Podcasts about Jack Nance

It's a fever dream, a dream about a fever, and a fever about a dream. On this episode, we're joined by guest and friend of the pod, Michael J. O'Connor as we talk about 1977's Eraserhead--the FIRST DAVID LYNCH FILM. We're talking strange babies (critters), tall hair, pipes all over town, and next door neighbors. Really, the episode defies a single explanation, just like its subject. Plus, we talk MouthGarf, play I See What You Did There, and have a damn fine time doing it too. Lastly, we bid a fond farewell-for-now to Chelsea... Thank you so much for being part of this show! We love you!Sources:https://www.max.com/movies/eraserhead/8aaa868f-34a4-4b00-aed1-ec6e3ce8bc66https://en.wikipedia.org/wiki/Eraserheadhttps://en.wikipedia.org/wiki/David_LynchPlease give us a 5 star rating on Apple Podcasts! Want to ask us a question? Talk to us! Email debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: First Roller Coaster 

David Lynch debuts fully formed with Eraserhead, starring Jack Nance, while Martin Scorsese makes a musical with Robert De Niro and Liza Minnelli.Apologies for the bad audio on this and the next episode, we ran into a technical difficulty.Connect with us:Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/Brad on Letterboxd: https://letterboxd.com/bradgaroon/Jake on Letterboxd: https://letterboxd.com/jake_ziegler/Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Somehow, David Lynch's film career arrived fully formed with the surreal black comedy, "Eraserhead." This episode kicks off our "Films of David Lynch" season. First, we discuss the man himself, and why we are so excited for this season, and then we get in deep with "Eraserhead." We discuss the history of the film, its long production, and its uphill battle to be finished. We then dive into the film giving our interpretations as well as cautioning over-explaining Lynch. We hop you enjoy this as much as we did making it.Thank you so much for listening!Created by Spike Alkire & Jake KelleyTheme Song by Breck McGoughFollow us on Instagram: @DoubleBillChillLetterboxd: FartsDomino44

Welcome back to purgatory!!! I like to remember things my own way...how I remember them...not necessarily the way they happened... This week we continue on with our deep dive into David Lynch's filmography with his film Lost Highway from 1997, David Lynch reteams with Barry Gifford (Wild at Heart) to co-write a nightmare on the highway, in your home, on tape and in your head. The film stars Bill Pullman, Patricia Arquette, Michael Massee, Robert Blake, Henry Rollins, Mink Sole, Belthazar Getty, Gary Busey, Lucy Butler, Richard Pryor, Robert Loggia and Jack Nance. Thanks for checkin out, you can find our back catalog on Podbean.com and where all other podcasts are found. Intro track "Videdrons;Questions" by Nine Inch Nails https://youtu.be/ji_BZmgB1OM?si=gtfI7xEwtGkZeWbp Outtro Track "Red Bats with Teeth" by Angelo Badalamenti https://youtu.be/k-e08eBbNv0?si=bjXDHl6ZCtUfyZqp  

Richard Green joins me this week to talk about his work and his latest documentary "I Know Catherine: The Log Lady". We also talk about his friendships with Catherine Coulson, Jack Nance & David Lynch, his role at The Magician in "Mulholland Drive", his film "7 Year Zig-Zag", and his multi-faceted career in theater, voice acting and more.   I Know Catherine: The Log Lady website & social media: https://iknowcatherine.com/ https://www.facebook.com/LogLadyFilm https://www.instagram.com/logladyfilm/   Richard Green on social media: https://www.facebook.com/profile.php?id=696202328 https://www.instagram.com/richardgreenactor/   Intro/Outro Song: "Give It The Time" by Richard Green (from the 7 Year Zig-Zag soundtrack)    

Welcome back to purgatory!!!  This whole world's wild at heart and weird on top. This week the boys continue their journey into David Lynch's cinematography with Wild At Heart from 1990. The film is written for the screen by David Lynch and based off of the novel by Barry Gifford. Join us as we hit the road with Sailor and Lula and experience terror, love, violence and chaos along the way. The film stars Nicolas Cage, Laura Dern, Williem Dafoe, J.E. Freeman, Crispin Glover, Diane Ladd, Calvin Lockhart, Isabella Rossellini, Harry Dean Stanton, Grace Zabriskie, Sherilyn Fenn, Jack Nance, Freddie Jones, Jack Nance and many, many more!!! Thanks for checkin us out, you can find our back catalog on Podbean.com and where all other podcasts are found. David Lynch Theme By Jeremy Mcfarlane Interview with David Lynch and actors from Wild At Heart https://youtu.be/l8wzPw6_jU8?si=v-H064WzOaWRT6el Intro track "Slaughterhouse" by Powermad https://youtu.be/O_4oVnCjSX0?si=CWHQabs1yJWECHsu Outro track "Im Abendrot" Gewandhausorchester Leipzig https://youtu.be/cxEnm38azc8?si=WWueWH819UP3Xhfy  

Welcome back to purgatory and come along with us as we continue our incredible down the David Lynch rabbit hole. This week we visit Lumberton, cross a field and find a severed ear, have a Papst Blue Ribbon down at The Slow Club and do the duck walk and join us as we walk what really below the surface of a small town in Blue Velvet from 1986. The film stars Isabella Rossellini, Dennis Hopper, Kyle Maclachlan, Laura Dern, Hope Lange, Dean Stockwell, George Dickerson, Priscilla Pointer, Frances Bay, Jack Harvey, Ken Stovitz, Brad Dourif and Jack Nance!!!! HENIEKEN!?!?!?! FUCK THAT SHIT!!!! IT'S PAPST BLUE RIBBON!!!! Thanks for checkin us out and coming along with as we visit David Lynch and his films. You can find our back catalog on Podbean.com and you can us everywhere else podcasts are found. Intro theme "David Lynch Theme" By Jeremy Mcfarlane Intro & Outro tracks by Angelo Badalamenti from the Blue Velvet soundtrack 1. Main Theme https://youtu.be/wxej6yUJv-E?si=4o4wSq0PsRrDoeSP 2. Night Streets/Sandy and Jeffrey https://youtu.be/GDGYT4scpLk?si=djAWui1vCXIdm74X  

Welcome back to purgatory!!!   This month we have decided to discuss and celebrate the works and life of the wonderful Mr. David Lynch, an incredible soul and a unique and valuable voice and eye of cinema. We hope you enjoy going down this road with us as we revisit and experience some of his films for the first time. We start off the month with Eraserhead from 1977 written and directed by Dvid Lynch. The film stars Jack Nance, Charlotte Stewart, Allen Joseph, Jeanne Bates, Judith Roberts, Laurel Near, Jack Fisk, Hal Landon Jr. Darwin Joston, T. Max Graham, Thomas Coulson and Jennifer Lynch. We hope everyone can go out and experience some of Mr. Lynch's incredible work. Thanks for checkin us out and if you want to find our back catalog go to Podbean.com and you can find us where all other podcasts are found. Intro "David Lynch Theme" by Jeremy Mcfarlane Outro "In Heaven (Lady in the radiator song) cover by The Pixies https://youtu.be/HOltKqJIIdM?si=maIYK51SsBd17uTX    

As soon as we heard the tragic news about David Lynch's death, we knew we had to do one of his films on Pop Screen. But which one? Most of Lynch's films feature some sort of musician cameo - and, to answer your next question, we've already done his version of Dune. But there's only one that caught the industrial, trip-hopping, nihilistic zeitgeist of the late '90s, and that's Lost Highway. Join Graham and Rob as they discuss Lost Highway's iconic soundtrack, featuring Trent Reznor, Rammstein, David Bowie and Barry Adamson. We also talk about its on-screen cameos from Henry Rollins, Marilyn Manson - come back! - as well as the cut one from Scott Ian, and the movie's other cut scenes and multiple enigmas. Plus chat about Jack Nance, The Straight Story, and everything we'll miss about the unique Eagle Scout from Missoula, Montana. Like the Man From Another Place says, let's rock! We recently failed to steal five hundred dollars from a sleazeball we accidentally killed with a glass coffee table, so we'd appreciate your support over on our Patreon. We're about to release an exclusive bonus episode on Masked and Anonymous, and we also post regular written reviews of The Twilight Zone, Red Dwarf, classic Asian genre cinema and The X-Files. Follow us on Instagram, Twitter and Facebook for more.

Forrest, Conan Neutron, Kristina Oakes, Kt Baldassaro, Marta Mcfly @mcflysmoviehouse and Rayyvana @RayyvanaPolitics discuss David Lynch's Lost Highway We planned this episode a couple months ago, before we obviously found out that David Lynch had passed. So, I'm sure we're going to talk about David Lynch in general during this episode, but it's not the reason we planned it!! Lost Highway is David Lynch's 1997 return to filmmaking after Twin Peaks and Twin Peak's Fire Walk With Me.. although Wild at Heart was also made during this time in 1990. After things didn't go as well as David Lynch hoped in the TV industry after Twin Peaks, he entered an even more surrealist and fascinating moment in his career.. with Lost Highway and then Mulholland Drive. Lost Highway stars Bill Pullman, Patricia Arquette, Balthazar Getty, Robert Blake, Gary Busey, Natasha Gregson Wagner, Robert Loggia, and with appearances by Richard Pryor, Giovanni Ribisi, Henry Rollins, Marilyn Manson and Twiggy Ramirez, Jack Nance, and Mink Stole. The music was worked on by Trent Reznor of Nine Inch Nails and has an insane mix including David Bowie, Lou Reed, Rammstein, Marilyn Manson, and the Smashing Pumpkins #davidlynch #Lynch #bluevelvet #mulhollanddrive #losthighway #twinpeaks #billpullman #podcast #moviepodcast #filmpodcast #patriciaarquette #marilynmanson #trentreznor #richardpryor #neonoir #noir #henryrollins #robertloggia #davidlynchweatherreport #balthazar #getty Watch KT Baldassaro & Jared Skolnick's Girl in the Basement: https://www.youtube.com/watch?v=mcn2Q57VXEQ Join our discord: https://discord.gg/NK3TMk63Pe The Movie Night Extravaganza Patreon helps us keep the show going.. become a Patron and support the show!! https://patreon.com/MovieNightExtra Conan Neutron has music available from Conan Neutron & The Secret Friends https://neutronfriends.bandcamp.com OR if you want to become a Protonic Reversal patron: https://patreon.com/protonicreversal

  Strap on your pointiest wig and get those fish in the percolator, because we're reviewing I Don't Know Jack (the 2002 Jack Nance documentary!). But first! But first! Parker tortures a brain-fogged Sean with a surprising popular quiz! Recorded and edited while fully infected with the novel Coronavirus! A true historical document of the times! Is it still Covid-19 when it's 2024? So #DonloydNow and enjoy this bite-sized Junk Food Supper. We got all this plus Sean's immunity finally fails him, Kevin's vax status and Defiant fandoms, does Art the Clown support Fauci?, the Screamers in the bushes, impressive dedication to spiderclowns, fair weather screamers, choking on violent murders at the cinemaplex, a very sad Surf Ranch update, Music League chats, Parker thinks Gerritt Graham is an actor who "made a lot of money", the Daredevil of cinematic soundscapes, belches, sneezes, gleeks and so much more!! Direct Donloyd Here Got a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION! Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll brave the Winchell's in Hollywood for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

Happy New Year!David Lynch. The Man, The Myth, The Dream.....? This week, Charlie and Antonio submerge into the surreal 1986 classic BLUE VELVET. A severed ear leads an unpredictable college student into the seedy underworld lying beneath middle-class American society. Truly, a mystery film like no other. Strap in, folks! Intro/outro music: "These Chains" by Mid-Air Thief BLUE VELVET (1986), USA, written and directed by David Lynch, cinematography by Frederick Elmes, featuring Kyle MacLachlan, Laura Dern, Isabella Rossellini, Dennis Hopper, Dean Stockwell, Brad Dourif, and Jack Nance

It's a weird episode and you find us all on your bed by the end.

“It is a personal film, and no reviewer, or critic, or viewer has ever given an interpretation that is my interpretation.”—David Lynch For the 15th Movie Roundtable here at TMR we welcome back our good friends Frank Johnson, Antony Rotunno and Mark Campbell for another four-way discussion, this time on David Lynch's cult surrealist "horror" film Eraserhead from 1977. Or is that perhaps not quite right? Each of us in the discussion loves the film Eraserhead (for various reasons), but I don't think any of us finds it exactly horrifying. Certainly, my reaction is more one of bemusement plus amusement, and the feeling that I'm a fly on the wall inside someone else's nightmare. So perhaps it would be better (for me) to call Eraserhead a "cult surrealist dark comedy nightmare film"? Or maybe that's not quite right either. Perhaps: a "cult surrealist nightmare-that-is-somehow-also-dark-comedy-without-ceasing-to-be-a-nightmare film"? That works for me, but I'd be just as happy to say that this film—which seems as strange today as when it first came out back in 1977—simply defies description. Join us as we discuss the film's production, ponder its meaning(s)—or lack thereof (?)—and consider what this "dream of dark and troubling things” might have to "say" to us today. [For show notes please visit https://themindrenewed.com]

"The years hadn't softened Moronie. He continued to murder the English language, and anyone who got in his way. " 1982 may be The Year of Living Dangerously, but 1984 is most definitely the year of living Johnny Dangerously! This movie inhabits a special place in the realms of comedy, parody classics of the '80s. And the creative license taken on curse words has lived a quiet life of infamy in small groups of immature males for the last 39 years. Here's a roll call of how deep the cast runs. Michael Keaton, Joe Piscopo, Danny Devito, Marilu Henner, Maureen Stapleton, Peter Boyle, Griffin Dunne, Dom DeLuise, Glenno so Connor, Ray Walston, Alan Hale junior, Dick Butkus , Jack Nance, Bob Eubanks, Taylor Negron, and Joe Flaherty. You'll have to trust me that there are many more after reading that aggravatingly long list. Had to slip an adverb in here somehow.

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Artist and podcaster Kayte Terry joins from Philadelphia to discuss David Lynch's 1990 Palme d'Or winner 'Wild at Heart' starring Nicolas Cage and Laura Dern as starcrossed lovers on the run in an oddball road movie that showcases the director at his most earnest and emotionally frank.We discuss what people get wrong about Lynch, his style and tone, and why pervasiveness of the the term "Lynchian" robs it of meaning. Next, we talk about the incredible ensemble that brings Lynch's romance to life, praising especially the brilliance of its leads Nicolas Cage and Laura Dern as well as supporting performers like Diane Ladd (Laura Dern's real life mother, who netted an Oscar nod for her work in the film) and Willem Dafoe as one of Lynch's most memorable villains. Finally, we key into the political textures of Lynch's career-long preoccupations, and how he interrogates the parameters of society, forcing us to conceive of existences liberated from the confines of the quotidian.Follow Kayte Terry on Twitter.Listen and Subscribe to Kayte's podcasts, Fangs For The Memories and Tender Subject.....Our theme song is "Mirror" by Chris Fish

Well, they said they'd get us in the end, and I guess they were right! We couldn't avoid those little beasties anymore, and decided to kick off our 80's flashback Shocktober with the oft-mentioned, but never fully discussed tiny creature feature Ghoulies!If you live in Los Angeles, you can get tix for your choice of TWO live shows at Vidiots on 10/19. And if you prefer watching us from the comfort of home, check out our season of streaming shows, FLOP TV!If you want to help out crew members and others affected by the SAG/AFTRA strike, you can Donate to the Entertainment Community Fund here.The Wikipedia page for GhouliesRecommended in this episode:No One Will Save You (2023)The Birdcage (1996)Late Autumn (1960)

What could be surreal about becoming a father? David Lynch explores this and the Fried Squirms are there to take it in as they watch ERASERHEAD. Support our Patreon! www.patreon.com/FriedSquirms Listen to more Fried Squirms at www.friedsquirms.com Check out all earVVyrm podcasts at www.earvvyrm.com Email us at squirmcast@gmail.com

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

Jackie and Greg visit the seemingly sleepy town of Lumberton for David Lynch's BLUE VELVET from 1986. Topics of discussion include the film's contrasting tone, the dream-world Norman Rockwell façade vs. the festering insects underneath, how it's maybe Lynch's most coherent vision, and where it fits in with the rest of his films.#69 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#85 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

We're hitting up some “Strange Love” themed movies this month and we got the second of our double dose of Nicolas Cage this week and it's also kind of an Elvis week because Sailor (Uncle Nic) just got out of jail and he and his girl Lula (Laura Dean) are in for a wild ride unless Lula's mother has her way. Yep, we're talking about David Lynch's adaptation of the Barry Gifford Neo noir novel “Wild at Heart”. It's called that, you see, because the whole world is wild at heart and weird on top. A fine example being Bobby Peru's mouth (Willem Dafoe). It's a violent road movie fever dream with some Wizard of Oz mixed in. A divisive flick when it came out but Harry Dean Stanton and Jack Nance are in it so I don't know what the haters are talking about. Subscribe to our Youtube: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact: MOVIEHUMPERS@gmail.com Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/moviehumpers

Easter is sure getting it's revenge on us with this one! Shot in 18 days and released straight to video to capitalize on the "occultsploitation" success of The Craft (1996) earlier that year, Little Witches holds the dubious honor of being the first feature with Clea Duvall and the last that Jack Nance shot. We won't insult you here by attempting a plot synopsis, you can watch the whole thing on youtube, should you dare. Make sure to bring some salt! +++++ Intro: by Professor Ping available on BandcampOutro: Coven performing Coven in Charing Cross --- Support this podcast: https://podcasters.spotify.com/pod/show/zandkmoviepod/support

Welcome to our podcast series from The Super Network and Pop4D called Tubi Tuesdays Podcast! This podcast series is focused on discovering and doing commentaries/watch a longs for films found on the free streaming service Tubi, at TubiTVYour hosts for Tubi Tuesdays are Super Marcey, ‘The Terrible Australian' Bede Jermyn and Prof. Batch (From Pop4D & Web Tales: A Spider-Man Podcast), will take turns each week picking a film to watch and most of them will be ones we haven't seen before.Hello and welcome to back to The Tubi Tuesdays Podcast with your hosts Super Marcey, Bede Jermyn and Prof. Batch! This week Marcey was put in charge of the Patreon Poll, the Patreons voted and decided that the crew needed some Hulkamania with The Secret Agent Club! Yes, Marcey does regret putting this on the poll ...The Secret Agent Club was directed by John Murlowski, it stars Hulk Hogan, Hulk Hogan's tupee, Matthew McCurley, Richard Moll, Lesley-Anne Down, Barry Bostwick, Edward Albert and Jack Nance.If you have never listened to a commentary before and want to watch the film along with the podcast, here is how it works. You simply need to grab a copy of the film or load it up on Tubi (you may need alcohol), and sync up the podcast audio with the film. We will tell you when to press and you follow along, it is that easy! Because we have watched the films on Tubi, it is a free service and there are ads, however we will give a warning when it comes up, so you can pause the film and provide time stamps to keep in sync.Highlights include:* Whatcha gonnnnnna do?* Hulk Hogan with a tupee ... yikes!* Hulk Hogan without a mustache ... more yikes!* Yes this is a stealth episode of The Wrestling Tapes ...* So Barry Bostwick and Jack Nance are in the nWo now.* So sorry there are a couple of technical issues ... pretend there aren't please :-)* Wait, there's a Not Louise Lasser?* Did Hogan get dookie?* Plus much, much more!Check out The Super Network on Patreon to gain early access to The Tubi Tuesdays Podcast as well as the video version!DISCLAIMER: This audio commentary isn't meant to be taken seriously, it is just a humourous look at a film. It is for entertainment purposes, we do not wish to offend anyone who worked on and in the film, we have respect for you all.Please Visit Our Sponsor For This Episode SurfShark VPNFor More http://linktr.ee/TheTubiTuesdaysPodcast Hosted on Acast. See acast.com/privacy for more information.

En este episodio conversamos sobre "Eraserhead" (Cabeza Borradora) de David Lynch, protagonizada por Jack Nance, Charlotte Stewart y Judith Roberts.

Get ready for weird with this week's Listener Takeover pick. This week's pick comes to us from Ricky, who is a good friend and contributor to the show. The gang reviews 1977's Eraserhead. We can summarize this film with one word, WEIRD. Some like it that way, and others don't. Find out where this film stands with the Where to Stick It Podcast.

No meu vigésimo primeiro review deste Monkey Madness 2022, vou falar sobre um filme de terror surrealista, dirigido por David Lynch e estrelado por Jack Nance

0:00 - Intro & Summary2:00 - Movie Discussion34:32 - Cast & Crew38:01 - True Crime/Pop Culture48:50 - TV49:41 - Music55:48 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Jack Nance was found dead on December 30, 1996, after a violent altercation at a Winchell's in South Pasadena. This week on Death in Entertainment.

Jack Nance has been executive director of the Carolinas Golf Association since 1991 and leads the second largest such organization in the country spanning both North Carolina and South Carolina. Prior to joining the CGA, Nance played golf at Wake Forest. The CGA is a non-profit service organization that was formed in 1909 to conduct championships and tournaments for amateur golfers in North and South Carolina, administer the USGA handicap system in the Carolinas, and support its membership of more than 190,000 golfers in the CGA's 730 plus member clubs and associations. In Nance's time at the CGA, they went from hosting about 60 annual event to now about 350 per year. in this podcast, Nance talks about the mission of the CGA, his love for golf and the Pinehurst, Southern Pines and Aberdeen Area, some of his favorite places to tee it up and a few watering holes away from the course you may want to try. @Carolinas Golf Association @Visit North Carolina @United States Golf Association (USGA) @US GOLF TV #sandhillsnc #southernpinesnc #homeofamericangolf

Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast. In episode 78 Sam is joined by Craig Roberts, director of The Phantom Of The Open starring Mark Rylance and Sally Hawkins.  Craig has chosen David Lynch's 1977 feature debut Eraserhead (89 minutes). Shot over five years, the film stars Jack Nance, Charlotte Stewart, Jeanne Bates, Judith Anna Roberts, Laurel Near, and Jack Fisk Sam and Craig discuss the direct influence David Lynch has had on Craig's filmmaking, Eraserhead's haunting sound design and attempt to work out the meaning of the movie.  The Phantom Of The Open is in cinemas now.  Thank you for downloading. We'll be back in a couple of weeks! Rate and subscribe on Apple Podcasts: https://tinyurl.com/90minfilm If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you!  You can also show your support for the podcast by buying us a coffee at our Ko-fi page: https://ko-fi.com/90minfilmfest Website: 90minfilmfest.com Tweet: @90MinFilmFest  Instagram: @90MinFilmFest  We are a proud member of the Stripped Media Network. Hosted and produced by @sam_clements. Edited and produced by Louise Owen. Guest star @CraigRoberts10. Additional editing and sound mixing by @lukemakestweets. Music by @martinaustwick. Artwork by @samgilbey. 

"The Hot Spot” is Dennis Hopper's interpretation of a 1962 noir written for Robert Mitchum by Charles Wilson based upon his novel “Hell Hath No Fury” and, amazingly, this 1990 version starring Don Johnson and Virginia Madsen is probably better than the original could ever have been. Directed by Dennis Hopper. Written by Charles Wilson & Nona Tyson. Starring Don Johnson, Virginia Madsen, Jennifer Connelly, Charles Martin-Smith, Jack Nance, Barry Corbin, William Sadler, Jerry Hardin. Score by Jack Nitzsche with John Lee Hooker, Taj Mahal & Miles Davis How is the world wrong about Wrongness From Andras Jones: Bring up Dennis Hopper and people want to talk about “Easy Rider” (a happy generational accident) or “Out Of The Blue” (a nihilistic masterpiece) but for my money this modern noir is the most enjoyable directorial effort in his canon. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag The World Is Wrong theme written, produced and performed by Andras Jones Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.

Joey Cobra makes his fourth appearance on PCH as our first guest of the yearWe talk:- Joeys Top 5 of 2021- Our most anticipated albums of 2022- Releasing too many singles before an album- If bands should change their names when they change their sound- Why playing in a trio makes you up your game- The future of live shows & moreJOEY COBRA LINKS -https://joeycobra.bandcamp.comhttps://linktr.ee/josephgricearthttps://www.instagram.com/joey_cobra_musichttps://www.instagram.com/joseph_grice_arthttps://www.facebook.com/JoeyCobrahttps://www.facebook.com/JosephGriceArtCheck out the Power Chord Hour radio show every Friday night at 10 est on 107.9 WRFA in Jamestown, NY, stream the station online at wrfalp.com/streaming/ or listen on the WRFA mobile appemail me for FREE Power Chord Hour stickers - powerchordhour@gmail.comFacebook - www.facebook.com/powerchordhourInstagram - www.instagram.com/powerchordhour/Twitter - www.twitter.com/powerchordhour/Youtube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg

Végéhez ért a vendég évadunk. Az utolsó adásban Wostry Ferenc kedvenc filmjét néztük meg, ez pedig a Blue Velvet, vagyis magyarul a Kék bársony. David Lynch rendezését 1986-ban mutatták be, a főszerepben Isabella Rossellini, Kyle MacLachlan és Laura Dern láthatóak, valamint Dennis Hopper, kisebb szerepekben pedig Brad Dourif, Jack Nance és Dean Stockwell bukkannak fel. Az adás elején megnézzük, hogyan épült, forrott ki a Kék bársonyra David Lynch stílusa, hogyan állt össze az a kreatív csapat, akikkel rengeteg későbbi filmjén is együtt dolgozott. Megbeszéljük: A Kék bársony a legérettebb Lynch-darab? Hogyan táplálkozik a Radírfejből, és mit örökít át a később Lynch-filmeknek? Beszélünk a film noirhoz és a melodrámához fűződő kapcsolatáról is: Douglas Sirknek vagy Alfred Hitchcocknak köszönhet többet a Kék bársony? Mit mesél David Lynch Amerikáról? Mennyire félelmetes a Kék bársony, és mennyire ijesztő figura Dennis Hopper Frank Booth-ja? Linkek Az Epik.hu, ahol szuperjó műfaji filmes cikkeket olvashattok A Vakfolt podcast Facebook oldala A Vakfolt podcast a Twitteren A Vakfolt Patreon-oldala (új!) Vakfolt címke a Letterboxdon A Vakfolt az Apple podcasts oldalán A főcímzenéért köszönet az Artur zenekarnak Feri a Twitteren: @wostry András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu  

Végéhez ért a vendég évadunk. Az utolsó adásban Wostry Ferenc kedvenc filmjét néztük meg, ez pedig a Blue Velvet, vagyis magyarul a Kék bársony. David Lynch rendezését 1986-ban mutatták be, a főszerepben Isabella Rossellini, Kyle MacLachlan és Laura Dern láthatóak, valamint Dennis Hopper, kisebb szerepekben pedig Brad Dourif, Jack Nance és Dean Stockwell bukkannak fel. […] The post 11×45 – Blue Velvet – vendégünk Wostry Ferenc appeared first on Vakfolt podcast.

Special Guest Ben Frye, joins your hosts Dustin Melbardis and Bryan Frye for the Retro Movie Roundtable as they revisit Dune (1984) [PG-13] Genre: Science Fiction, Fantasy, Epic, Adventure, Action   Starring:  Kyle MacLachlan , Francesca Annis, Brad Dourif, José Ferrer, Linda Hunt, Freddie Jones, Richard Jordan, Virginia Madsen, Silvana Mangano, Kenneth McMillan, Jack Nance, Siân Phillips, Jürgen Prochnow,  Paul L. Smith, Sting, Dean Stockwell, Max von Sydow, Patrick Stewart, Sean Young, Alicia Witt   Director: David Lynch Recoded on 2021-11-24

Yes, there is a new Dune, but it doesn't mean we have to throw the old one down the toilet. Directed by David Lynch. Starring Kyle MacLachlan, Sting, Sean Young, Brad Dourif, Everett McGill, Paul L. Smith, Kenneth McMillan, Patrick Stewart, Dean Stockwell, Alicia Witt, Jose Ferrer and Jack Nance. Music by Toto. How is the world wrong about this movie? From Bryan: Disowned by a director who didn't get final cut. Hated by fans who thought it strayed to far from the book. Brushed off as a faiulre and a mess by those who haven't even seen it. I love this movie and Lynch fans should embrace it as opposed to dismissing it. The Lynchian stamp is all over this film from the design, the themes and the actors. Grab a cup of spice and let's go the weirding way. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag The World Is Wrong theme written, produced and performed by Andras Jones Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.

The debut movie of David Lynch, a weird, unsettling and powerful movie dealing with the angst of parenthood. Set to an intense and desolate industrial landscape with the wonderfully put upon Jack Nance in the main role - few films have been so widely influential across creative media and still feel as engrossing and tangible as ever. Our recommendations for this episode are: The Grandmother shortfilm, David Lynch 1970 https://www.imdb.com/title/tt0065794/?ref_=nm_flmg_wr_55 Little Woods, Nia DaCosta 2018 https://www.imdb.com/title/tt6418918/?ref_=fn_al_tt_1 Get in touch with us at: unpleasantmovies@protonmail.com Insta: https://www.instagram.com/unpleasantmovies/ Mubi: https://mubi.com/lists/unpleasant-movies Goodreads: https://www.goodreads.com/list/show/152393.Unpleasant_Movies_Readinglist

Cinphomaniac welcomes you to the inaugural episode of Lynchtober!!! To kick things off, Marcus and Dana journey back beyond to David Lynch's feature film debut, 1977's Eraserhead - starring Jack Nance, Charlotte Stewart, Judith Anna Roberts, Laurel Near, Jack Fisk, and Jeanne Bates. We theorize on, interpret upon, and confess awestruck to, the haunting visions, maximalist sound design, high contrast cinematography, and deep psychological pricking of the film, as well its heavy foreshadowing for all things Lynch to come, including the film's full circle second coming by way of 2017's Twin Peaks. We also discuss the history, anthropology, evolutionary biology, and politics of infanticide and postpartum depression, which is at the core of this text.

30 de dezembro de 1996, South Passadena, Estados Unidos da América. O ator Jack Nance, conhecido pelos papéis nas produções do realizador David Lynch, é encontrado morto no chão da casa de banho da sua casa, aos 53 anos. A polícia concluiu que Nance foi assassinado. Mas até hoje as circunstâncias da morte não foram esclarecidas.Crime sob o Holofote é um podcast sobre mistérios e crimes reais no mundo dos famosos.

Jack Nance famously uttered the line "She's dead! Wrapped in plastic" when he reported the death of Laura Palmer on the pilot of Twin Peaks. Maybe if they gave her a little more air she could have made it. We here at AotKP won't make the same mistake. Each of us has a DVD or Blu-ray wrapped in plastic suffocating and collecting dust on our shelf. Join us and special guest Bryan Clark as we each review and unwrap a movie from our watch list. Listen & subscribe wherever you get your podcasts or go to http://www.aotkp.com Connect with the show: Become an Official Attacker! Visit us on the Web Like us on Facebook Follow us on Twitter Follow us on Instagram Subscribe on YouTube Support the show And check out our sponsor Shudder at https://www.shudder.com and use the promo "AOTKP" to get a free month when you sign up! Lastly, check out all the amazing shows at http://thepfpn.com

Today I discuss Arrow Video's release of David Lynch's Dune (1984). Starring Kyle MacLachlan, Kenneth McMillan, Jose Ferrer, Sting, Everett McGill, Patrick Stewart, Jurgen Prochnow, Paul L. Smith, Max von Sydow, Alicia Witt, Sean Young, Brad Dourif, Fancesca Annis, Virgina Madsen, Leonardo Cimino, Linda Hunt, Freddie Jones, Silvana Mangano, Jack Nance, Sian Phillips, and more. Production Design by Anthony Masters. Music by TOTO. Cinematography by Freddie Francis. Written and Directed by David Lynch.

Director Amy Heckerling obviously did something right with her first feature film, Fast Times at Ridgemont High. For Heckerling's second feature film, she had almost double the budget that she had before. Considering her second film was a period film, that likely helped. Now it may seem that Johnny Dangerously was a strange choice after her first film captured modern teens so well, but she clearly was tuned into young audiences. Perhaps the producer and studio felt she could carry a period parody and do it in such a way to bring in young audiences. The studio, Twentieth Century Fox, needed a hit after all. And while there were decisions made that date the film, we still find it works. Join us – Pete Wright and Andy Nelson – as we continue our 80s Comedy With Coolidge & Heckerling series with Heckerling's 1984 film Johnny Dangerously. Is there really much to talk about with Johnny Dangerously? You bet there is! We talk about the nature of parody films, why some work really well, and why this one may not have stood the test of time with some bigger ones like Airplane! and Blazing Saddles. All the same, we can't stop our effusive love for this film. That's likely because of the impressionable age we saw it. We think this is even more true after talking to our Discord community about it only to find many had never even heard of this film. The cast is bonkers. Michael Keaton. Joe Piscopo. Marilu Henner (theatre genius!). Peter Boyle. Maureen Stapleton. Griffin Dunne. Dom DeLuise. Danny DeVito. Ray Walston. Dick Butkus. Alan Hale Jr. Neal Israel. Jack Nance. Taylor Negron. Vincent Schiavelli. Richard Dimitri. And they all deliver. Especially Marilu Henner – what a voice! They're all clearly having fun and even when it's a big surprise to see someone like Stapleton in the film, it's clear she's having a good time. But what's with the 30s style eye makeup? Yeah, we get that it's meant to feel like we're watching a movie from the era, but it feels a bit strange when watching a color film. All the same, we don't really care too much about this. The script is chock full of laugh lines, meta humor, fourth wall breakage, and visual gags, and we laugh at most of them. It's damn funny! We're not sure why some people just don't click with it. When writing constant jokes in a script, though, you have to expect some are going to fall flat. But would it have all worked better with the original ending where Johnny dies? But seriously – what's with the weird bull joke? It took us forever, but while we were recording, we found the source Schlitz Malt Liquor ad campaign on YouTube to help make the joke make more sense. This leads to a whole conversation about the nature of timed jokes vs. timeless ones, and why jokes that are so key to the era may fall completely flat if you don't know the reference point. (All the same, check out some of the Schlitz Malt Liquor Bull commercials in our show notes. They're bonkers! Kevin Kline even turns up on one as Robin Hood!) Was this the film that saved Fox from certain bankruptcy at the end of the year? Okay, maybe that's putting a bit too much on this one film but its box office success certainly was welcome for the studio that had been struggling all year. Last but not least, what are your feelings about “Weird” Al Yankovic? He's been around for decades and whether you like his stuff or not, it's hard to argue that he's not cranking out some very clever work. His title song in this film is a lot of fun! We acknowledge that Johnny Dangerously may be a film you need to have seen when it came out and have been of a certain age to really click with it, but if you did, you're likely are like us and have strong feelings for this film. We have such a great time talking about it and reminiscing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon, or find other places at JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Schlitz Malt Liquor Bull commercials with Kool & the Gang and The Commodores, Rufus Thomas, Don Adams, Kevin Kline as Robin Hood, Richard Roundtree, Gunga Din, The Old West, Marshall Tucker Band, and more (The Teddy Roosevelt one at 2:30 is great!)

Director Amy Heckerling obviously did something right with her first feature film, Fast Times at Ridgemont High. For Heckerling's second feature film, she had almost double the budget that she had before. Considering her second film was a period film, that likely helped. Now it may seem that Johnny Dangerously was a strange choice after her first film captured modern teens so well, but she clearly was tuned into young audiences. Perhaps the producer and studio felt she could carry a period parody and do it in such a way to bring in young audiences. The studio, Twentieth Century Fox, needed a hit after all. And while there were decisions made that date the film, we still find it works. Join us – Pete Wright and Andy Nelson – as we continue our 80s Comedy With Coolidge & Heckerling series with Heckerling's 1984 film Johnny Dangerously. Is there really much to talk about with Johnny Dangerously? You bet there is! We talk about the nature of parody films, why some work really well, and why this one may not have stood the test of time with some bigger ones like Airplane! and Blazing Saddles. All the same, we can't stop our effusive love for this film. That's likely because of the impressionable age we saw it. We think this is even more true after talking to our Discord community about it only to find many had never even heard of this film. The cast is bonkers. Michael Keaton. Joe Piscopo. Marilu Henner (theatre genius!). Peter Boyle. Maureen Stapleton. Griffin Dunne. Dom DeLuise. Danny DeVito. Ray Walston. Dick Butkus. Alan Hale Jr. Neal Israel. Jack Nance. Taylor Negron. Vincent Schiavelli. Richard Dimitri. And they all deliver. Especially Marilu Henner – what a voice! They're all clearly having fun and even when it's a big surprise to see someone like Stapleton in the film, it's clear she's having a good time. But what's with the 30s style eye makeup? Yeah, we get that it's meant to feel like we're watching a movie from the era, but it feels a bit strange when watching a color film. All the same, we don't really care too much about this. The script is chock full of laugh lines, meta humor, fourth wall breakage, and visual gags, and we laugh at most of them. It's damn funny! We're not sure why some people just don't click with it. When writing constant jokes in a script, though, you have to expect some are going to fall flat. But would it have all worked better with the original ending where Johnny dies? But seriously – what's with the weird bull joke? It took us forever, but while we were recording, we found the source Schlitz Malt Liquor ad campaign on YouTube to help make the joke make more sense. This leads to a whole conversation about the nature of timed jokes vs. timeless ones, and why jokes that are so key to the era may fall completely flat if you don't know the reference point. (All the same, check out some of the Schlitz Malt Liquor Bull commercials in our show notes. They're bonkers! Kevin Kline even turns up on one as Robin Hood!) Was this the film that saved Fox from certain bankruptcy at the end of the year? Okay, maybe that's putting a bit too much on this one film but its box office success certainly was welcome for the studio that had been struggling all year. Last but not least, what are your feelings about “Weird” Al Yankovic? He's been around for decades and whether you like his stuff or not, it's hard to argue that he's not cranking out some very clever work. His title song in this film is a lot of fun! We acknowledge that Johnny Dangerously may be a film you need to have seen when it came out and have been of a certain age to really click with it, but if you did, you're likely are like us and have strong feelings for this film. We have such a great time talking about it and reminiscing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon, or find other places at JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Schlitz Malt Liquor Bull commercials with Kool & the Gang and The Commodores, Rufus Thomas, Don Adams, Kevin Kline as Robin Hood, Richard Roundtree, Gunga Din, The Old West, Marshall Tucker Band, and more (The Teddy Roosevelt one at 2:30 is great!)

The “Cinephile Cuties” are ready to have a mutant baby. That's because they're chatting about David Lynch's Eraserhead. It's their one-year anniversary! And what better way to spend it than to wax poetic on one of their favorite filmmakers, David Lynch. Plus, Casey and Patrick put the film through their proprietary Fartsy Test. And Patrick recommends a drink pairing. If you like this show, tell a friend!Follow Farthouse on Twitter and InstagramFollow Patrick and Casey and on TwitterAnd follow Patrick and Casey on Letterboxd

This week, we had to take some time off to deal with real life, so we are re-editing and rereleasing one of our classic episodes - Mysterious Celebrity Deaths! Cindy is MUCH better the Twisted Listers talk about some of the more mysterious celebrity deaths, both past and present. From 1920's film sweethearts, to indie rockers, we've got a little of something for everyone.Brought to you by Podmoth! www.podmoth.networkwww.instagram.com/twistedlisterspcastwww.patreon.com/twistedlisterstiktok: @twistedlistersCases Covered1. William Desmond Taylor2. Thelma Todd3. Bob Crane4. Paul Bern5. Jack Nance

1994 was a very busy time for 25 year old future Oscar winner Renee Zellweger.  She found work in six films that year - everything from a Texas Chainsaw Massacre sequel to grunge classics Reality Bites and Dazed and Confused.  But it was Love And A .45 that gave her the opportunity to play her first lead role.  The lovers on the lam film also boasted the varied talents of Ally McBeal heartthrob Gil Bellows, Peter Fonda, ReAnimator's Jeffrey Combs, Rory Cochrane and David Lynch regular Jack Nance.  Dan and Vicky discuss the comedy thriller along with lots of recently seen including Bill and Ted Face the Music, 2020's The Witches, Woody Allen's Interiors, Michelle Pfeiffer starrer French Exit, 1976's original Rocky and Godzilla vs. Kong. Check out Hot Date 128:  Love And A. 45 and leave us some feedback.  Visit our website at hotdatepod.com.  

In this episode Mark talks about one of his favourite TV shows: the American mystery/horror/drama television series "Twin Peaks" created by Mark Frost and David Lynch. Premiering on April 8, 1990, and running for two seasons before being cancelled, the series follows FBI Special Agent Dale Cooper (played by Kyle MacLachlan) as he investigates the murder of homecoming Queen Laura Palmer (played by Sheryl Lee) in the fictional town of Twin Peaks, Washington. However, as a result of his investigation into the murder of Laura Palmer, FBI Special Agent Dale Cooper also reveals and realises that there is more to the town of Twin Peaks than meets the eye - especially after he uncovers that the town is also a gateway to supernatural "lodges" of reality where supernatural and extradimensional entities live and exist, who have been observing, inhabiting, and influencing the people of Twin Peaks to do things that they would not ordinarily do for years. The series has a unique mixture of many elements that run through it - including supernatural events, melodrama, surrealism, off-beat humour, eccentric characters, and distinctive cinematography - that all combine to make the series so iconic and incomparable to any other series or film. The series is superbly written, produced, and directed - and its soundtrack, composed by Angelo Badalamenti, is also unlike that of any other TV series and is considered one of the most beloved and recognisable TV scores ever made. The series also has a phenomenonal cast of actors, including: Michael Ontkean, Mädchen Amick, Dana Ashbrook, Richard Beymer, Lara Flynn Boyle, Sherilyn Fenn, Warren Frost, Peggy Lipton, James Marshall, Everett McGill, Jack Nance, Ray Wise, Harry Goaz, and many other recurring cast members who play instantly recognisable and memorable characters that all combine to make the series one of the greatest TV shows of all time - which has a devoted cult following of fans from all around the world. --- 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/markthepoet/message

We talk about weird happenings on movie sets and the interesting life of Jack Nance!Follow us on Instagram: @justsoyouknowpodAnd email us any topics, questions, etc: justsoyouknowpod@gmail.comThanks for listening!!!

Get ready, Randy has picked another big one for us.  And he actually picked the first film by a celebrated director for once.  David Lynch's Eraserhead is such a desperately ambitious, risk-everything film that one is tempted to call it "groundbreaking" except for the fact that it's so unique in its vision and execution that you'd be hard pressed to name what it broke ground for.  Jack Nance plays Henry, newly saddled with his helpless, mutated, infant offspring and coming face to face with surreal visions and manifestations of his darkest fears and fantasies.  And there's a lady in the radiator. If you'd like to watch ahead for next week's film, we will be discussing and reviewing Godfrey Reggio's Koyaanisqatsi (1982).

In our last guest episode of the year, we finally check out the adaptation of the classic sci-fi novel Dune, released December 14th in 1984. It's the movie David Lynch doesn't want to be associated with, the movie that proved to studios that epic sci-fi's (that aren't Star Wars) don't make money, and the movie that launched Kyle MacLachlan's career. At least one good thing came out of it! We're joined by Jack McGorlick (Paul Noodle PhD. Candidate) to check it out. Follow the show! Facebook: https://fb.me/oldiebutagoodiepod Omny: https://omny.fm/shows/oldie-but-a-goodie YouTube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA Songs from 1984 Playlist: https://open.spotify.com/playlist/39v1MbWf849XD8aau0yA52 Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://omny.fm/shows/nerdout  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

Bobby and I discuss his formative years; 60's TV; winning Best Actor for One Flew Over the Cuckoo's Nest; Smokey Bites the Dust; Laugh Trax; The New Battlestars; 1/2 Hour Comedy Hour; Joan Collins; Jan Hooks; Dick Clark; Real Trivial Pursuit; Ted Knight and the fart machine; Dennis the Menace and being friends with Phil Hartman; The New Truth or Consequences; Up Your Alley; The Gong Show; Murray Langston; Linda Blair; the making and killing of Repossessed; Meatballs 4 and the tragedy of Jack Nance; Count deClues Mystery Castle; Mr. Logan's current project- the biography of Rollen Fredrick Stewart, 1 Day $99 Film School. Visit his sites Bobbyworks.comQuietTime.com LoganWolf.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Cette semaine, l'audace et la tentative sont à l'honneur ! Élie nous entraîne à ses côtés vers l'une de ses amours incontournables, le cinéma expérimental ! L'équipe part en terrain inconnu, où chacun a sa définition du terme. Et pour nous accompagner, le spécialiste des neurosciences, Christophe Rodo, du podcast La Tête Dans Le Cerveau. Sa mission ? Vérifier que ces films n'emportent pas notre esprit vers la folie notoire, mais aussi comprendre les émanations fantasmagoriques des auteurs que nous allons traiter.  On commence avec une figure bien connue, dont l'étrangeté d'un cinéma de niche a pourtant su atteindre les sphères du grand public, David Lynch ! Son premier long-métrage, « Eraserhead », nous envoie vers un étrange dîner de famille, où la vision des mœurs est autant détournée que le visuel. Occasion d'aller vers une de ses influences principales, et figure de proue du mouvement expérimental, la grande Maya Deren ! À travers un corpus complet, nous nous sommes intéressés à l'intégralité de ses films pour en comprendre l'essence. On termine avec la proposition du maître de thématique, et quoi que de tel que ce réal avec lequel il nous bassine depuis des mois, Jacques Rivette ! « Céline Et Julie Vont En Bateau », 3h10 d'extase pour les uns, de souffrance pour les autres, qui va entraîner le débat mais aussi la violence verbale. Restez jusqu'au bout, l'ambiance est au pugilat.  Bonne écoute ! Invitée :  Invité : Christophe Rodo du podcast La Tête Dans Le Cerveau Temporalité de l’épisode : 13:42 Eraserhead (1977) de David Lynch, avec Jack Nance, Judith Roberts, Charlotte Stewart... 41:11 Cycle Maya Deren : Meshes Of The Afternoon (1943) Witch's Cradle (1944) At Land (1944) A Study In Choreography For Camera (1945) Ritual In Transfigured Time (1946) Meditation On Violence (1948) The Very Eve Of The Night (1958) Maeva (1961) 1:07:22 Céline Et Julie Vont En Bateau (Phantom Ladies Over Paris) (1974) de Jacques Rivette, avec Juliet Berto, Dominique Labourier, Bulle Ogier... 1:42:09 Reco : Dogville (2003) de Lars Von Trier Waking life (2001) de Richard Linklater À L'intérieur (2007) d'Alexandre Bustillo et Julien Maury Exercices De Styles (1947) de Raymond Queneau Dog Star Man (1961-1964), série de courts-métrages de Stan Brakhage Film (1965), court-métrage de Alan Schneider  Le Seigneur Des Anneaux (1978) de Ralph Bakshi À Bout De Souffle (1960) de Jean-Luc Godard Uncle Frank (2020) d'Alan Ball Episodes cités : Uncle Frank : [Deauville 2020] #2 A Good Man - Les 2 Alfred - Uncle Franck - Last Words 7 Ans De Réflexion 2013 (Discord Sous Les Pods 2020) Crédits :  Émission animée par Thomas Bondon, Thierry de Pinsun, Elie Bartin, Yassa Harbane, Marwan Foudil, Eléonore Tain et Héra Laskri Montage : Thomas Bondon  Générique original : Kostia R. Yordanoff (tous droits réservés)  Retrouvez aussi Certains l’aiment à chaud sur :  Facebook : @claacpodcast Instagram : @claacpodcast Twitter: @CLAACpodcast Ausha  Itunes / Apple Podcast  Spotify  Deezer  Stitcher  Podmust  Podcloud  Podinstall Youtube

The second episode of our season on the awesome movie year of 1977 features our pick for a notable filmmaking debut, David Lynch’s Eraserhead. Written and directed by David Lynch and starring Jack Nance, Charlotte Stewart, Allen Joseph, Jeanne Bates and Judith Anna Roberts, Eraserhead was negatively received by critics but eventually built up a cult following and wider cultural recognition. The post Eraserhead (1977 First Feature) appeared first on Awesome Movie Year.

Roll It gets wierd this week as Ryan and Ty delve into David Lynch's first feature film, Eraserhead. From how Lynch plays with sound design and visuals to impact the mood, and whether that was the point of the movie, to the symbolism and what exactly is up with that baby. Tune in next week as we cover the darling film of 2019, Parasite. Contact us at rollitpodcast@gmail.com or follow us! Twitter - @RollItPodcast Instagram - @rollitpodcast Music by Ethan Rapp

This week on #HFTMH, we're talking about the David Lynch classic Eraserhead starring Jack Nance.

After last week's ROAD triple bill we're joined once again by Joe Daniel to pop his David Lynch cherry with the director's 1997 neo thriller, Lost Highway (starring Bill Pullman, Patricia Arquette, Balthazar Getty, Robert Loggia, Robert Blake, Natasha Gregson Wagner, Jack Nance, Richard Pryor and Henry Rollins). Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs!

We talk the modern film classic "Eraserhead" from director David Lynch, starring Jack Nance and Charlotte Stewart.

In this episode of Midnight at the Movies, I give my raw thoughts and first impressions of the film Eraserhead (1977), directed by David Lynch, starring Jack Nance, Charlotte Stewart, Allen Joseph, and Jeanne Bates.

En este especial navideño hemos elegido reportajes que tienen que ver todos ellos con estas fechas: La historia de la canción navideña más famosa de la historia que nació de una película; la muerte de Jack Nance, actor fetiche de David Lynch; ‘Plácido’ de Luis García Berlanga; razones cinematográficas para odiar a Papa Noel y sugerencias de menús que nos propone el cine para la cena de Nochevieja

En este especial navideño hemos elegido reportajes que tienen que ver todos ellos con estas fechas: La historia de la canción navideña más famosa de la historia que nació de una película; la muerte de Jack Nance, actor fetiche de David Lynch; ‘Plácido’ de Luis García Berlanga; razones cinematográficas para odiar a Papa Noel y sugerencias de menús que nos propone el cine para la cena de Nochevieja

thisisnotfilmschool@gmail.comLet us know if you hate us! ESPECIALLY let us know if you like us!Musical Recommendation: Caravan Palace. Their new album Chronologic is available now! Thank you to:Ryan Maguire - For the righteous guitar intro. (Music)Sarah Margaret Frye - For the super-cool art! (Art)Joe Moubhij and Andrew Pierce - For helping with web-based confusion (Administrative Advice)And David Lynch - For this weird spectacle you clearly poured your heart and soul into!

Episode #27 is a truly special episode... Leslie and Kat welcome not one, but two special guests: Jess and Mikel Doktor, and the whole show becomes a #murderparanerdo extravaganza. Topics include: The Big Moose Lake Murder, the odd death of actor Jack Nance, and some history on a popular old building in Buffalo, Laughlin's. 

Welcome to Seasonal Impressions! Brian and Fez discuss one season per episode, paced perfectly for those who binge an entire season of television on a free day, just like us! In this episode we discuss season two of David Lynch and Mark Frost's cult classic, Twin Peaks! Starring Kyle MacLachlan as Special Agent Dale Cooper, Michael Ontkean as Sheriff Harry S. Truman, Michael Horse as Deputy Sheriff Tommy "Hawk" Hill, Sheryl Lee as Laura Palmer, Mädchen Amick as Shelly Johnson, Dana Ashbrook as Bobby Briggs, Richard Beymer as Benjamin Horne, Lara Flynn Boyle as Donna Hayward, Sherilyn Fenn as Audrey Horne, Warren Frost as Dr. Will Hayward, Peggy Lipton as Norma Jennings, James Marshall as James Hurley, Everett McGill as Ed Hurley, Jack Nance as Pete Martell, Ray Wise as Leland Palmer, Joan Chen as Jocelyn Packard, Piper Laurie as Catherine Martell, Kimmy Robertson as Lucy Moran, Grace Zabriskie as Sarah Palmer, Catherine E. Coulson as Margaret Lanterman / "The Log Lady", Ian Buchanan as Dick Tremayne, Mary Jo Deschanel as Eileen Hayward, Frank Silva as BOB, Al Strobel as Phillip Michael Gerard / MIKE / "The One-Armed Man", David Patrick Kelly as Jerry Horne, Miguel Ferrer as Special Agent Albert Rosenfield, Eric Da Re as Leo Johnson, Harry Goaz as Deputy Sheriff Andy Brennan, Russ Tamblyn as Dr. Lawrence Jacoby, Wendy Robie as Nadine Hurley, Don Davis as Major Garland Briggs, Billy Zane as John Justice "Jack" Wheeler, and Chris Mulkey as Hank Jennings.

Welcome to Seasonal Impressions! Brian and Fez discuss one season per episode, paced perfectly for those who binge an entire season of television on a free day, just like us! In this episode we discuss season one of David Lynch and Mark Frost's cult classic, Twin Peaks! Starring Kyle MacLachlan as Special Agent Dale Cooper, Michael Ontkean as Sheriff Harry S. Truman, Michael Horse as Deputy Sheriff Tommy "Hawk" Hill, Sheryl Lee as Laura Palmer, Mädchen Amick as Shelly Johnson, Dana Ashbrook as Bobby Briggs, Richard Beymer as Benjamin Horne, Lara Flynn Boyle as Donna Hayward, Sherilyn Fenn as Audrey Horne, Warren Frost as Dr. Will Hayward, Peggy Lipton as Norma Jennings, James Marshall as James Hurley, Everett McGill as Ed Hurley, Jack Nance as Pete Martell, Ray Wise as Leland Palmer, Joan Chen as Jocelyn Packard, Piper Laurie as Catherine Martell, Kimmy Robertson as Lucy Moran, Grace Zabriskie as Sarah Palmer, Catherine E. Coulson as Margaret Lanterman / "The Log Lady", Ian Buchanan as Dick Tremayne, Mary Jo Deschanel as Eileen Hayward, Frank Silva as BOB, Al Strobel as Phillip Michael Gerard / MIKE / "The One-Armed Man", David Patrick Kelly as Jerry Horne, Miguel Ferrer as Special Agent Albert Rosenfield, Eric Da Re as Leo Johnson, Harry Goaz as Deputy Sheriff Andy Brennan, Russ Tamblyn as Dr. Lawrence Jacoby, Wendy Robie as Nadine Hurley, Don Davis as Major Garland Briggs, and Chris Mulkey as Hank Jennings.

This week it seems like your hosts Justin, Eliz, and Tyler have just had enough of summer! But it's not quite time to go back to school just yet. There's still Meatballs 4 to discuss, and Corey Feldman is here get us trained for the big water ski competition. Won't you come cheer us on?! Star ratings help us build our audience! Please rate/review/subscribe to us on Apple Podcasts or wherever you listen, and share us with your Body Glove Sales Rep! Email us at sequelrights@gmail.com with feedback or suggestions on future franchises! Bobby Logan's 1-Day Film School: http://www.1dayfilmschool.com/

Le podcast fait une petite pause dans son marathon Twin Peaks pour se pencher sur l'étrange premier film de David Lynch : Eraserhead. Ensemble, on discute de la genèse du projet, sa production, les différents mystères l'entourant ainsi que sur la vie de Jack Nance, l'acteur du film. Puis, bien sûr, on décortique cet ovni du mieux que l'on peut.

Chuck Norris stars in Don Hulette's 1977 truckin'/kickin' epic Breaker! Breaker!, also starring George Murdock, Jack Nance, Terry O'Connor, Miranda Garrison, and The Great John L. Trucking! (Barely.) Kicking! (Plenty!) Armwrestling! (More than you'd think.) Beards and mustaches! (Some, but not on Chuck.) CB talkin'! (Poor.) Dirt bikin'! (Yes! But they even make that weird.) Plus doll bars! Shakespeare! Salad! Star Trek V! Dirty Dancing! Vans, flies, answering the phone, and other 70s relics. Also, jumping through a window will mess you up. Theme by William Sherry Jr. Art by @stephenmullinax Breaker! Breaker! is currently available on DVD from Amazon and streaming rental on Vudu. Trailer: https://www.youtube.com/watch?v=Ee9SvsVfHJ8 Chuck Norris autobiography Against All Odds: My Story: https://www.amazon.com/Against-All-Odds-My-Story/dp/0805444211 Chuck Norris advice from Karate Kommandos: https://www.youtube.com/watch?v=miFmVY1vBXo https://www.youtube.com/watch?v=fqvFMwGdJps Chuck at Survivor Series in 1994: https://www.youtube.com/watch?v=1c1CDhTaS58 Top Dog  Trailer: https://www.youtube.com/watch?v=25xDKzytus4 Actor George Murdock: https://en.wikipedia.org/wiki/George_Murdock_(actor) https://variety.com/2012/scene/news/character-actor-george-murdock-dies-1118053586/ https://www.startrek.com/article/remembering-george-murdock-1930-2012 https://www.youtube.com/watch?v=x9sqkahSziU ("What does God need with a starship?") https://www.youtube.com/watch?v=iFWK-r9B6QA (as Scanlon on Barney Miller)   Director Don Hulette: http://www.tamsoldracecarsite.net/DonHulette.html   Miranda Garrison:  https://www.youtube.com/watch?v=BzPjuWTyzDA (Dirty Dancing) https://en.wikipedia.org/wiki/Miranda_Garrison https://studioschool.edu/bio/miranda-garrison/   Jack Nance: https://www.youtube.com/watch?v=cymp70Jn1UE New York Times review: https://www.nytimes.com/1977/05/19/archives/film-breaker-stalls.html Follow us for more clips, links and background: https://www.patreon.com/redstateupdate https://twitter.com/redstateupdate Red State Update - Home | Facebook Red State Update podcast: https://itunes.apple.com/us/podcast/red-state-update/id580999234?mt=2 100 Ways to Love a Cat podcast: https://itunes.apple.com/us/podcast/100-ways-to-love-a-cat/id1357985387?mt=2

Charles Skaggs & Xan Sprouse discuss the backstory of the villainous Windom Earle and his early appearances in Twin Peaks Season 2, featuring Kenneth Welsh as Windom Earle, Kyle MacLachlan as Dale Cooper, Eric Da Re as Leo Johnson, and Jack Nance as Pete Martell! Find us here: Email: GhostwoodPodcast@gmail.com Twitter: @GhostwoodCast  Facebook: Facebook.com/GhostwoodPodcast/

Ryan and Dave explore the foreboding cosmos which makes up David Lynch's visionary dreamscape as they tackle his feature film debut from 1977. Produced during an era of body horror and surrealist experimental cinema (see also: David Cronenberg), Lynch burst onto the scene in a most auspicious way when he told the story of an oddly-coiffed young fellow (Jack Nance) coming to terms with sex, fatherhood and his own existence. Which really undersells how weird the whole thing is. Also, Dave rips into Lynch's outspoken advocacy for Transcendental Meditation [TM](TM), while Ryan tries to identify what the baby in Eraserhead actually is (with some help from a wonderful BBC comedy series). Next week, another filmmaker's origin story is chronicled with Ryan's next pick, this time the King of the World himself, James Cameron - "The Terminator"!

The Rants From the Black Lodge crew celebrate crossing the 1,000 member threshold in the Facebook group with the announcement of an upcoming bonus episode but til that comes to pass the members of the Rant Army can enjoy our feature length running commentary track for the 1985 cult classic Ghoulies with a special appearance from cult director and the film's editor Ted Nicolaou. If the director of such classics as TerrorVision, Bad Channels and the Subspecies films isn't enough to wet your appetite the perhaps the run-in of international professional wrestling star Danny Rainbows during your fan questions segment will.What was intended to be just another episode quickly became the strangest episode in the show's history... enjoy if you dare.Host: N'Sane Brandon LaneCommentator: Fuckin' JuddSponsors: NGW WrestlingSpecial Thanks: Ted NicolaouPlease support the podcast by buying a T-shirt from our Teespring storerantarmy.com

We continue with Part 2 of the History of Meatballs 4. Crazy fact: the movie costarred Jack Nance - who not only played Eraserhead, but was also in almost every single David Lynch movie after the cult classic. In a very low point in his career - Nance played the director of a failing waterski camp and shared wisecracks with Corey Feldman. And there's even more creepier trivia about Nance's time filming Meatballs 4. Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

Eraserhead was released in 1977 and has gone on to become one of the most highly regarded "midnight movies" of all time.  It was David Lynch's first feature film and the movie that made Jack Nance a cult icon.   Our guest on this episode played "Mary X".  Charlotte Stewart has appeared in everything from Little House on the Prairie to Tremors and she has some incredible stories to tell about her life and the years she spent working on the set of Eraserhead.    

Charles Skaggs & Xan Sprouse explore the roots of Twin Peaks and review Eraserhead, the 1977 surrealist body horror film written, produced and directed by David Lynch, and starring Jack Nance as Henry Spencer and Charlotte Stewart as Mary X! Find us here: Twitter: @GhostwoodCast @CharlesSkaggs @udanax19 Facebook: Facebook.com/GhostwoodPodcast Email: GhostwoodPodcast@gmail.com Listen and subscribe to us in Apple Podcasts and leave us a review!

Contrary to what the hosts seem to think, Episode 25 of “Wrapped in Podcast” is not actually about “The Greatest Showman”. Instead, J.R. Parker, T. Kyle King, and Ken Walczak discuss David Lynch’s first film as a professional director, “The Elephant Man”. They also speak a fair degree of legalese. Based on the life of Joseph (often mistakenly called “John”) Merrick, “The Elephant Man” was nominated for eight Academy Awards and led directly to the creation of a new Oscar category. In Part One of their review of the triumphant 1980 masterpiece Mel Brooks chose Lynch to make, the “Wrapped in Podcast” gang (minus the salutary non-lawyer influence of regular panelist Jeff Fallis) expresses amazement that the movie was even made. J.R. praises Lynch’s decision to film “The Elephant Man” in stock black and white, identifies Bytes as a precursor to BOB, and attempts (then abandons) a John Hurt impersonation. Kyle believes the word “understanding” invariably implies misunderstanding, spots the juxtaposition of natural free animal man and expendable mechanized human cogs, and thinks “The Elephant Man” in many ways seems like a movie from much later in Lynch’s career. Ken contributes biographical background on Merrick, links the film to “Freaks”, and hears what he calls “Industrial Cacophony No. 1”. In a 66-minute discussion eschewing their usual scene-by-scene treatment, the podcasters make mention of Jeffrey Beaumont, Dale Cooper, Harry Crews, Boyd Crowder, “Dune”, golf carts, the Industrial Revolution, Jack the Ripper, Hannibal Lecter, “The Lion in Winter”, maternal impression, the Minions, moral line-drawing, Jack Nance, open flames, Laura Palmer, Karl Pilkington, the Puritans, R2-D2, “Time Bandits”, Universal Studios, Victorian hospital security, voyeurism, the War Doctor, Western capitalism, worker’s compensation, and zoning. Don’t be an animal; be a human being who’s listened to the latest installment of “Wrapped in Podcast”!

The Freshman Fifteen's 20th episode visits pioneer artist David Lynch and his first feature film - 1977's Eraserhead. Daniel sermonizes on the virtues of great sound design, Jeremy decides that Lynch is better suited to Hannibal Lecter than Jabba the Hutt and returning guest Jeff Jensen connects the dots between Eraserhead and The Simpsons. Also, what's an "art film?"

Chris and Eric are joined by Rainbow Comics' Zach Pogany to kick off 2018 and David Lynch month with a look at the auteur's first film Eraserhead. The film stars Jack Nance as Henry Spencer, a simple man whose life is turned upside down by the arrival of a very bizarre newborn. The film catapulted Lynch into the public eye and established him as the progenitor of American film surrealism.As always, you can follow Chris Stachiw at @KultureStach, Eric Kniss at @tychomagnetics and Kulture Shocked at @KultureShocked. The music is Wovoka's "Lament," and Da DeCypher's "Two Step featuring Ben-Jamin"; big thanks to both for allowing us to use their tracks. Also, make sure to check out Rainbow Comics, Cards, and Collectibles for all of your pop culture needs. You can also subscribe to the Kulturecast on iTunes here. Also, don't forget to check out our official Facebook page for news, upcoming reviews, contests, and new content along with our Patreon page.

En este programa leemos, escuchamos y analizamos las diferentes teorías de oyentes o espectadores de la serie sobre la tercera temporada con un invitado de honor, Javier J. Valencia, que además nos adelantará información sobre su próximo libro, 'Universo Twin Peaks'. Javier también responderá a las preguntas enviadas por nuestros oyentes y nos contará cuál es su teoría sobre Twin Peaks The Return. Twin Peaks: Entre Dos Mundos lo puedes encontrar en: iVoox e iTunes: iTunes: Twin Peaks: Entre Dos Mundos. Web: www.twinpeaksentredosmundospod.wordpress.com Twitter: @entre2mundospod Facebook: www.facebook.com/entredosmundospodcast/ E-mail: entredosmundospod@gmail.com. ¡Envíanos un audio! Los integrantes de este podcast somos: Bárbara Shocka: @shocka3121 Óscar: @oscarsaurus_rex Lady Palo: @ppomaresm Mary Veran: @maryveran Sergi Domenge: @sergisays Edición y montaje by Óscar. Audios de introducción: Lady Palo y Shocka. Música de sintonía: The Pink Room, Angelo Badalamenti. Canción final: 12 Days of Christmas, interpretada por Kimmy Robertson, Dana Ashbrook, Frank Silva, Kyle MacLachlan y Jack Nance.

Gough is the first legally blind person to write, produce, edit, direct, and star in a feature film making this project a world first. Since then Gough has gone on to write, produce and direct many other projects, including a number of films, audio downloads and books. Beernuts Productions has worked with some of Australia's finest actors, artists and production crew, helping make all content on the website world class.Pre Show Notes— Game Over is the TV pilot I shot several years ago about 5 employees working at a video game store struggling to get to the next level in their lives.Tagline: In life there is no reset buttonThe goal is to get a lot of eyeballs on this so if you know anyone that'd be interested please share this with them.— Game Over – Making a TV Pilot – The blog post with all of the behind the scenes details about making, Game Over.— How NOT to make a TV Pilot – My interview with Alex Ferrari at Indie Film Hustle— Backstage –  Use code dbcast at checkout when posting a casting call for a FREE basic listing— Dave Bullis Podcast Filmmakers Group on Facebook – a FREE filmmaking group I made on Facebook.-- Shopping for the holidays on Amazon? Please use my affiliate link (simply click and shop as normal) as it greatly helps out the podcast. Thank you!-- Stand up for NET NeturalityShow Notes-- I Will Not Go Quietly -  This world first feature film takes you through the life of “gough”. Fame, fortune, drugs, alcohol, disability and suicide. This remarkable true story takes you through it all, step by step.Interviews with friends, family and experts in their field, including; mental health experts, comedians, drug and alcohol counsellors, a neurosurgeon, education experts, and a relationship advisor, will keep the audience both informed and gripped on the edge of their seats.This production is the first to be written, produced, edited, directed and starring someone classified as “legally blind” and will display the capabilities of those with a disability, while keeping the audience both entertained and enthralled.Education, employment, discrimination, success and heartbreak this film captures it all. This brutally honest depiction of life as a visually impaired man will inspire, surprise fascinate, and captivate.CLICK THE POSTER BELOW TO WATCH THE FILM FOR FREE FROM GOUGH'S SITE! -- David Lynch -  is an American director, screenwriter, producer, painter, musician, actor, and photographer. He has been described by The Guardian as "the most important director of this era.  Movie called him "the Renaissance man of modern American filmmaking," while the success of his films has led to him being labelled "the first popular Surrealist."-- Eraserhead -  is a 1977 American surrealist body horror film written, produced, and directed by filmmaker David Lynch. Shot in black-and-white, Eraserhead is Lynch's first feature-length film, coming after several short works. Starring Jack Nance, Charlotte Stewart, Jeanne Bates, Judith Anna Roberts, Laurel Near, and Jack Fisk, it tells the story of Henry Spencer (Nance), who is left to care for his grossly deformed child in a desolate industrial landscape. Throughout the film, Spencer experiences dreams or hallucinations, featuring his child and the Lady in the Radiator. What was supposed to be a student film turned into an epic experience, thanks to David Lynch's hyper attention to detail – one shot of Jack Nance entering a room took a full year to complete – and a lack of funding. However, Lynch subsidized much of the project himself by delivering newspapers, and friends like Jack Fisk and Sissy Spacek all donated money to the film. Even Nance's wife, Catherine Coulson, donated her waitressing income in order to keep the film going for years.-- Elliot Grove -  is a Canadian-born film producer who founded both the Raindance Film Festival in 1993 and the British Independent Film Awards in 1998.-- Raindance - Raindance is dedicated to fostering and promoting independent film around the world. Based in the heart of London, Raindance combines Raindance Film Festival, training courses — which are offered throughout the year at our 10 international hubs — and the British Independent Film Awards.  The organisation was founded in 1992 by Elliot Grove as a thought experiment: can you make a film with no money, no training and no experience?-- Christoper Nolan - is an English film director, screenwriter, and producer who holds both British and American citizenship. He is one of the highest-grossing directors in history, and among the most acclaimed filmmakers of the 21st century.-- Following - Before he became a sensation with the twisty revenge story Memento, Christopher Nolan (The Dark Knight) fashioned this low-budget, black-and-white, 16 mm neonoir with comparable precision and cunning. Supplying irrefutable evidence of Nolan's directorial bravura, Following is the fragmented tale of an unemployed young writer who trails strangers through London, hoping that they will provide inspiration for his first novel. He gets more than he bargained for with one of his unwitting subjects, who leads him down a dark, criminal path. With gritty aesthetics and a made-on-the-fly vibe (many shots were simply stolen on the streets, unbeknownst to passersby), Following is a mind-bending psychological journey that shows the remarkable beginnings of one of today's most acclaimed filmmakers.-- Bollywood - formally known as Hindi cinema, is the Indian Hindi language film industry, based in the city of Mumbai (formerly Bombay), Maharashtra, India. Bollywood is part of the larger cinema of India (also known as Indywood), which includes other production centers producing films in other Indian languages. Linguistically, Bollywood films tend to use a colloquial dialect of Hindi-Urdu, or Hindustani, mutually intelligible to both Hindi and Urdu speakers, while modern Bollywood films also increasingly incorporate elements of Hinglish.-- Mick Fanning - nicknamed "White Lightning"  is an Australian professional surfer. Fanning won the 2007, 2009 and 2013 ASP World Tour.-- Shark Attacks Mick Fanning at the J-Bay Open 2015-- Balter Brewing Co -  6 Aussies and a Yank walk into a bar and never come out…BALTER is born.ContactGough-- Official Site -- Facebook -- Instagram -- Twitter -- YoutubeDave Bullis— Official Site— Youtube— Twitter— Instagram— Facebook — Stage 32 — LetterboxdSupport the Podcast1. Sign Up for Dave's email list2. Rate the Podcast on iTunes 3. Shop on Amazon with my linkSubscribe to the Podcast— Podbean — iTunes — Stitcher— Google Play Podcast

The focus of episode 043 is Eraserhead (1977). Directed and written by David Lynch the films star Jack Nance and Charlotte Stewart. Neither Jonathan nor Corey had seen this film, and it is how they decided to end the month of horror movies. There is no question that this movie delivers on the horror. Home Video Release 10/31/2017 The Dark Tower Theatrical Release - 11/3/2017 Thor: Ragnarok Next weeks episode For episode 044 Jonathan and Corey will be reviewing Rian Johnson's film Brick (2005). The film features Joseph Gordon-Levitt, Nora Zehetner, Lucas Haas, and Noah Fleiss. With Johnson's new Star Wars moving looming in the horizon, it made sense to check out one of his earlier films. Email your thoughts on the podcast, this episode, or Brick (2005) to contact@berkreviews.com --- Support this podcast: https://anchor.fm/berkreviewscom-moviecasts/support