Podcasts about Ghoulardi

"¡Mantente enfermo!", clamaban The Cramps parafraseando a su ídolo de juventud y maestro del terror Ghoulardi. Esa es la excusa que nos hemos buscado para cocinar una sesión de cartuchos dedicados a cosas y personas que nos ponen enfermos.Playlist;(sintonía) THE CRAMPS “Kizmiaz”THE BOYS “Sick on you”RAMONES “You sound like you’re sick”BRAD MARINO “Sick sick sick sick”THE VINDICTIVES “I’m sick”THE JUKEEZ “Sick”RADIOACTIVITY “Sickness”LES LULLIES “Bored, sick, done”THE DAMNED “Sick of this and that”THE MONSTERS “Happy people make me sick”THE OBLIVIANS “I’m not a sicko, there’s a plate in my head”THE METEORS “Sick things”CALICO WALL “I’m a living sickness”THE CONTINENTALS “Sick and tired”THE AR-KAICS “Sick ‘n’ tired”LOU REED “Sick of you (live)”LE BUTCHERETTES “I’m getting sick of you”IGGY and THE STOOGES “Sick of you”Escuchar audio

From Monster Bash, we have a recording of a Q&A session with Monster Bash Guest of Honor Son of Ghoul! Plus, Mark Matzek's Beta Capsule Review (Ultraman Ace) and Listener Feedback! Voicemail: (360) 524-2484‬ Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeSmall Town Monsters - Follow Son of GhoulSon of Ghoul - Follow Monster BashCreepy Classics - Monster Bash Summer 2025 - "" () provided courtesy of - Bride of Monster Kid Radio is a Production. All original content of Bride of Monster Kid Radio is licensed under a . You can learn more about Team Deth, our other projects like Deth Designs, Mail Order Zombie, Monster Kid Writer, and more at . Please rate and review Monster Kid Radio wherever you download your favorite podcasts. Next week on Monster Kid Radio: Derek and Beth and The Phantom Carriage (dir. Victor Sjöström)

The Ghoulardi Show! (2023 Edition) Enjoy! https://ia601501.us.archive.org/27/items/ghoulardi-show-2023/GhoulardiShow2023.mp3

The Ghoulardi Show! (2023 Edition) Enjoy! https://ia601501.us.archive.org/27/items/ghoulardi-show-2023/GhoulardiShow2023.mp3

Although unintentional, its somehow been over a year since we looked at some horror documentaries! As you can imagine we were excited to jump back in and this time we took a look at "Turn Blue: The Short Life of Ghoulardi" (2009 - Vinny), "Midnight Movies: From the Margin to the Mainstream" (2005 - Professor) and "Nightmares in Red, White and Blue: The Evolution of the American Horror Film" (2009 - Grizz). Available now on iTunes, podbean and our blog. Thanks for listening!

Today on the Rarified Heir Podcast, we are talking to Kelly Conway, daughter of genius comedian Tim Conway. Many of you know Tim Conway from his television career on The Steve Allen Show, McHale's Navy and likely The Carol Burnett Show. Some may know him from his film career in Disney films like The Apple Dumpling Gang or The Private Eyes with Don Knotts among others, like Gus or The Prize Fighter. You might even know him from Spongebob Squarepants or 30 Rock. After all he was nominated for 13 Emmy awards and won six times as a performer and writer. But many of you may not know about Conway's impact on his brood of six, count them six children. We spoke to Kelly about her experience with dad and writing her book, My Dad's Funnier Than Your Dad. And you ain't kidding anbout that! Kelly recounts to us her life growing up in the San. Fernando Valley as the eldest and oldest in a house where dad made their living room a movie theater (with tickets, popcorn counter and turn style) or sewing slipcovers or sport coats himself. We talk about his relationship and her family relationship with Ghoulardi's Ernie Anderson (father of director Paul Thomas Anderson) as well as folks like Steve and Eydie, Mike Connors, Harvey Korman and Bob Newhart. We also delve into Kelly's story of how she fought for her father's healthcare during his later years and the legal battle she waged simply to see her father when his stepmother refused to allow her to do so. It's pretty heavy stuff and frankly, opened up the topic to host Josh Mills about his own issues with his mother's end-of-life healthcare as well. You will laugh, you might cry but you certainly won't forget this episode of the Rarified Heir Podcast with Kelly Conway. Take a listen.    

Celebrating with Miss X's favorite horror film of all time 'Carnival of Souls', 1962. Night Owls radio began broadcasting one week after Halloween in 2008. Miss X had just received work on cable television's 'Spook Show' and was so happy to be continuing the horror movie hosting tradition that began in the 1960's in her hometown and continued throughout the 1970's, 80's and beyond!     When she discovered all the hosts she grew up watching had gone off the air, she decided to form Night Owls Radio here on blogtalkradio, making her the pioneering, FIRST FEMALE horror movie host to come from her hometown area, which had well-known horror hosts such as The Ghoul, Ghoulardi and Houlihan and Big Chuck, dating back to 1963.    The show is a unique compilation of horror movie clips, strange sightings and paranormal events, as well as a segment created by Miss X known as "The Wacky story of the week" to show the oddities of this planet.

GGACP celebrates the Halloween season by revisiting this 2017 interview with one of the last remaining TV horror hosts, Rich Koz, AKA “Svengoolie." In this episode, Rich remembers some of his famous predecessors (Ghoulardi, Zacherle, Chilly Billy, Morgus the Magnificent) and praises the stylishness and symbolism of the original Universal horror classics. Also, Fritz Feld gets hitched, Eddie Munster goes wild, Vampira takes Elvira to court and Mister Rogers meets the Wicked Witch of the West. PLUS: Count Floyd! "The Mummy's Curse"! Remembering Raymond J. Johnson Jr! Bela Lugosi gets hypnotized! Gilbert chokes the chicken! And the (arguably) craziest horror film ever made! Learn more about your ad choices. Visit megaphone.fm/adchoices

Director Lee Wilkof talks about the production of his film, “No Pay, Nudity” (starring Gabriel Byrne and Nathan Lane), as well as his work as an actor on the musicals “Little Shop of Horrors” and “Assassins.”LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast“No Pay, Nudity” trailer: https://youtu.be/toO8g8fgtP4Lee Wilkof revisits “Suddenly Seymour”: https://youtu.be/x7DNEts0yQQ“Suddenly Seymour” from MDA Telethon: https://youtu.be/b4tddRw6JVU“Little Shop” TV spot: https://youtu.be/itYxORbajScTRANSCRIPTThe Occasional Film Podcast - Episode 103NATHAN LANE 0:00I had one of the best times I've ever had making a movie doing this, this little teeny-tiny film. One could say it's a niche film. And yet I think everyone can relate to the notion dreams lost or shattered and you think it's going to turn out one way and it doesn't. And how do you come to terms with that? JOHN GASPARDThat was the one and only Nathan Lane talking about his experiences making Lee Wilkof's lovely film, “No Pay, Nudity.” Hello, and welcome to episode 103 of the Occasional Film Podcast, the occasional companion podcast to the Fast Cheap Movie Thoughts blog. I'm the blog's editor, John Gaspard. Today we're talking with long time actor and first-time director Lee Wilkof about his film “No Pay, Nudity.” It's the story of Lester Rose, a mid-career actor in crisis about show business in particular, and life in general. It stars Gabriel Byrne, Frances Conroy, Boyd Gaines, Donna Murphy, and Nathan Lane. [AUDIO EXCERPT FROM THE FILM'S TRAILER]When I saw the name Lee Wilkof listed as director during the film's credits, I thought where do I know that name from? I racked my brain and then it came to me. Suddenly.[LEE WILKOF SINGING “SUDDENLY, SEYMOUR”]Lee originated the role of Seymour Krellborn in the Off Broadway production of a little musical called “Little Shop of Horrors,” and went on to originate the role of Samuel Bick in Stephen Sondheim's “Assassins.” He talked about those two memorable roles at the end of our conversation. But first we talked about “No Pay, Nudity”, which was his first time as a film director. Tell me what it was that made you decide, hey, at this point after stage and TV and movies, I want to direct.LEE WILKOF 3:20 It was something that was gnawing at me for the last 10 years, just something that I always wished I had done. I never said I wish I wasn't an actor, and I wish I had been a director. But it was something that I just felt that I thought I could do. And I would say oh, maybe nine years ago, I was in a kind of a fallow period and I had been friendly with this young man, Ethan Sandler, we had met at this theatre festival, the Williamstown Theatre Festival. We've done a play together. He was a young, in his 20s, maybe, maybe early 30s. And I decided, I said I think we should I have this idea for a story. Let's write it together. And let's direct it together and then we'll write it for me. As it shook down, you know, I'm not, it wasn't for me, I decided it was not something that I didn't want to direct it and be in it. And then I realised the character was I was not really, the right character for it. And then as it turned out, we didn't end up co-directing it and he got the screenplay credit. And that was kind of how it played out. But it took it took and we wrote it I think together eight years ago and then it sat in my on my computer for at least five years and then I dusted it off when I was doing a play in Chicago, and I was free during the days and I looked at it and I said, this is good. I happen to be working with Nathan Lane. And we were doing a play at the Goodman “The Iceman Cometh.” And I said, I said, would you read this, this screenplay that I wrote. And I was hoping he'd get back to me eventually. And he got back to me the next day. And he said, This is really good. And I said, would you play Herschel, if I got this made? And he said, Yes. And that's really when the ball started to roll. JOHN GASPARD 5:35 Why did you decide you weren't right to play the part? Because it kind of feels like you would be. I mean, was just you didn't want to direct and act? LEE WILKOF 5:42 I didn't want to direct and act. To say that I wasn't right for it, I think, didn't mean, as it turned out, I wanted more of a leading man. But it would have worked, I think with a character actor, but I didn't want me directing my first film. I just couldn't do double duty. I admire those people that can, but I just I just couldn't. I couldn't multitask to that level. And maybe this had a little to do with it. Although I think I'd already made the decision by the time the investors came on, and they wanted a name, and I was certainly not a sufficient name. I was not. I was not and I'm not a name. So, we started making some inquiries about some names. JOHN GASPARD 6:34 So, what was your process for that? I mean, you already had one name, who had said yes.. LEE WILKOF 6:39 I had Nathan, and that was they wanted for the lead, they wanted a name. But we made some offers to some prominent names. And one was one was very interested, but his wife was ill. Several didn't get back to me. One other prominent name just was on the fence and decided no, and then I got a casting director, involved and gave me a list of a number of names. And Gabriel was on it, Gabriel Byrne, and it, sent it to him. And he responded immediately. And he wanted, he wanted to do it. He understood it, he got it. And I couldn't be more fortunate that it worked out that way. If you would have said to me when I started the process, and we were going to make this film, that Gabriel Byrne would be playing Lester Rosenthal, it was not something I would have not believed it possible. I would have said to you, I don't I'm not really positive that he's right for it. And you know, these kinds of accidents happen. And it was so fortuitous that we got Gabriel, I think he's just fantastic in the role. JOHN GASPARD 7:52 Did you find that once you had everyone in place, did you tweak the script at all to fit? LEE WILKOF 8:00 Yes, to some extent, although the Gabriel, the fact that Gabriel is you know, there's a line that when you first, when he runs into the girl from high school, she said when you first got here, your accent was so fascinating. That's the only reference to the fact that he has a not necessarily an American accent. It's not quite fish or fowl. And we didn't find that it was a problem. When he first called me. Our first phone conversation was I was at the Jazz Fest in New Orleans with music blaring. And he was in Norway, shooting I think it's called the Vikings. And we spoke, I could barely hear him. But he said I think I'm going to keep my accent. And I didn't quite know what to say. I didn't know him. I didn't want to say no, I don't want you to but by the time we started shooting, it was kind of vague, and it never seemed to be an issue. So, we didn't necessarily tweak for the particular person. Now, some of the actors wrote some things for themselves. Nathan contributed a fair amount of his dialogue, which I encouraged. And then there was an incident where somebody brought in dialogue for themselves and I did not care for it. And it created the only real conflict during shooting. And I insisted, with the help of my producer, insisted that the actor speak the words written and it I think it enhanced the performance because the actor was so upset. And the actor didn't speak to me for a couple of days.But there was tweaking all along. The role Nathan plays was originally written for actually another actor, an actor friend of mine who had passed away in between the time it was written and we shot it. It was written with, I wrote it with Maury Chaykin. You know, Maury… JOHN GASPARDYes indeed. LEE WILKOF Maury Chaykin. He and I did our first play in New York together like 44 years ago. And he was just physically and such a, such a wonderful actor that Herschel was I just wrote it, we wrote it for him. But as I said, he passed away. And Nathan stepped into it brilliantly, I think. JOHN GASPARD 10:44 I agree. So, with all your time on the other side of the camera, what was it like to step behind it? And how easy a transition was that for you? I mean, you probably know how to talk to actors, or at least how not to talk to actors… LEE WILKOF 10:59 I had spent many years in Hollywood on TV and film sets. And I probably would have paid way more attention if I knew someday I was going to be directing. But I always was paying attention. I wasn't like going up to the DP and saying, You know what size lens you're using? But I was I was like, I watched and I listened. And I also had the I had the great pleasure and the great fortune of working with Sidney Lumet twice. And I didn't do a movie with him, but I'd worked with Bob Fosse. I mean, I've been around some, some very amazing people, and I observed them as closely as I could without being in their way. So being on the set itself, physically, was not was not intimidating at all. Speaking to the actors. No one was with the exception of that one little set-to with the actor that rewrote their lines, the actors were very, I didn't have to give many notes. But when I gave notes, I was surprised that not only were they well received, but they were well understood. Because I've been directed. I'm an I'm an actor that needs as strong a good hand as possible by a director. So, I've had many directors have to talk to me to get me to what they need to do. And there was like, just like maybe two or three times. Gabriel had so much to do, there were times where I had to, like, maybe guide him and another just a little nudge, and he liked to talk things out. He probably would have wanted to talk things out longer, but we just didn't have the time. That's just how he works. One of my actors would call me up at night, and just need to be stroked. And he's a good friend of mine. And I was able to do that. I had worked with him in a play and knew that that was something that he needed. And I was sincerely telling him how wonderful he was because he was and that was useful. The first scene in the movie with the veterinarian's assistant, I cast this woman I love this actress. Her name is Janine Serralles. I don't think she'd be embarrassed by this story. She was a student of my wife, my wife used to teach at Yale Drama School. And she was somebody that I was aware of her, and my wife cast her in a lot of plays. She came in with an interpretation that was completely and it was completely valid, but it was not what I wanted her to do. And I think I like said maybe two sentences to her. And she's such a great actress, she made the adjustment. And I surprised myself by being able to communicate that to her. But luckily, I had an actress that could take it, you know, take it in and make that quick adjustment. So, I cast the film with such fine actors, that I didn't have to tell them too much. But when I did, they got it. JOHN GASPARD 14:20 Right. Did you have rehearsal time away from the set? Or was it just like, like a TV show where you just show up and block and rehearse? LEE WILKOF 14:28 We did read through the movie for about four hours, I think a couple days before we started shooting. And we talked it through and we would rehearse on the set. But my DP, my wonderful young DP, named Brian Lannon. He was he was 26 years old. I met him I had done a couple episodes of a show called High Maintenance. And he was the DP and I loved what I saw. And I hired him and he and his crew were a little, I have to say this, and I think he knows is they were a little slow. Andnd they were slow because they were, you know, immaculate with, with their setting up. But we had a little more time sometimes than I wanted. So, we were able to rehearse. And the actors, all the actors, the first nine days of the shoot, were in the lounge set that we built the Actors Equity lounge, and the actors would be in a holding area, and they would work on the stuff while I was on the set, you know, getting things set up. JOHN GASPARD 15:40 Was that the only set you built? LEE WILKOF 15:41 We built I think we built another set. I believe you are required to build a set on certain sound stages that are designated by the state in order to get your tax credit. So, we were required to build a set. It was one of the plays that was getting done. We could have found a theatre to do it at, but it was the one that was most easy to build. So, we built that, we had some raw space down in Wall Street. And that's where we built the Actors Equity lounge. And then we built one other set for the two-hander play that Lester attends. JOHN GASPARD 16:35 The lounge set is terrific. It looks, I thought oh, yeah, it's you're actually on location. LEE WILKOF 16:41 Yeah, we wanted to use the real Actors Equity lounge, but it was in a state of transition, it was finally being renovated. And it just timewise we couldn't use it. But luckily, I had a friend of mine is one of the, I think I know most of the officers there. My friend is a vice president and they were really helpful. But I had a young production designer Maki Takenouchi. And she put that together in three days. It was the last location that we found. It was the most crucial location, it was driving us insane, that we couldn't find the space we liked. But we finally settled on this. And they threw it together. And I don't mean throw it together. They put it together in three days, her and her crew. And it really was effective. JOHN GASPARD 17:35 How many days did you have to shoot overall? You said you spent nine days in the lounge? LEE WILKOF 17:40 I believe it was either 24 or 25 days. And I wanted to read I had a scene that I wanted to end the film with that I wanted to add, and we would have had to have a day of shooting but we just didn't have it in the budget. There's nothing that I miss. JOHN GASPARD 18:04 Okay. Was it always planned that the character of Herschel would narrate the story? LEE WILKOF 18:11 No. JOHN GASPARD 18:12 At what point did you decide to include that? LEE WILKOF 18:15 When certain people thought it would be a good idea. JOHN GASPARD 18:19 Okay. I'll move on. LEE WILKOF 18:25 Some people weren't as comfortable with silence as I was. So, some compromises were made to be perfectly blunt. I'm assuming you wisely got it that it was added on. I believe film works with it. And I believe the film would have worked without it. JOHN GASPARD 18:41 And that's exactly what I'm feeling to it. It certainly didn't hurt, it kind of it filled in some gaps. But it didn't feel to me like when you sat down to write at the very first thing you thought was, okay, I'm going to have this character narrate it LEE WILKOF 18:58 No. But it was I've had people that watch the film like it, and people go, Yeah, you don't need it. Okay, I'm glad you know, I feel fine about it either way. It is. It's what we have. JOHN GASPARD 19:13 Yeah. Do you want to talk about the Kickstarter campaign and... LEE WILKOF 19:18 It was not successful. I'm assuming you know that. It was very highly, highly ambitious. I think it was, uh, if memory serves me, it was like $450,000, which is a ton of money for a Kickstarter campaign. And we did nicely, but we didn't succeed. I think we got close to $200,000, which is very, I was, I was, I was touched by all the generosity, but it didn't work out. But because of the Kickstarter campaign, certain people became aware of the film. And then were able to communicate their knowledge of the film to some other people that came aboard and invested in the film. So, the Kickstarter campaign had value. Also, I did circle back to some people on the Kickstarter that had that had committed money to the Kickstarter campaign and said to them, would you still be willing to, to help me out? I'm not going to give the same kind of perks. But if you can give me, if you can help, a couple people got associate producer credits, everybody got their name in the credits, everybody got a video, no matter what the level, so that was helpful. But it was not the amount of money that, I didn't go to back to everybody. I just was like, at that point, I had had my hand out for so long, I couldn't go, like with my hand out to every single person. That was more stressful than making the movie. JOHN GASPARD 21:04 So, I was going to ask, what advice would you give to someone who is considering Kickstarter now that you've tried to get that and then end up going with more traditional investors? LEE WILKOF 21:14 I would say don't ask for so much money. But don't go nuts with the, with the perks. People are really, I don't believe, giving you, being generous for little rewards. Or I don't mean to belittle the rewards, but they're doing it out of the kindness of their, you know, belief in you. Some guys I know, did a Kickstarter campaign to do in a documentary film about something to do about my hometown. And they did I think, a 40-day campaign, and I said, Don't do it, it's too long, and you'll have like a nervous breakdown. And they did it and they raised the money. So, what the hell do I know? JOHN GASPARD 21:58 I noticed that you had Ann Roth credited for a special custom consultant. What? What way did she help you guys out? LEE WILKOF 22:08 Ann Roth is as to me, she's, you know, the premier costume designer of the second part of the 20th century, Edith Head and then Ann Roth into the 21st century. I had worked with Anne on a couple plays. I did The Odd Couple with Nathan Lane on Broadway and Ann designed that. But we had a very nice, warm relationship. And I told her, someday I'm going to direct a film and I want you to be the costume designer, and then she would if she could. And then as it turned out, she agreed to and then she got busy. And another lovely woman that works in her with her, became the costume designer. Michelle Matlin who did a great job. But Ann specifically worked with, because she's done so many shows with Nathan, they work together on his look, and Gabriel's look. And I said to her, I hope you know, I hope this is not a diss to Michelle and I don't believe it was, but I would like I would like you and to give you some sort of credit. You're Ann Roth. I mean, it's and she said whatever you want to give me. So, we gave her that title. JOHN GASPARD 23:41 As you were editing the movie, I know you've you were very in from the beginning on the writing and then I've obviously there for the directing. What was your process for finding the movie in the editing? How, how precious were things to you? How willing were you to move things around or change? LEE WILKOF 23:58 That is a very, we're opening. We're opening a very interesting can of worms. Editing was the most difficult part of the process for me. I'd never been in an editing room. My editor and I, I think sometimes we didn't see eye to eye. And I didn't really sometimes know how to communicate what I wanted. The producers got involved in the editing room. I mean, the you know, the money people, were not thrilled with the editing. And we brought on another supervising editor. And it got a little more complicated. And I was doing a play at the time. And the editor was the supervising editor was doing some editing out in California while I was in New York. And there were some ideas that were had, that I did not agree with. And there are some things in the film... Boy, I'm just opening a can of worms. JOHN GASPARD 25:12 There's open it as far as willing to open it. LEE WILKOF 25:18 There are some things in the film that it was it was suggested that we edit it a different way. And I was adamant not to. And, and those things are in the film. And there's a few things that were not my idea. And that I learned to live with. Ultimately, we ended up with I think, a pretty damn well edited film. It was a somewhat of a difficult journey, the post production, I think, where we got in, I think, I probably got us into a little bit of a little bit of jams, because I didn't do the sometimes the coverage I should have done. Yeah, if I had the opportunity, if I get the opportunity to do it again, I will. I've learned I learned a ton from that. That's where I learned the most, what I needed for the editing room. JOHN GASPARD 26:22 So, there's two questions I always ask at the end, do with these what you will. The first question is two part: what's the smartest thing you did during production? And what was the dumbest thing you think you did? LEE WILKOF 26:36 The smartest thing I did was getting Nathan and Gabriel on board, deciding when Maury wasn't available to get Nathan, and not saying, I don't think Gabriel Byrne. And the stupidest thing I'm not going to say. I won't. JOHN GASPARD 27:00 But you learned from it. LEE WILKOF 27:01 I learned from it. I learned from it. And that's all I can say. JOHN GASPARD 27:07 So, are you going to do this again? LEE WILKOF 27:10 I'm really getting itchy to do it. There's another script that I wrote with the same young man, it's called Teenage Waistband. And it's about growing up in Canton, Ohio my junior, sophomore year high school. Was at a junior? In late 60s in Canton, Ohio, it's period and it would cost a fair amount of money. I'd love to do it. But I wouldn't want to do it under the certain same circumstances. I don't want to do it. I don't want to put my hat in my hand and have to go ask a zillion people for, you know, $1,000 here and there. So, I don't know. But I hope to do it again. I'm trying to figure out what to do next. JOHN GASPARD 27:59 Before I could let him go. Lee was kind enough to spend a few minutes talking about two early-stage successes, Sondheim's Assassins, and the original off-Broadway production of Little Shop of Horrors. So, I had a couple questions for you about just that whole experience, because having talked to Roger Corman about the movie, the original movie. LEE WILKOF 28:18 Yeah, I did it in Los Angeles and met him That was thrilling. Actually, opening night in Los Angeles, Roger came, Jackie Joseph came who played Audrey, and I forget the guy's name. Yes. I forget his name. Anyhow, anyhow, what do you want to know? JOHN GASPARD 28:38 Well, Corman was so, I tell the story all the time to filmmakers, because he was he's a great interview. He's an engineer, and he speaks like an engineer and perfect sentences. And I had 20 minutes and I had to talk about five movies with him, because I was doing five different. And I asked him, I said, So you shot a little shop in three days? And he said, Well, technically, yes. But there was some pickups. I had the actors for five days, and we rehearsed for three and shot for two. And that's what I tell people all the time is you think you think rehearsal is not important? The cheapest man in the world, spent three days rehearsing. And then he said, I shot it with two cameras. He said it really was more of a stunt. I've never do that sort of thing again. But how did you get involved in that project? LEE WILKOF 29:25 I could go on for hours. Anyway, I grew up in Cleveland. I grew up in Canton, Ohio. This is a little background because you just talked about the film, grew up in Canton, Ohio, on Friday nights. In the late 50s. Early 60s There was a guy that did the horror movies. His name was Ghoulardi his name, Ernie Anderson. His son is Paul Thomas Anderson. If you see Paul Thomas Anderson's films called Ghoulardi films. And he showed horror movies. One of our favourites, we would have like sleepovers with you know, 12 year old boys and we'd stay up late and watch. And one of our favourites was always Little Shop of Horrors, the original Little Shop of Horrors. So, I grew up knowing it, loving it, being, just thinking it was amazing. Didn't know when I was a kid that it was shot in three days, but it was primitive. You know, it was great. It's crazy. It's one of those movies. It's so bad that it's great. It's brilliant. It's not bad movie. It's just production values when you look at it now, of course, two days, you know, the scene with Jack Nicholson, this that fell over and they stopped shooting this. So anyway, okay, I was familiar with it. I did a play in New York. The play with Maury Chaykin and I met our stage manager, who had a girlfriend who was a casting director. And I knew them personally. I moved to California a few years after doing that first play in New York, and I was pursuing my Hollywood, that pursuit, working sporadically and playing nerds on TV. And I got a call from this woman. The woman who was the girlfriend of my stage manager. We're doing a musical written by Alan Menken and Howard Ashman, and I knew Alan Menken from a revue I did in in New York before I moved to California. And it's called Little Shop of Horrors. I said, I know this, I know Little Shop of Horrors. I grew up watching it, somebody's turned it in to a musical. That's amazing. So, I was very excited. I flew myself into New York. And I was auditioning for the role of the dentist for some reason or another and I , in those days, when I was in California, I was I was I was wearing I was trying to get jobs with wearing a toupee. I was bald when I was 17. And I walked into the audition. And Alan Menken knew me from this revue that I did as bald and he started laughing, and I got so embarrassed, I tore off my toupee. And Howard Ashman said, You are not a dentist, you're Seymour, you're you know, you're a potential Seymour. So, I auditioned for the role. And it, I got a call back the next day. And it was between me—this is a story I've heard years later—but the story was it came down to me and another actor. Nathan Lane, between me and Nathan and Howard Ashman had an assistant, a young woman who suggested to him that I was probably a better fit, for one reason or another. And she is my wife. I married her, I met her on the show, and married her. Her name Connie Grappo. She subsequently directed it all over the world. And so, I played Seymour. We opened it in New York, it was this tiny little show, I would take the flyers for it to people. And they would like, you know, look at me, like what the hell was this. And then, a month later, they were begging me for tickets, because it was such a huge hit. It was the hottest ticket in New York. And it was in a little 99 seat theatre, and then it moved off Broadway ran for five years, but I didn't do it for five years. I did it for like six months, and then six months in Los Angeles, where it didn't do so well. And then I fille in over the years for different Seymour's that would go on vacations. So that was that. My wife directed it all over the world. And then there was a production in Florida that was Broadway bound about 12 or 15 years ago, and I played Mr. Mushnik in that. So I have played Mr. Mushnik. But I did not come. It came to Broadway but I did not come in with it for all sorts of different reasons. But I would like to play this. I'm certainly old enough. JOHN GASPARD 34:38 Yes. It's finally time. LEE WILKOF 34:44 It was 35 years ago, it was just about now. We were in rehearsal. 35 years ago, we opened the end of April or the beginning of May in 1982. And it was you know very, it was very profound for my career. Because it was a huge hit. And it got me. You know, people came to see it. And I met my wife on it. So it was it was very significant. You know, people say to me, what's your favourite thing you've ever done? And they all think I'm going to say Little Shop of Horrors. And it's Assassins. Assassins is, is the greatest experience I ever had. It was not a huge smash hit. But I was, you know, I was in A Sondheim musical, which is a gift that I got. And the cast. I loved the cast. And for me a lot of doing it any show is who I'm doing it with. Of course, you know, the material is really important, but I, it was just a great cast. And the part was really challenging. I think that was a show like the director didn't know what the hell to help me do and I was kind of on my own and I kind of, thank God, found my way.I don't have a lot of stories except we did the album. Nowadays you do a cast album, you do it in like, you get one take. On Assassins, we had three days. And the first number up was the number that I had the most singing. My character really did monologues and didn't sing. I played this guy Sam Bick, who tried to kill Richard Nixon by crashing an airplane into the White House. He was shot in the cockpit. But anyhow, he did these like rants. He did these taped rants. But I had the song that I had to sing and it was the first number up and I was nervous and I was tight. And Steve Sondheim had a broken ankle so he couldn't come in like to the studio. He was in the in the control room. And I was I was just struggling with it. I came in during a break to hear it and Steve Sondheim said to me, yeah, it's tough for you guys that can't sing. And, you know, I wanted to disappear. But we finally got it. They told me to try to sound like Jack Nicholson. And I think it's who I tried to sound like.And then years later I did another thing with Steve Sondheim, this workshop of thing called The Frogs. And I did have a number and I sang. And he forgot that he told me I couldn't sing and he was very complimentary. So, in the presence of him was just like, the most intimidating, the most. It was, it was thrilling, but he's very intense. It was just a great experience. My greatest joy and the thing that I cherish the most. [SOUND CLIP FROM LITTLE SHOP] JOHN GASPARD 38:20 Thanks to Lee Wilkof—heard here performing my favourite song from Little Shop of Horrors, Mushnik and Son—for taking the time to talk to me about his movie, “No Pay Nudity,” which is available now for home viewing. I recommend that you track it down. If you liked this interview, you can find lots more just like it on the Fast Cheap Movie Thoughts blog. Plus more interviews can be found in my books, Fast, Cheap And Under Control:Lessons Learned From The Greatest Low Budget Movies Of All Time, and its companion book of interviews with screenwriters, called Fast, Cheap And Written That Way. Both books can be found on Amazon, Barnes and Noble, Kobo, Google, and Apple books. And while you're there, check out my mystery series of novels about magician Eli Marks and the scrapes he gets into. The entire series starting with The Ambitious Card can be found in paperback hardcover eBook and audiobook formats. Well, that's it for episode 103 of the occasional film podcast. Produced at Grass Lake Studios. Original Music by Andy Morantz. Thanks for tuning in, and we'll see you occasionally.

Bill speaks to author and magazine publisher/editor Michael J. Weldon about his many endeavors, from drumming with Cleveland proto-punk act Mirrors and reviewing movies for Cle, to Psychotronic, his photocopied, hand-written fanzine that lead to books like the influential PSYCHOTRONIC ENCYCLOPEDIA OF FILM, the long-running PSYCHOTRONIC VIDEO magazine, calendars, film festivals and the Psychotronic store he manages today.  Other topics include Ghoulardi, Roger Corman, hypnotism, Diane Keaton's HEAVEN, Club 57, Johnny Ramone, cattle call auditions for GHETTO FREAKS, childhood filmmaking efforts, Alfred Sole, research methods, 42nd Street theatres, THE HYPNOTIC EYE and being killed over and over by Dr. Butcher, M.D. Visit Psychotronic.com:http://psychotronic.com Read old issues of Psychotronic Video Magazine:https://archive.org/details/psychotronic Watch a Psychotronic tour of 42nd Street:https://www.youtube.com/watch?v=UTNAE82werw Kurt Loder plugs Psychotronic on MTV:https://www.youtube.com/watch?v=M--jNfflu8M Hear Michael Weldon's band Mirrors:https://www.youtube.com/watch?v=ENw6co2BUc4 Buy THESE FISTS BREAK BRICKS:https://mondoshop.com/products/these-fists-break-bricks Buy: DO YOU BELIEVE IN SWEDISH SIN? SWEDISH EXPLOITATION FILM POSTERS 1951-1984: https://www.amazon.com/Believe-Swedish-Exploitation-Posters-1951-1984/dp/9198677209

Joe Simon- Come Back Home (1974) I have to play you a Joe Simon song that was used as a sample for a VERY famous Hip Hop song. Not many people know.  Helen Reddy - I Am Woman (1971) The original, superior (to my ears) version. She has appeared on my show singing in ads for cigarettes in Australia, as well as later misses like "Handsome Dudes." Barbara, The Grey Witch - Witch's Love Song (1971) Obituary Barbara Roehrs, also known as Barbara the Gray Witch of Raven House, passed away on Wednesday, June 30, 2021, at Healthwin in South Bend, IN, after suffering the long-term effects of a stroke. She was born Barbara Ann Hostetler on May 9, 1944, in South Bend. She was the youngest child to John and Anna May Hostetler, both of whom preceded her in death. Barbara was a talented and accomplished artist. She was a larger-than-life personality and public figure. She hosted a U93 radio show and appeared yearly at the Niles Haunted House. She was a beloved friend and counselor to many and had a large and loyal following. She was an animal lover. She loved spending time with her dogs – especially her beloved ‘familiar,' Gabby. She also loved back road adventures in her Volkswagen Beetle, meeting new people, and seeing new places. She loved fishing and having a good time. The family would like to extend a thank-you to the Heart to Heart Hospice team and the healthcare workers at Healthwin for caring for Barbara so well.   So for my money, the best band of the 1965-1980 period was the band that David Bowie assembled for his Station To Station/Low/"Heroes"/Lodger/Stage phase. They were loose and tight. Funky and capable. With him as a singer, there's no way the band could lose. But these dudes were special. Carlos Alomar, Dennis Davis, and George Murray. Robert Fripp and Adrian Belew functioned at a right-angle in the proceedings, but that, too, made the ensemble special. I rank them higher than Led Zeppelin for their harmonies, Bowie's lyrics, and just the bravery. Higher (ever so slightly) than The Beatles for their live performances, and the fact that their music was really one guy showing up with an unfinished idea and the band using the ideas as clay. They could jam but they never recorded anything that wasn't precise and good fun.  David Bowie - Fashion (1980) David Bowie - It's No Game (1980) David Bowie • Station To Station (Live) (1978) Children of the Night - Dracula's Undying Love (1976) This collection of 1970's "Rock & Roll" songs tells the story of a big party at Count Dracula's house. The between-song skits have a pretty cut-rate vibe throughout (Dracula sounds remarkably like Dan Ackroyd doing his SNL Yortuk Festrunk "Wild & Crazy Guy" character, The Mummy introduces himself with the lyrics to the Bob McFadden & Dor single "The Mummy")... Count Lorry & The Biters - Frankenstein Stomp (1974) David Bowie - “Heroes” (Live) (1978) Electric Food - Nosferatu (1970) German heavy prog rock band which included all Lucifer's Friend musicians except John Lawton. You know who John Lawton was. He was in Les Humphries Singers! Sang their biggest hit, "Mama Loo" and enjoyed a stint with Uriah Heep.  Dick (Ghoulardy) Knight - His Ghoul (1973) By the time this single was released, the name "Ghoulardi" was owned by Storer Broadcasting out of Cleveland, OH. Hence the different name. Go here to read about Ghoulardi, a story that could never happen now. You can see the "T.K. Productions" on the bottom of the label here. Read their story. You wouldn't know it from this but T.K. ended up owning the charts in the late '70s. The part The Bee Gees didn't devour, that is.  Iggy Pop - Sister Midnight (1977) Jimmie John - What Happens When We Die? (1964) Jo Banks and the Soul Train - The Toy Shop Killer (1979)  David Bowie - What In The World (Live) (1978) Johnny Fever - Zombie (1967) Mickey and His Mice - Cracker Jack (1970) Discogs: Wilfred "Mickey" Fields was a saxophonist from the Baltimore area, a local legend who refused to play outside his Baltimore area, although he was invited several times to take the road for tours with many famous bands. He is recognized as one of Baltimore's best-known jazz saxophonists and has mentored many other jazz musicians, including Paul H Brown. Mickey created the "Monday Night Jam Session" at Sportsman's Lounge, allowing many young jazz musicians to perform. He was also known for his constant encouragement of young artists. Fields began his career with the blues jump band The Tilters. As a solo artist, he recorded on Atlantic Records and Groove Merchant. Howard Earl Washington, a Baltimore area jazz drummer, was another member of the Tilters. The Tilters played for the great Ethel Ennis. Fields then recorded several songs with his group "Mickey And His Mice", entitled "Cracker Jack", known as one of the 100 most funky titles ever created and the popular "Little Green Apples". He then recorded an album with the great Richard "Groove" Holmes, for the label Edmar (New Jersey). Fields also played with his talented sister, Shirley Fields, who has been a singer for many years and who has also played an important role in the Baltimore Jazz Company. Monsters - Transylvania Disco Hustle (1977) Produced by the same guy that produced "Dracula's Undying Love." In fact, three of the guys that played on that record played on this!  Screen Idols - Blind Man (1979) Notable for the presence of one Woody Woodmansey, ex-Spiders From Mars drummer. Right after Woody Woodmansey's U-Boat. 

A break from the usual themes for the Halloween season: the second part of our survey of 40 years of  Horror hosts, this time the hosts of the 1960s and a couple years of the '70s. Included in this installment: Morgus the Magnificent, Sammy Terry, Chilly Billy Cardille, Ghoulardi, The Vegas Vampire, The Cool Ghoul, … Read More Read More The post Horror Hosts, Part Two appeared first on Bone and Sickle.

The boys swirl around Sandler's critical turning point, Punch-Drunk Love. They talk PTA, Shoot the Piano Player, their thesis, Ghoulardi, Comedy in a different font, Surrealism, idealized himbos, Ben gets lost in the sauce, persona, & the Safdies. Links: The Cast & Crew of Punch-Drunk at Cannes Sandler & PTA in a brief Q&A Adam Nayman's MasterworksErnie Anderson as "Ghoulardi"Anderson on WTF  — Keep up with the show on twitter or instagram @sandtrappod, dm us there or email us at yabbayew@gmail.com  Hosts  Ben Kasl (instagram @ben.kasl)  Jeffrey Lehman (twitter @Dostojeffsky)  Cover Art  Madeline Horwath (instagram @madelinehorwath) Buy their merch here 

A 2013 Interview with broadcasting legend Jim Szymanski. Jim discusses how he got his start in radio and how he ended up working with Ghoulardi. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/planet-chaos/message Support this podcast: https://anchor.fm/planet-chaos/support

A Professional gambler teaches a protégé the tricks of the trade and all goes well until a dark secret surfaces to threaten all of their lives. Tune in as Chris talks up ribs, Ghoulardi, & character studies as the LSCE screens P.T.Anderson’s inaugural work 1996’s “Hard Eight.” Roll it! Check us out at www.LSCEP.com Subscribe, Like, & Review. Did you know we are on Amazon Music Now? I KNOW! Awesome, right? https://music.amazon.com/podcasts/c60fbdef-49de-4256-8d29-c5c0d0a4626d/I-Saw-It-On-Linden-Street --- Send in a voice message: https://anchor.fm/lsce/message

On this episode we review the horror film Come Play. Other films covered include The Black Cat, The Ring, Turn Blue: The Short Life of Ghoulardi, Memories of Murder, The Mortuary Collection, Invaders from Mars, and The Burbs! The video version of our podcast is up on Bruce Purkey's Rustomire Channel.  For more movie talk, join our CinemAddicts Facebook Group and follow/like Find Your Film on Facebook.

Leigh and Brittany conclude their History Of Horror Hosts with a BANG!  Horror hosts come in all shapes, sizes, and figures.  Todays profiles include a few Ghoulardi successors, and a sexy diva known world round.--------------Theme song BBQ MANIAC written and performed by John Brennan used with permission, you can listen and purchase Johns music at https://shopjb.bandcamp.com/ ---------------------contact us on twitter, Facebook, Instagram, and on the web at https://nightofthehorrorphile.com/ PEACE LOVE & HORROR

September 20-26, 1997 Today Ken welcomes old friend, frame-maker and comedian Ryan Douglass to the show. Ken and Ryan discuss bible eating, book stores, the last time Ken saw Ryan, Princess Di, all the places Ryan has lived, Home Improvement, The New People, Baywatch, Elton John, TV Movies, Unicorn Sculptures, Lance Burton, COPS, the Walsh Brothers, Early Edition, Chicago, Short Circuit, Bullit, Superbowl, Sister Wendy, Catholic Television, bad Notre Dame tattoos, Dave Thomas, Grace Under Fire, confusing Suddenly Susan, Veronica's Closet and Just Shoot Me, Cybill, Billy Corgan, Ryan meeting Smashing Pumpkins, Ghoulardi, Svengoulie, CHUD, Newradio, Lovitz replacing Phil Hartman, Spin City, The Tony Danza Show, High School football, Ellen, The Drew Carey Show, Party of Five, Empire Records, Hi-Fidelity, Riders of the Purple Sage, TNN, The Country Music Awards, Ryan's 7th Grade Reading Teacher's band, Sabrina, Salem the Cat, The Newbury St. Newbury Comics, Condom World, trying to figure out George Clooney's break out movie role, Meego, Teen Angel, Manhunter, Millennium, switching Networks, priests, Cracker, southern accents, Football injuries, Kathy Lee's unseemly promotion, people named Wes, and a glowing tribute to Brendan Tartikof.

On this edition of Parallax Views, we continue to celebrate Halloween and the spooky season by diving into the world of television horror hosts. The character of the horror host has been a part of pop culture since the days of spook shows and radio, but have become a staple of late night television since the 1950s. Hosts like the buxom Vampira, the beatnik Ghoulardi, "The Cool Ghoul" Zacherley, the unrepentant redneck Joe Bob Briggs, the humorously sexy Elvira, and the currently nationally-syndicated Svengoolie have acted as guides for audiences wanting to embark into the world of the strange, uncanny, and often cheesy. Vampira, one of the earliest television horror hosts Joe Bob Briggs hosting "The Last Drive-In" The alluring Elvira, Mistress of the Dark Long-time host Svengoolie is now nationally-syndicated on MeTV Mr. Lobo and his houseplant sidekick Miss Mittents host strange movies somewhere in "The Void" for the long-running Cinema Insomnia Joining us to discuss the world of horror hosts, and their often unspoken countercultural heritage, is Mr. Lobo of Cinema Insomnia and the streaming service OSI 74 (Outer Space International 74). His motto is, "They're not bad movie, just misunderstood." Alongside hosts like Joe Bob Briggs on Shudder and Svengoolie on MeTV, Mr. Lobo is likely one of the most high-profile horror hosts in America today. In addition to hosting outre movies on Cinema Insomnia for a whopping 18 seasons (and still going!), Mr. Lobo has also made multiple appearances on Coast to Coast AM w/ George Noory, starred as "Criswell" in John Johnston's Plan 9 (a loving homage/reimagining of Ed Wood's notorious Plan 9 from Outer Space), and designed the title animation for Jenn Wexler's inventive 2018 neo-slasher The Ranger. Oh, and he's also a card-carrying member of the "religion" known as the Church of the Subgenius! Mr. Lobo stars as the foul-mouthed "Criswell" in John Johnson's PLAN 9, a reimagining of Ed Wood's notorious Plan 9 from Outer Space Mr. Lobo and I have a conversation covering all these bases from the history of horror hosts to his appearance in Plan 9 and work on The Ranger. Additionally, Mr. Lobo fills listeners in on how a houseplant became his movie hosting sidekick in Cinema Insomnia, the concept behind his character and the setting of "The Void", the subversive aspects of his show such as cutting jokes about copyright laws, his free streaming service OSI 74, and working with Sleazy P. Martini of the heavy metal band GWAR! GWAR's Sleazy P. Martini hosts Sleazy Pictures After Dark on OSI 74 All that and more on this edition of Parallax Views! WATCH OSI 74 ON ROKU! CHECK OUT MR. LOBO'SNEW SERIES OFCINEMA INSOMNIA DVDsAVAILABLE FORM ALPHA VIDEO SUPPORT PARALLAX VIEWS ON PATREON! WHERE YOU CAN HEAR... PARALLAX VIEWSTHE WEEK THAT WASCURRENT EVENTSPROGRAM

Joseph Dufresne, creator of local horror-host extraordinaire Uncle Eerie Lee Shivers, joined us to talk about horror hosts, GuignolFest, Halloween horror movie favorites, and Mark Polonia's HALLOWEENIGHT from 2009. UNCLE EERIE: SHIVER SHOW Facebook YouTube GuignolFest2019

Ignore the fact that i say this is symptom 130, it is 129. This week is a dual review, first we review the 1967 disaster They Came From Beyond Space, but we are also reviewing Horror Hotel - a syndicated “Horror Host” show hosted by Lamia, Queen of the Dark. The movie is horrendous. I wouldn’t try to figure out what is going on because I am not sure the writers knew. Aliens invade Cornwall England, because. They have mind control powers and one scientist is immune. The aliens need humans to build them a spaceship to get home. Dr. Temple tells the “Master of the Moon” they didn’t need to enslave Earth but just ask. A handshake later and the movie ends…Horror Hotel on the other hand is great. Lamia continues the great tradition of Horror Hosts in the tradition of an Elvira or Vampira or even Ghoulardi. She gives factoids about the movie and its production as well as mixing in fun bits during breaks in the film. So give Horror Hotel a look and check it out.

A tribute and exploration of television horror show hosts!(Licensed through ASCAP, BMI, and SESAC)Number6Show - S02E29 - Shock Theater

Alison Arngrim has returned to discuss all types of things about her Podcast, her career and even answers some listener questions.  I hope you enjoy this episode which was recorded on October 8, 2019! You can learn all about Alison Arngrim at her website, http://bonnetheads.com Alison's Podcast, The Alison Arngrim Show can be found almost anywhere online but here are a couple links to get you started https://www.ubngo.com/alisonarngrim https://www.spreaker.com/show/the-alison-arngrim-show If you happen to be in Ohio and want to check out GHOULARDIFEST that Alison is appearing in this weekend (OCT 11-13) please visit https://www.theghoulardifest.com/ All about Ghoulardi! https://en.wikipedia.org/wiki/Ghoulardi Watch Hush Hush, Nellie Oleson! https://www.amazon.com/Hush-Nellie-Oleson-Alison-Arngrim/dp/B07V5XCL9B If you would like to hear more from Mark head over the http://www.vhsrewind.com or subscribe to his podcast by clicking here The opening song "Albert" is written and performed by the amazing Norwegian band, Project Brundlefly and is used with permission. Check them out at: https://www.facebook.com/ProjectBrundlefly

Drew Carey was in a bad place. After losing his dad at a young age, suffering through anxiety and depression in high school, confused by the pressures of religion, Drew made a rash decision when he was in college. But it was comedy that pulled him out of the abyss. Drew tells Marc how he figured it all out, plus some talk about Cleveland (The Indians! Ghoulardi! The Cuyahoga River Fire!) and why hosting The Price is Right wound up being the perfect job for him. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

Gilbert and Frank usher in Halloween 2017 with one of the last remaining TV horror hosts, Rich Koz, AKA "Svengoolie," who remembers some of his famous predecessors (Ghoulardi, Zacherle, Chilly Billy) and praises the stylishness and symbolism of the original Universal horror classics. Also, Fritz Feld gets hitched, Eddie Munster goes wild, Vampira takes Elvira to court and Mister Rogers meets the Wicked Witch of the West. PLUS: Count Floyd! "The Mummy's Curse"! Bela Lugosi gets hypnotized! Gilbert chokes the chicken! And the (arguably) craziest horror film ever made! Learn more about your ad choices. Visit megaphone.fm/adchoices

Vinyl-O-Matic Movie of the Month, Episode 7 The Color of Money Martin Scorsese, 1986 Episode corrections courtesy of The Lila Cugini: Paul Thomas Anderson was not married to Aimee Mann. Paul Thomas Anderson is married to Maya Rudolph. Aimee Mann is married to Michael Penn. Fun fact courtesy of Your Old Pal Will: Paul Thomas Anderson is the son of the great Ghoulardi (https://en.wikipedia.org/wiki/Ghoulardi). Music Behind the DJ: "Modern Blues" by Robbie Robertson and "Two Brothers and a Stranger" by Mark Knopfler. Cover image: Fast Eddie, Vincent, and Carmen. If you are a fan of podcast applications, you can use http://vinylomatic.com/rss to subscribe. If you enjoy listening to Vinyl-O-Matic, please consider becoming a member of KWTF (https://www.kwtf.net/donate/) or providing a one time donation. We are a small but growing radio station and could greatly use your assistance. Want to be the first to find out when new episodes are archived? Sign up for the Vinyl-O-Matic newsletter (http://vinylomatic.com/communique).

Summer Scare-A-Con Special! Today Ken speaks with legendary Exploitation movie scholar Joe Bob Briggs and the Mads of MST3k Trace Beaulieu and Frank Conniff. First up Ken talks to Joe Bob Briggs (TNT's Monstervision, Joe Bob's Drive In Theater). Ken and Joe Bob talk about the horrors of Springfield, classic sleazy neighborhoods, Help Reviews, being introduced to The Howling 7, anonymous oddities, Samurai Cop, Robert Z'Dar, Joe Bob's Media Blssters commentary tracks, the missteps of modern social media movie promotion, growing up in Texas/Tex-Arcana, Little Rock, going to a Drive-in as a family, Saturday Night at the Movies, The Three Stooges, terrifying children's TV show Slam Bang Theater, Ghoulardi's pyromania, Ernie Anderson, Zacherly, becoming a scholar of the un-scholarly, Roger Corman, the secret origin of the Drive In Totals, how The Intruder actually truly never lost money, mining talent, Angie Dickinson, putting TV actors in movies, little Ronny Howard, The Movie Channel, Robert Osborne, sitting on the Honeymooners set at the DuMont Network, Bette Davis, TNT's Monstervision, guesting on The Tonight Show, how WCW almost had the first gay wedding, post-pub TV, being popular in prisons, infomercials, the exciting emerging world of streaming networks, big money in TV sports, Variety Shows, the TV mini-series, and the impressive skill set of today's TV writers. Next up Ken chats with MST3k's Mads Trace Beaulieu (Crow, Dr. Clayton Forester) and Frank Conniff (TV's Frank). Ken, Trace and Frank talk the female McHale's Navy, watching things because they are on, network sign offs, the Patriotic nature of shutting down, terrifying PSA's, smoking in bed, memorizing TV shows, being a repository of information in the pre-internet age, Frank's guilty feelings of sneaking Garrison's Gorillas behind a curtain, the wonders of Color TV, Batman '66, the retirement of Lancelot Link: Secret Chimp, Sgt. Bilko, the genius of Nat Hiken, Latin lessons, ass learnin', shared experience leading to life long friends, SCTV, the continuity of MST3k, having to love the worst movies, The Mads tour, Rifftrax reunion, made for TV movies, Jack Davis, the wonders of Mad Magazine, and loving UK TV.

Is The Brain that Wouldn't Die a schlock classic or a treatise on unfettered male desire? Why not both? We're joined by Professor Kevin Heffernan, author of Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968.

We’re back! Did you miss us? We pay tribute to a rich tradition in the genre of horror – the horror host! From Zacherely to Ghoulardi, Vampira to Shock Theater. This episode celebrates the characters who helped us watch scary (and sometimes, horrible) movies. Featuring music from Duane Eddy, The Creeping Cruds, Zachereley, Monster Trux,... The post Episode 18 – Hail the Horror Host appeared first on Six Foot Plus.

We’re back! Did you miss us? We pay tribute to a rich tradition in the genre of horror – the horror host! From Zacherely to Ghoulardi, Vampira to Shock Theater. This episode celebrates the characters who helped us watch scary (and sometimes, horrible) movies. Featuring music from Duane Eddy, The Creeping Cruds, Zachereley, Monster Trux,... The post Episode 18 – Hail the Horror Host appeared first on Six Foot Plus.

The Ghoulardi Show! (Originally broadcast on 8 October 2011 on KPSU, re-aired in 2015, and as “#19.2” in 2016.) I have to admit, I am not cool enough to have known about Ghoulardi until only a few years ago.  As a Cramps fan, this may seem unusual, but with so much on my radar when I … Continue reading The Ghoulardi Show!