allee's life partner. Allee Willis, who passed away on Christmas Day in 2019, is primarily known as a a songwriter (Earth Wind & Fire's "September" and "Boogie Wonderland," the Friends theme song, The Color Purple musical) but she was also an accomplished visual artist, collector of kitsch, wild party thrower and internet entrepreneur. Alexis talks about what drew her to Allee as a film subject, sorting through Allee's six storage units of material and how she's tried to incorporate Allee's motto 'If you have a weakness, turn it into a hook" into her own life. Prudence talks about the exhausting prep that went into Allee's legendary house parties, the hurt caused by Allee's father not allowing Allee to be herself and that time a few years ago when the Rembrandts reached out to ask Allee for a share of the "Friends" theme song royalties...years after the show had left the air. Other topics include: Allee's wide array of friends, Allee's foray's into performing, the scandalously low number of female producers in the music business, how Allee dealt with disappointment and the moments in the filmmaking process where they really felt like Allee was guiding them.

Today my guest is Alexis Spraic, director of the fantastic documentary - The World According to Allee Willis. I can't recommend this film enough. Allee was an actual songwriting genius writing songs for Earth Wind and Fire "September" and Boogie Wonderland, Cyndi Lauper, Pointer Sisters "Neutron Dance" and even the theme song from the hit T.V. show Friends. Her track record is unbelievably Grammy Awards, Tony Awards she did it all. See this film this week in the theater. My Tour Dates https://www.deandelray.com/tourdates  My Patreon for all your bonus episodes https://www.deandelray.com/patreon    Thank you so much for the support over the last 13 years. DDR    

The Al McKay Allstars, led by Grammy-winning guitarist and Earth, Wind & Fire legend Al McKay, are set to perform in Kuala Lumpur for a one-night only performance. Known for their high-energy performances, the Allstars will bring timeless hits like "September," "Boogie Wonderland," and "Let's Groove" to life, celebrating Earth, Wind & Fire's enduring legacy. We speak to Tim Owens, the lead vocalist of the band, to hear more.Image credit: Al McKay Allstars

Disco favorites from artists like Van McCoy, Donna Summer, Meco, The Hues Corporation, Hot Chocolate, The Bee Gees, Vicki Sue Robinson and more! (R)

Every Saturday morning Weekend Breakfast host Sara-Jayne Makwala King shares her top three picks of things to do in and around the Western Cape. If there's an event that you would like featured on SJ's Top Picks you can send an email to sarak@primedia.co.za This week: Singles axe throwing extravaganza for singles Boogie Wonderland for over 30's Metamorphoses at the Baxter See omnystudio.com/listener for privacy information.

www.ramboprahradio.com Customers of the week, Drunk Directions, Lawd Jesus, Boogie Wonderland, Chinybasiny, Olympics recap, Haterade.

A shock trade on a Wednesday afternoon in the NFL, as the Bills were desperate to get out of the Stefon Diggs deal for just a 2nd rounder and a giant "dead cap sandwich" to eat. On paper, the Texans look awesome and guest PAUL CHARCHIAN already has a 22-1 SB ticket on Houston for next year. We also talk about Angel Reese wanting it both ways, and the boys nerd out about the latest Leonid and Friends cover of EWF's "Boogie Wonderland." MORE.....Our Sponsors:* Check our new advertiser on the CzabeCast: Fitbod.me/CZABE* Check out Tecovas for "first-wear" comfort at Tecovas.com.* Go to badlandsfood.com/Czabe to learn how you can see incredible changes in your dog's health!* Need to hire? You need Indeed! Get your $75 sponsored job credit by going to: indeed.com/CZABEAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Midnight creeps so slowly into the hearts of men..." CREDITS: Mike Painter as Bob McGovern Fabby Garza as KC Cardenas Iris Christianson as Haley Holst Tyberius Wilson as Maurice Bailey Jordan Rogers as The GM Luke Varner as Jordan Rogers MUSIC BY MAXIE KNIGHTLEY EDITED BY LUKE VARNER CONTENT WARNING: This episode contains vehicular violence, body horror, and existential horror.

Seattle-based musician, singer, rapper and songwriter Michael Wansley (aka Wanz) drops in on YMAAA for the first of two episodes to talk about Earth, Wind & Fire's 1979 album, I Am. Wanz talks about his lifelong EWF fandom, what he loves about I Am, and how it compares to other EWF albums. He also explains how the album is a reflection of the changes in the music industry that were occurring in the late ‘70s. Wanz and Al also discuss other bands that were popular around the same time, including Toto, The Police and Rush.Wanz' TEDx Talk, "You, Too, Can Be a Unicorn," is outstanding. Watch it here: https://www.youtube.com/watch?v=JGPy-bbpRfMAl mentioned that he had interviewed Steve Lukather, David Paich and Joseph Williams of Toto. The interviews were for a couple a pieces for American Songwriter, which are linked below.https://americansongwriter.com/toto-talks-toto-to-celebrate-their-debut-albums-45th-anniversary/https://americansongwriter.com/6-toto-songs-that-are-miles-away-from-yacht-rock/Wanz is on Instagram and Threads at @teewanz!Also be sure to check out Want's music and more at thewanz.comAl is on Bluesky at @almelchior.bsky.social. This show has accounts on Instagram and Threads at @youmealbum. Subscribe for free to You, Me and An Album: The Newsletter! https://youmealbum.substack.com/1:36 Wanz joins the show2:26 Wanz has worked many different jobs to support his music3:52 Wanz has a collection of EWF t-shirts6:17 An EWF promo poster connected Wanz with an early bandmate7:58 Wanz paid close attention to EWF over a span of 10 albums8:51 Wanz talks about EWF's progression through the albums leading up to I Am15:20 EWF was the first concert Wanz ever went to19:10 Wanz and Al talk about the Police and Sting's Bring on the Night documentary21:35 Wanz blames one album for changing radio23:16 Wanz singles out the decision EWF made that led to their commercial demise26:24 Maurice White's death gave Wanz a reason to deep-dive into the EWF catalog again27:21 Wanz talks more about how radio changed in the late ‘70s31:10 Wanz remembers how he was introduced to Rush32:51 Wanz explains what makes “Boogie Wonderland” a perfect song36:09 Wanz loves the whole second side of I Am39:15 Wanz explains why I Am is a different-sounding EWF album43:01 Did the right tracks get released as singles?46:34 Transcribing “Rock That!” in the pre-digital era was not an easy task48:12 Al and Wanz talk about the Toto connections to I Am49:57 Wanz explains how Phil Collins got connected with EWF53:57 Steve Lukather's memoir changed the way Wanz understands how the recording industry used to work57:34 The interludes are one of Wanz's favorite parts of I Am1:01:10 Wanz finds some interesting names in the album creditsOutro music is from Wanz, “Go Where the Love Is.”Support the show

"A Family Album" The California-born and Washington-raised Holly Palmer has had quite a career. Signed to Reprise in the mid-nineties, Palmer garnered well-deserved critical-acclaim and toured with the likes of Paula Cole, k.d. Lang and Shawn Colvin. David Bowie asked her to sing background vocals on his Hours album and then he asked her to join his 1999 world tour as a singer/percussionist. Some career highlights: she joined Gnarls Barkley on their World Tour, recorded a duet with Michael Buble', sang background and played acoustic guitar on Idina Menzel's I Stand Tour, wrote the theme to the television show Mob City, and formed the musical duo Bubbles and Cheesecake with Ailee Willis who wrote September and Boogie Wonderland with Earth, Wind & Fire. She's worked with Jellyfish's Roger Manning Jr, Dr. Dre, Don Was and Dave Navarro--how's that for range? She can do anything. Holly Palmer has put out five perfect solo albums including her 1996 self-titled debut, 2007's Songs For Tuesday and 2017's A Family Album. A graduate of the Berkelee College Of Music Palmer has since gone on to explore the nuances of voice and music composition. Her phrasing, her timing and her beautiful timbre make her one of the greats. She's a mom, a wife, an artist and a student all at once and she just keeps crushing it.  www.hollypalmerlife.com www.stereoembersmagazine.com www.embersarts.com www.bombshellradio.com www.alexgreenbooks.com Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

Hoy el Mata-Rolas se convierte en el Cambia-Rolas nos presenta un Mashup de Earth Wind & Fire y Kiss para crear "I Was Made for Boogie Wonderland"

"Boogie Wonderland". 1979. Quand on entend ça, on voit les lumières, on entend la fête, la joie. Mais en réalité, les paroles sont sombres...

In this episode, we talk about some updates that came to Expo in September, PartyKit and its successful pre-seed round, and Interop 2024. Stay tuned!Links from the episode:Expo Changelog: https://expo.dev/changelogPartyKit: https://blog.partykit.io/posts/partykit-raises-a-pre-seed-round-2-5-m-from-sequoia-remote-first-and-moreInterop 2024: https://webkit.org/blog/14633/get-ready-for-interop-2024/Feel free to reach out to me on Twitter @Nuallian.Edited by Michal FeckoPowered by Sudolabs: https://sudolabs.com/

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Bada-ya, we're dancin' into September with I Am, the groovy 1979 album by everyone's favorite Afro-gospel-jazz-blues-rock-funk collective: Earth, Wind & Fire! Born out of Maurice White's jingle-writing Chicago days and boosted by the incomparable talents of the Phenix Horns, EWF truly gives their all to this record and to the magical shows they put on to accompany it. Plus, we're talking about the band's all-time classic single September! We'll explore the career of a young David Copperfield as he took the band to new heights (and even made them disappear)! Fire up the time machine, lace up those ice skates, and get ready to dance your way through a Boogie Wonderland with us this week!Keep Spinning at www.SpinItPod.com!Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Boogie (genre): during the 1970s, the term “boogie” described music from the disco and post-disco subcultures. In the 1980s, the term was revitalized in London to refer to a type of African-American dance/funk music. Boogie had a large underground following in London's nightclub scene due to a lack of mainstream radio support. Boogie records were often imported from the U.S. and sometimes labeled as “electro-funk” or “disco-funk.” Although the word “boogie” was initially used to describe disco records, it became more popular as “disco” gained negative connotations. “Boogie” originally appeared in funk, soul, R&B, and disco music from the 1970s, with notable examples including “Jungle Boogie” (1974) and “Boogie Wonderland” (1979). Kashif is considered to be one of the pioneers of boogie music, with his 1983 single “I Just Gotta Have You (Lover Turn Me On)” helping to define the early 1980s boogie sound. Other popular boogie tracks from the 1980s include “Wake Up” (Hamilton Bohannon), “Act Like You Know” (Fat Larry's Band), and “Boogie's Gonna Get Ya” (Rafael Cameron). Boogie artists in the 1980s began experimenting with heavy bass, paving the way for the roots of house music. Hamilton Bohannon, D-Train, and Sharon Redd were among the artists who contributed to this new sound. Some producers, like François Kevorkian and Larry Levan, polished and extended the limits of urban-oriented boogie, while others like Arthur Baker and John “Jellybean” Benitez drew inspiration from European and Japanese technopop music. The latter approach paved the way for electro, and subsequently, freestyle music. Change – Paradise Gwen Guthrie – Padlock (Larry Levan Mix) Sharon Brown – I Specialize in Love (12 Inch Version) Unlimited Touch – I Hear Music in the Streets Shalamar – Make That Move Gwen Guthrie – It Should Have Been You D-Train – You're the One for Me Skyy – Here's to You Bobby Thurston – Check Out the Groove Skyy – Call Me Secret Weapon – Must Be the Music Cheryl Lynn – Shake It Up Tonight Kashif – I Just Gotta Have You (Lover Turn Me On) Ashford & Simpson – It Seems to Hang On (12 Inch Disco Mix) Loleatta Holloway – Love Sensation Jocelyn Brown – Somebody Else's Guy First Choice – Let No Man Put Asunder Change – Searching

JER SWIGART, Global Immersion Project / Pentecost Sunday / Acts 2.1-21

JER SWIGART, Global Immersion Project / Pentecost Sunday / Acts 2.1-21

MÓDULO 1 THELMA HOUSTON - DON`T LEAVE ME THIS WAY (1976 - Remix)RICK ASTLEY - TAKE ME TO YOU HEART (1988)WHITNEY HOUSTON - HOW WILL I KNOW (1985 - Remix)MARVIN GAYE - GOT TO GIVE IT UP (1977 - Remix)EVERYTHING BUT THE GIRL - MISSING (1994)PATRICK JUVET - I LOVE AMERICA (1978 - Remix)BILLY PAUL - YOUR SONG (1973 - Remix) MÓDULO 2 KOOL AND THE GANG - CELEBRATION (1980)KC AND THE SUNSHINE BAND - DO YOU WANNA GO PARTYDENIECE WILLIAMS - I`VE GOT THE NEXT DANCEANITA WARD - RING MY BELL (1979)THE BROTHERS JOHNSON - THE REAL THING (1981)EARTH, WIND & FIRE (1979) - BOOGIE WONDERLAND  (Part. The Emotions nos vocais)RICK JAMES - SUPER FREAK (1981) MÓDULO 3 BONEY M. - MA BAKER (1977)BARRY WHITE - YOU`RE THE FIRST, THE LAST, MY EVERYTHINGBRYAN ADAMS - LET ME TAKE YOU DANCINGSYLVESTER - YOU MAKE ME FEEL (1978)PATRICK HERNANDEZ - BORN TO BE ALIVE (1979)GONZALEZ - HAVEN`T STOPPED DANCING YET (1977)DONNA SUMMER & BARBRA STREISAND - NO MORE TEARS (1979)    MÓDULO 4 DELEGATION - PUT A LITTLE LOVE ON ME (1980)JEANETTE "LADY" DAY - COME LET ME LOVE YOUTHE WHISPERS - AND THE BEAT GOES ONGINO SOCCIO - TRY IT OUT (1981)CHANGE - HOLD TIGHT (1981)CENTRAL LINE - WALKING INTO SUNSHINE (1981)CHAS JANKEL - GLAD TO KNOW YOU (1981)See omnystudio.com/listener for privacy information.

House music at its best! Let Dave Baker take you on a journey of discovery and aural pleasure as he brings you the hottest and freshest funky, deep and tech house releases every week. It's another huge week and a little bit different as we kick-off with a bit of nu disco and end with a trance track - so it's a lot of fun navigating that path!! We start with Aussie darling Zoe Badwi and remixer Sgt Slick bringing back an RnB classic; there's another Aussie collaboration with Peewee Ferris and Toni Pearen; Guz is back with a new one alongside Hannah Boleyn; emerging duo Digital Nature with a cool reworking of Boogie Wonderland; and one of the biggest Ibiza tracks EVER gets a makeover from Ben Nicky and Distorted Dreams. If you're looking for the latest and best house music, you've definitely come to the right place! All tracks released on February 10 unless shown below. Website: https://www.djdavebaker.com Instagram: https://www.instagram.com/djdavebaker Facebook: https://www.facebook.com/hothousehours Mixcloud: https://www.mixcloud.com/djdavebaker/ 1. Don't Mess With My Man (Sgt Slick Extended Remix) - Zoe Badwi

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Bienvenue dans le monde du Funk et du Disco. Nous sommes là pour vous faire sentir que votre vie est complète, car lorsque vous écoutez notre station, elle le sera ! Nous sommes votre source privilégiée pour tout ce qui est Funk et Disco. D'artistes comme Earth Wind & Fire, The Commodores et Stevie Wonder à des chansons comme "Boogie Wonderland", "September" et "Dance Floor", nous avons tout ce dont vous avez besoin pour vous mettre sur la piste de danse et ne jamais cesser de danser. Vous pouvez nous écouter en direct ici même sur notre site ou télécharger l'application gratuite pour votre téléphone ou votre tablette. Vous pouvez même nous diffuser en direct sur Facebook Live ! Vous trouverez tout sur cette chaîne, des grooves funk à la soul disco : des soirées dansantes aux nuits tranquilles à la maison avec des amis, des mixes de fête et des mixes de DJ... des performances en direct d'artistes de premier plan dans le fleur de l'âge... des morceaux rares que seules les personnes qui aiment vraiment le Funk et le Disco connaissent. C'est sûr !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Si vous cherchez une station qui ne parle que de funk et de disco, ne cherchez pas plus loin. La musique funk et disco est sur le point de vous faire sentir bien. Et le meilleur ? Vous pouvez l'écouter toute la journée ! Funky Pearls la Radio Funk est une station de radio en ligne qui ne diffuse que le meilleur de la musique funk et disco des années 70 à nos jours. Que vous recherchiez des artistes classiques comme Earth Wind & Fire, Marvin Gaye ou Stevie Wonder, ou des favoris modernes comme Daft Punk, Bruno Mars ou Janelle Monae, nous sommes là pour vous. Si vous aimez danser et chanter avec vos amis tout en écoutant certaines des meilleures musiques jamais créées, alors cette station est faite pour vous. Nous avons tout, des grands classiques comme "Boogie Wonderland" de Earth Wind & Fire aux nouvelles chansons comme "Uptown Funk" de Mark Ronson avec Bruno Mars. Nous avons également de nombreux programmes spéciaux tout au long de la semaine : -Des performances en direct de certains de nos artistes préférés (et même de quelques jeunes talents !) tous les mercredis à 15 heures, heure de l'Est (nous sommes également disponibles à la demande pour ceux qui ne peuvent pas se connecter en direct). -Une soirée disco d'une heure chaque semaine.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Funky Pearls Radio est une station de radio gratuite pour les amateurs de funk et de disco ! Nous diffusons le meilleur des années 70 , 80 et 90, avec un accent particulier sur le disco et le funk. Application radio gratuite Notre application est disponible pour iOS et Android. Vous pouvez écouter Funky Pearls Radio sur votre téléphone ou votre tablette, ou vous pouvez faire du streaming depuis votre ordinateur en utilisant notre application de bureau. Artistes de funk et de disco Nous aimons les artistes de funk et de soul qui ont fait de ce genre ce qu'il est aujourd'hui : Earth Wind & Fire, Parliament/Funkadelic, Sly & The Family Stone, Kool & The Gang, Rick James, Chic et bien d'autres. Chansons funk et disco Nous vous présentons également quelques-unes de nos chansons préférées de l'époque : "If You Want Me To Stay" par Sly & The Family Stone ; "Boogie Wonderland" par Earth Wind & Fire ; "Cissy Strut" par The Meters ; "Give Up The Funk (Tear The Roof Off The Sucker)" par Parliament/Funkadelic ; "Rock The Boat" par The Hues Corporation ; "Dance To The Music" par Sly & The Family Stone... et bien d'autres encore ! Culture popHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Funky Pearls Radio est une station de radio gratuite pour les amateurs de funk et de disco ! Nous diffusons le meilleur des années 70, 80 et 90, avec un accent particulier sur le disco et le funk. Application radio gratuite Notre application est disponible pour iOS et Android. Vous pouvez écouter Funky Pearls Radio sur votre téléphone ou votre tablette, ou vous pouvez faire du streaming depuis votre ordinateur en utilisant notre application de bureau. Artistes de funk et de disco Nous aimons les artistes de funk et de soul qui ont fait de ce genre ce qu'il est aujourd'hui : Earth Wind & Fire, Parliament/Funkadelic, Sly & The Family Stone, Kool & The Gang, Rick James, Chic et bien d'autres. Chansons funk et disco Nous vous présentons également quelques-unes de nos chansons préférées de l'époque : "If You Want Me To Stay" par Sly & The Family Stone ; "Boogie Wonderland" par Earth Wind & Fire ; "Cissy Strut" par The Meters ; "Give Up The Funk (Tear The Roof Off The Sucker)" par Parliament/Funkadelic ; "Rock The Boat" par The Hues Corporation ; "Dance To The Music" par Sly & The Family Stone... et bien d'autres encore ! Culture popHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

https://funkypearls.fr/ Funky Pearls radio est la première station de radio disco et funk sur le web. Nous jouons les meilleures chansons funk et disco des années 70 à 80. Albums funk et disco Nous diffusons tous vos artistes et albums funk et disco préférés, notamment Parliament-Funkadelic, James Brown, Rick James, Chic, Kool & The Gang, Earth Wind & Fire, K.C. & The Sunshine Band et bien plus encore. Année disco Nous avons également un calendrier qui vous indique quel jour de la semaine chaque chanson disco est sortie ! Application radio gratuite Écoute la radio Funky Pearls sur ton téléphone ou ta tablette avec notre application gratuite ! Tu peux l'écouter partout où tu vas ! Chansons funk et disco Nous jouons toutes vos chansons préférées : "Give Up The Funk", "Ain't No Stoppin' Us Now", "Boogie Wonderland", "The Hustle", "Give Me One Reason"... et bien d'autres encore ! La culture pop Si vous aimez la culture pop (et qui ne l'aime pas ?), nous avons quelque chose pour vous : Un segment hebdomadaire intitulé "L'histoire amusante de la culture pop". Il s'agit d'un regard amusant sur l'évolution de la culture pop au fil du temps et sur la façon dont elle a influencé... Vous pouvez aussi écouter nos replay en podcast Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Los días 9 y 10 de septiembre se celebrará en Segovia el primer Afro Blue Festival con artistas que veneramos como Shirley Davis, Izo Fitzroy, El Combo BatangaLos Saxos del Averno, Nikki Hill o Jp Bimeni y sus Black Belts. La banda sonora de la película “Minions, The Rise Of Gru” se consiste en versiones de grandes temas del funk y de la música disco interpretadas por artistas de ahora como H.E.R., Brittany Howard, Gary Clark Jr, o Thundercat junto a leyendas como Verdine White, (superviviente de Earth Wind & Fire) o Diana Ross. Y de la tierra, el viento y el fuego al argumento, a la emoción celestial de grandes veteranos: The Dramatics, Tavares o Tom Grant y Patrice Rushen junto a Bruno Mars. DISCO 1 VERDINE WHITE Cool (From ‘Minions The Rise of Gru' OST) DISCO 2 SHIRLEY DAVIS & THE SILVERBACKS Take Out The Trashf  DISCO 3 EL CONGO BATANGA Ají Gua Guao DISCO 4 JESSIE WARE Free Yourself  DISCO 5 POLO & PAN, JACQUES From a World to Another DISCO 6 BRUNO MARS Locked Out Of Heaven DISCO 7 EARTH WIND & FIRE Boogie Wonderland DISCO 8 BRITTANY HOWARD & VERDINE WHITE Shining Star (From ‘Minions The Rise of Gru' OST) DISCO 9 GARY CLARK JR Vehicle (From ‘Minions The Rise of Gru' OST) DISCO 10 JACKSON WANG Born To Be Alive (From ‘Minions The Rise of Gru' OST) DISCO 11 TAVARES Heaven Must Be Missing An Angel DISCO 12 TOM GRANT & PATRICE RUSHEN Heaven Is Waiting DISCO 13 THE DRAMATICS That Heaven Kind Of Feeling DISCO 14 CHERISH Do It To It Escuchar audio

Intro/Outro: Eye of the Tiger by Survivor1. I'm Bad by LL Cool J2. Jump Around by House of Pain3. Seamus by Pink Floyd4. Boogie Wonderland by Earth, Wind and Fire5. Lady by Kenny RogersVote on your favorite song from today's episode

Join Daryl Ong & Othniel Ting as they delve into an album of our chosen artist of the week, running you through the stories & history of the album track by track. This week, we pay tribute to Earth Wind & Fire's ninth studio album I Am - a seminal release that rose to #1 on the Billboard Top Soul Albums chart in 1979. We go track by track and take a trip to "Boogie Wonderland" on this episode of Track by Track.

Go watch the first 10 minutes of “Boogie” on HBO Max (0:00). An analysis of Samuel L. Jackson's career (04:30). The Michael B. Jordan agenda (11:00). Marvel moments & Sankara reviews Spiderman (15:30). The Witcher (36:15). Penultimate Insecure thoughts (40:30). 2 Snobs & A Critic, Wrapped (52:00). Rob's ultimate sitcom top 12 list (1:15:00). FYC (1:21:14): Sankara - The Witcher - Netflix Christine - Yellowjackets - Showtime Rob - Being the Ricardos - Prime

News: Join us on our Patron and Instagram for Socktober, where we will have sock content all October long!      FO: Emily - Vanilla socks in BaH Yarns, Problems with Porgs colorway https://www.brendaandheatheryarns.com/   - Pumpkin Party Washcloth Design knit in Omega Sinfonia cotton https://woolery.com/omega-sinfonia-cotton-yarn.html now available for purchase or free for Fiber Coven members!   Lauren - Plaid Blanket Socks, pattern from Dana Rae Makes, as part of the Knitting with Besties pattern pair.  - Main color: Pitchfork Fiber Stalworth Sock base, Boogie Wonderland colorway https://www.etsy.com/shop/PitchforkFiber - Contrast Color: Havirland Yarns Epic Space Opera (Empire Strikes Back) leftovers https://www.etsy.com/market/havirland   WIPS: Emily - Vanilla socks in West Yorkshire Spinners, country birds collection, Pheasant colorway   - Elemental colorwork cowl design, knit in Valkyrie Fibers Avatar mini skein set       Lauren - Two at a time Vanilla socks from a double knit sock blank   - Witch's Brew Sock  https://www.ravelry.com/patterns/library/witchs-brew-socks knit in Nomadic Yarns Sarah Sanderson colorway on the Brit Sock base https://www.etsy.com/shop/NomadicYarns       Acquisitions: Emily - Many treasures from Heirophany & Hedge (http://bespokearcana.com/)  including some carnelian colored fountain pen ink, a little lapis lazuli, candles from Old Soul Artisans (https://oldsoulartisan.com/)   Lauren - adorable stickers from Catushi Studios https://www.etsy.com/market/catushi_studios - A rock from Moab   Occult Corner: Samhain! From traditional celebrations to how we intend to celebrate

News: Join us on our Patron and Instagram for Socktober, where we will have sock content all October long!      FO: Emily - Waxing Moon - Half Moon Version, pattern available in the Fiber Coven Discord https://www.ravelry.com/projects/kittywithacupcake/waxing-moon-shawl---full-moon-sample -knit in the Power of the Full Moon colorways from Valkyrie Fibers       WIPS: Emily - Vanilla socks in BaH Yarns, Problems with Porgs colorway https://www.brendaandheatheryarns.com/ - Pumpkin Washcloth Design knit in Omega Sinfonia cotton https://woolery.com/omega-sinfonia-cotton-yarn.html       Lauren - Plaid Blanket Socks, pattern from Dana Rae Makes, as part of the Knitting with Besties pattern pair.  - Main color: Pitchfork Fiber Stalworth Sock base, Boogie Wonderland colorway https://www.etsy.com/shop/PitchforkFiber - Contrast Color: Havirland Yarns Epic Space Opera (Empire Strikes Back) leftovers https://www.etsy.com/market/havirland   - Two at a time Vanilla socks from a double knit sock blank   - Witch's Brew Sock  https://www.ravelry.com/patterns/library/witchs-brew-socks knit in Nomadic Yarns Sarah Sanderson colorway on the Brit Sock base https://www.etsy.com/shop/NomadicYarns       Acquisitions: Emily - Aura sweater from Lauren - Blood red and royal purple inks from Goulet pens https://www.gouletpens.com/   Occult Corner: We decided to do an informal series on our favorite rocks, and we kicked it off with a discussion on Amethyst.  We focus geology, cultural significances, and mythology.

News: Join us on our Patron and Instagram for Socktober, where we will have sock content all October long!    Fully Spun has launched a kickstarter to get new marled yarn milled!  Help her bring back old favorites and new colors!  One even curated by Darci Kern. https://www.kickstarter.com/projects/fullyspun/fully-spun-bring-marled-back   Instagram @iamfullyspun and @darcidoesit if you wanted to help promote these rad makers!   FO: None this week     WIPS: Emily - Vanilla socks in BaH Yarns, Problems with Porgs colorway https://www.brendaandheatheryarns.com/   - Waxing Moon - Half Moon Version, pattern available in the Fiber Coven Discord https://www.ravelry.com/projects/kittywithacupcake/waxing-moon-shawl---full-moon-sample -knit in the Power of the Full Moon colorways from Valkyrie Fibers     Lauren - Plaid Blanket Socks, pattern from Dana Rae Makes, as part of the Knitting with Besties pattern pair.  - Main color: Pitchfork Fiber Stalworth Sock base, Boogie Wonderland colorway https://www.etsy.com/shop/PitchforkFiber - Contrast Color: Havirland Yarns Epic Space Opera (Empire Strikes Back) leftovers https://www.etsy.com/market/havirland   - Two at a time Vanilla socks from a double knit sock blank   - Witch's Brew Sock  https://www.ravelry.com/patterns/library/witchs-brew-socks knit in Nomadic Yarns Sarah Sanderson colorway on the Brit Sock base https://www.etsy.com/shop/NomadicYarns       Acquisitions: Emily - Color Pop lipsticks and eyeshadow from the Hocus Pocus line   Occult Corner: The oldest human made temple, Gobekli Tepe in southern Turkey!  This UNESCO World Heritage Site pre-dates humans making pottery and human settlement of the Nile valley.     Shameless Self Promotion: Lauren is having an update on Sunday 10/10 at 9am PST with sock blanks inspired by She Ra and a restock of the Progress Pride Flag self striping https://www.etsy.com/shop/ValkyrieFibersTahoe   If you backed Emily's kickstarter, make sure you fill out your survey!  The sooner all the surveys have been filled out the sooner pins can get made!

News: Join us on our Patron and Instagram for Socktober, where we will have sock content all October long!    Fully Spun has launched a kickstarter to get new marled yarn milled!  Help her bring back old favorites and new colors!  One even curated by Darci Kern. https://www.kickstarter.com/projects/fullyspun/fully-spun-bring-marled-back   Instagram @iamfullyspun and @darcidoesit if you wanted to help promote these rad makers!   FO: Lauren - Aura Sweater by Gingko B https://www.ravelry.com/patterns/library/aura-sweater  in Valkyrie Fibers Suri Fluff - Waxing Moon - Full Moon Version, pattern available in the Fiber Coven Discord https://www.ravelry.com/projects/kittywithacupcake/waxing-moon-shawl---full-moon-sample , knit in the club colorways - Vanilla socks in Opal Sweet & Spicy, colorway 6755     WIPS: Emily - Vanilla socks in BaH Yarns, Problems with Porgs colorway https://www.brendaandheatheryarns.com/ - Waxing Moon - Half Moon Version, pattern available in the Fiber Coven Discord https://www.ravelry.com/projects/kittywithacupcake/waxing-moon-shawl---full-moon-sample -knit in the Power of the Full Moon colorways from Valkyrie Fibers     Lauren - Plaid Blanket Socks, pattern from Dana Rae Makes, as part of the Knitting with Besties pattern pair.  - Main color: Pitchfork Fiber Stalworth Sock base, Boogie Wonderland colorway https://www.etsy.com/shop/PitchforkFiber - Contrast Color: Havirland Yarns Epic Space Opera (Empire Strikes Back) leftovers https://www.etsy.com/market/havirland       Acquisitions: Lauren - Ghibli Yarn Club from Big Little Yarn Co. , Sock Set version biglittleyarn.com   Occult Corner: The Victorians being weird goths is an unending gold mine of content.  Today we discuss their paranoia about being buried alive resulting in the making of “safety coffins” and the adjacent use of “mortsafes” to deter body snatchers!     Shameless Self Promotion: Lauren is having an update on Sunday 10/3 at 9am PST with Quarter 3 sets of the Power of the Full Moon Club colorways https://www.etsy.com/shop/ValkyrieFibersTahoe  

News: Join us on our Patron and Instagram for Socktober, where we will have sock content all October long!   FO: Emily - Waxing Moon - Full Moon Version, pattern available in the Fiber Coven Discord https://www.ravelry.com/projects/kittywithacupcake/waxing-moon-shawl---full-moon-sample -knit in the Earl Grey Alice in Wonderland Advent colors  https://earl-grey-fiber-co.myshopify.com/     WIPS: Emily - Vanilla socks in BaH Yarns, Problems with Porgs colorway https://www.brendaandheatheryarns.com/ - Waxing Moon - Half Moon Version, pattern available in the Fiber Coven Discord https://www.ravelry.com/projects/kittywithacupcake/waxing-moon-shawl---full-moon-sample -knit in the Power of the Full Moon colorways from Valkyrie Fibers     Lauren - Aura Sweater by Gingko B https://www.ravelry.com/patterns/library/aura-sweater  in Valkyrie Fibers Suri Fluff - Waxing Moon - Full Moon Version, pattern available in the Fiber Coven Discord https://www.ravelry.com/projects/kittywithacupcake/waxing-moon-shawl---full-moon-sample , knit in the club colorways - Vanilla socks in Opal Sweet & Spicy, colorway 6755       Acquisitions: Lauren - Progress Pride flag from Pride Flag SD https://prideflagsd.com/ - From Wildwood Makers Market https://www.wildwoodmakersmarket.com/ : indie greeting cards, Avian Friends 1000 piece puzzle - From Knits and Knots Tahoe https://www.knitsandknotstahoe.com/ : Chiaogoo size 1 9” circular needle, Little Gems gold mini scissors, iridescent clear plastic notions bags, spooky themed Skein Coats - Pitchfork Fibers, Stalworth Sock base, Boogie Wonderland colorway pitchforkfiber.etsy.com   Emily - two skeins of fingering weight from Alwan Sultan, in the ‘I Was Supposed To Be A Slutty Jellyfish' colorway https://alwansultan.com/   Occult Corner: The Black Paintings by Francisco Goya, which Lauren fell in love with on her study abroad in Madrid (not that it really matters, but Lauren can't remember when anything happened.  She studied abroad in 2008, that was the epic summer of sports success in Spain, not 2010, that was the year she graduated college.)     Shameless Self Promotion: Lauren is having a Spooky Season self striping update, a restock of Witch's Brew and new colorway C1-10P, its very autumnal...  https://www.etsy.com/shop/ValkyrieFibersTahoe

In this weeks episode Erriana and Melissa watch the scariest and probably best Disney Channel Original movie ever made. Listen to this podcast please... we are desperate.

Welcome to the 15th episode of The Phat Chat! In this Episode titled, "Phlagrant Phatties" we dive into the topics below from us AND our Phatties! WELCOME TO JURASSIC PARK!!!!!! We go into the dino universe and talk about our dino favs and movies! We asked our Phatties to start an argument in 10 words or less, see what YOU had to say! DANCE!! BOOGIE WONDERLAND!!! The power of music! and is TikTok ruining classics? ~~ PHAT CHAT RAFFLE ~~ Want to join a live show with us? Go to our YouTube channel, subscribe, and tag 5 friends on our most recent post on Instagram. This will enter you into our raffle where you have a chance to win not only a topic right, but also a chance to be a live guest on one of our upcoming shows! We wish you the best Phatties, and thank you for tuning in to the toxicity of - The Phat Chat! DISCLAIMER: Any and all conversation is not to be taken as fact. What is said on this podcast is purely at the opinion of the individuals and should not be taken as fact, unless otherwise cited by credible sources. We do not own any rights to any songs, lyrics (played or mentioned), titles mentioned, etc. All that is said in this Podcast is for entertainment purposes ONLY, and should not be performed at any capacity, or taken to heart. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thephatchat/support

Hello Groovers, It's summer, hot and sweltery and its time to drink a coldie, bubble the bong, and boogie up some sweat. Oh yes, we're diving into the bass with some tuff disco cuts. Oh yeah, good times! Deejay Maarten Vlot QC Put on your boogie pants and dancing shoes and come on down for some Liquid Sunshine. It's sexy music, for sexy people. Liquid Sunshine is a weekly radio show on 2XX FM in Australia, and The Face Radio in Brooklyn, USA, playing the best Deep Funk, Rare Groove, Disco & Beats - All The Good Stuff. And we also DJ out in the wild! We regularly do shows in Canberra, Sydney, Melbourne and along the Australian East Coast. 2021 will see us on the stages of the European summer festivals and in the booths of the European night clubs. We are also a full service law firm to the music industry, providing advice to DJs, Producers, Musicians and Event Organisers. Catch Liquid Sunshine with Maarten Vlot as a podcast, browse the socials, or get in contact via this link: https://linktr.ee/liquidsunshineradio or Stream live at https://thefaceradio.com or www.mixcloud.com/live/sasmancometh Liquid Sunshine Sound System on Mixcloud Live | Mixcloud every Tuesday from 10 PM – Midnight Brooklyn / 3 – 5 AM London / 2 - 4 PM Oz or Stream live at https://2xxfm.org.au, or tune in to 98.3 FM in Australia every Thursday from 7:30 - 8:30AM New York / 12:30 - 1:30PM London / 9:30 - 10:30PM Oz

       We lost another music participant over the weekend.  Pamela Hutchinson of the EMOTIONS died at the age of 61.  “Boogie Wonderland” a collaboration they did with Earth Wind & Fire, and “Don't Ask My Neighbors” were only a couple of the single hits they had.  You may remember those, if you are of age, if not, YOUTUBE them and find out.  A glad you're up with us TUESDAY – wipe the crust out of your eyes, get the clog out of your ears and get reading for Kings In the Morning – RIGHT HERE – RIGHT NOW!

       We lost another music participant over the weekend.  A member of the EMOTIONS died at the age of 61.  Jay will probably talk about it on the show today, he may or may not – but you'll have to tune in to see.  “Boogie Wonderland” a collaboration they did with Earth Wind & Fire, and “Don't Ask My Neighbors” were only a couple of the single hits they had.  You may remember those, if you are of age, if not, YOUTUBE them and find out.  But on the HEAR-TUBE – Kings In the Morning – RIGHT HERE – RIGHT NOW!

Beards, Burning Cruise Ships, Civil War, Swearing, Nile Rogers, A lesson in Disco for Scary, Boogie Wonderland and David's wonderful listeners it all adds up to an episode that is sure to spread the happy! Celebrating 21 years as host of the Mid Morning Show on BBC Radio Cornwall, Scary was a guest on David's show almost 20 years ago. Now its time to turn the tables. Hear The David White Show on BBC Radio Cornwall facebook.com/TheDavidWhiteShow instagram.com/davidwhiteshow

Un ne jau tikai tas - spēlējam mērgļus, Renē Redzepī pasludinām par gadsimta dāni, klausāmies "Jamie XX" jauno basu dziesmu un Renārs Zeltiņš uzbur Boogie Wonderland!

Christy classically trained on scholarship at The Ailey School in New York City before finding her love in professional musical theater and commercial dance. She performed many genres of dance globally in theaters, industrials and with touring companies, as well as holding a Dance Captain and featured dancer/singer position with Princess Cruise Lines. Some additional professional theatre credits include: CATS (Cassandra/ Asst. to Choreographer/Dance Captain) / W.S.S. (Consuela/Dream Maria/ u.s. Rosalia)/ Annie (Ronnie Boylan/Dance Captain/u.s.Lily) / Grease (Patty Simcox) /Chicago (Hunyak) / Hairspray (Brenda) /Sweet Charity (Frenchy) / Cabaret (Rosie) /A Christmas Carol (Belle) / Swing! (Featured Dancer) / 42nd St. (Diane/Sexy Lady) as well as the original review shows "Boogie Wonderland" and "Piano Men." In addition to her stage experience she has also directed, choreographed, show managed, taught, and adjudicated for national dance competitions. Now she continues to perform and combines this with her passion for health and wellness to mentor about the importance of nutrition for optimal health and performance for athletes. You can find her on IG @littlechristy317