American singer-songwriter
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11 episodes with Kim Carnes
3 episodes with Kim Carnes
2 episodes with Kim Carnes
3 episodes with Kim Carnes
2 episodes with Kim Carnes
2 episodes with Kim Carnes
2 episodes with Kim Carnes
4 episodes with Kim Carnes
2 episodes with Kim Carnes
Melodías, ritmos salvadores de grabaciones actuales - Σtella, Bon Iver, Víctor Martín, Lance Ferguson -, y rescates buscados y rebuscados: Rick Nelson, Russ Ballard, Dan Hill, Shot In The Dark, Harriet… ¿Shot in The Dark? ¿Harriet?DISCO 1 LANCE FERGUSON La Rue de la Paix (5)DISCO 2 BON IVER From (BON IVER & ZTELLA- 8)DISCO 3 DAN HARTMAN I Can Dream About You (Cara 1 Corte 2)DISCO 4 JOHN COUGAR MELLENCAMP This Time (4)DISCO 5 RUSS BALLARD What Does It Take (Cara 2 Corte 2)DISCO 6 HARRIET Woman To Woman (Cara 1 Corte último) DISCO 7 SHOT IN THE DARK Playing With Lightning (Cara 1 Corte 1)DISCO 8 MARCY LEVY Love Side (Cara 2 Corte último)DISCO 9 DAN HILL Pray That It’s Love (ESCA)DISCO 10 CHAKA KHAN & MICHAEL McDONALD You Belong to Me (11)DISCO 11 KIM CARNES Looking For A Big Night (Cara 1 Corte 4)DISCO 12 ΣTELLA Can I say (BON IVER & ZTELLA - 18)DISCO 13 RICK NELSON One x One (1)DISCO 14 VÍCTOR MARTÍN 7000 Momentos (ESCA)Escuchar audio
George Harrison, Los Stones, Joni Mitchell, Bowie, Bruce, Carole King, Eagles, Gerry Rafferty, Al Stewart, Carly Simon, Linda Ronstadt, Ian Dury, Billy Joel, Pedro Mari Sánchez, Rosario, Dire Straits, Rod Stewart, Men At Work… Y, por supuesto, Steely Dan. ¿Quién no requirió un saxo para confirmar el éxito en los años ochenta y noventa del siglo pasado? Cuarto capítulo de la serie de canciones secretas con saxo: Boy Scaggs, Prefab Sprout, Kim Carnes, Seals & Crofts, Dan Hill o Lauran Allen.DISCO 1 MADNESS One Step BeyondDISCO 2 MARC JORDAN SurvivalDISCO 3 LINDA RONSTADT Ooh Ooh BabyDISCO 4 JOHN MARTYN Lonely LoveDISCO 5 VALERIE CARTER Trying To get To youDISCO 6 CHRISTOPHER CROSS Arthur’s Theme (Best That You Can Do)DISCO 7 PREFAB SPROUT Carnival 2000DISCO 8 LEAH KUNKEL Under The Jamaican MoonDISCO 9 GINO VANNELLI I Just Wanna StopDISCO 10 LAURA ALLAN Opening Up To YouDISCO 11 DAN HILL Just A Piece Of Your HeartDISCO 12 RANDY MEISNER If You Wanna Be HappyDISCO 13 PURE PRARIE LEAGUE You Don’t Have To Bet AloneEscuchar audio
**VJ Gary & The Pac To The 80's Replay On traxfm.org. This Week Gary Features The Mighty Pop Year Of 1984. Featuring Swing Out Sister, Lionel Richie, Depeche Mode, Special AKA, Rufus & Chaka Khan, Scritti Politti, Break Machine, Shannon, OMD, Blancmonge, Propaganda, Van Halen, Nena, Kim Carnes, Stacy Lattisaw, Eighth Wonder, Pet Shop Boys Vs Stetsasonic, Madness & More. #originalpirates #80smusic #popclassics #80sclassics #remixes #danceclassics #80charts #80sdancemusic #topofthepops Catch VJ Gary's Pac To The 80's Show Every Sunday From 3PM UK Time On www.traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
Achtung Unverdient! - diese Folge beinhaltet falsche Herleitung, die zur richtigen Antwort führen. Die Hörer werden vor Nachmachen gewarnt. Wir behandeln Songs von Kim Carnes und Nena. Darüber hinaus geben wir euch Einblicke über unseren Trip nach Dublin und dessen mittelschweren Folgen.Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.
TDA The David Alliance TDAgiantSlayer@Gmail.com Garth Heckman Title: Created to Be You: Embracing God's Design Introduction: Begin by acknowledging that in today's world, there's a lot of pressure to conform, to fit into certain molds. But what does God's Word say about our individuality? Ask the group: "Have you ever felt pressure to be someone you're not? Where does that pressure come from?" Scripture Readings: Psalm 139:13-16: "For you created my inmost being; you knit me together in my mother's womb. I praise you because I am fearfully and wonderfully made; your works are wonderful, I know that full well. My frame was not hidden from you when I was made in the secret place, when I was woven together in the depths of the earth. Your eyes saw my unformed body; all the days ordained for me were written in your book before one of them came to be." Discussion points: What does it mean to be "fearfully and wonderfully made"? How does this passage emphasize God's intentionality in creating each of us? How does the fact that God saw your "unformed body" and ordained your days, indicate his personal involvement in our lives? Genesis 1:27: "So God created mankind in his own image, in the image of God he created them; male and female he created them." I have learned early on if I am singing a song that I wrote… don't worry about how my voice lines up to anyone else's… Do you think Bob Dylan, Tom Petty, Kim Carnes, Ronnie James Dio, Louis Armstrong, Tom Waits, Stephen Pearcy… I could go on and on… do you think they wished they sounded like Adelle? NOT a chance, they would not be famous right now… they are themselves and famous because of it. If I preach a sermon… I have many times wished I could preach like other pastors and communicators… their set up, their delivery, their insight, their knowledge beyond scripture… WOW… but I have learned I am always at my best when I am just me. Discussion points: What does it mean to be created "in God's image”? IT TRULY MEANS TO BE WHO HE CREATED YOU TO BE. How does this verse establish our inherent worth and dignity? How does this verse indicate that all humans have value, and are created uniquely? 1 Corinthians 12:12-27: This passage speaks of the body of Christ, with each member having a unique and vital function. Discussion points: How does this analogy illustrate the importance of our individual gifts and contributions? How does this passage encourage us to value our differences and recognize our interdependence? How does this apply to our individual personalities, and giftings? Romans 12:2: "Do not conform to the pattern of this world, but be transformed by the renewing of your mind. Then you will be able to test and approve what God's will is—his good, pleasing and perfect will." Discussion points: What does it mean to "not conform to the pattern of this world"? How does the renewing of our minds help us embrace our true selves? How does knowing God's will relate to being our authentic selves? Key Takeaways: God's intentional design: God created each of us with unique gifts, talents, and personalities. Value in individuality: Our differences are not flaws but essential parts of God's plan. Freedom from conformity: We are called to live authentically, not to imitate the world's standards. God's image: Each person bears the image of God, therefore each person has great value. The body of Christ: Our individual uniqueness is vital to the body of Christ. Application: Encourage participants to reflect on their own unique qualities and how they can use them to serve God and others. Discuss practical ways to resist the pressure to conform and embrace their true selves. Pray for the group, that they may find the strength to be whom God created them to be. Closing: Remind everyone that God loves them unconditionally and celebrates their individuality. Encourage them to walk in confidence, knowing that they are fearfully and wonderfully made
Kim Carnes never set out to be a pop star. In fact, if you asked her in the early days, she'd probably tell you she just wanted to write songs. But life had a way of nudging her toward the spotlight, and before she knew it, she was belting out hits that defined an era. Growing up in Los Angeles, Kim was the kind of kid who could lose herself in a song, spending hours at the piano, crafting melodies. She started as a songwriter, penning tunes for others long before the world ever heard her own husky, unmistakable voice. Her first real break came when she landed a songwriting contract in the late ‘60s. It wasn't long before people started to notice that this young woman wasn't just writing good songs—she had a voice that could make them unforgettable.In the ‘70s, Kim found herself working with some of the best. She teamed up with David Essex. Their friendship led to collaboration. She also became close with Kenny Rogers. Kim co-wrote Don't Fall in Love with a Dreamer with her husband, Dave Ellingson, and when she and Kenny recorded it as a duet in 1980, magic happened. But it was Bette Davis Eyes that changed everything. The song was originally recorded by Jackie DeShannon in the mid-'70s. But when Kim got her hands on it, she and producer Val Garay transformed it into something completely new. The arrangement was stripped down, the synths were bold, and Kim's raw, smoky vocals carried a haunting kind of power."When I first heard Jackie's version, I loved it," Kim says. "But it was so different from what we ended up doing. The minute we started playing around with it, I knew we had something special. That intro, those drums, the way it just pulls you in—I still get chills when I hear it."When Bette Davis Eyes hit the airwaves in 1981, it was like a shockwave. It climbed the charts fast, sitting at No. 1 for nine weeks—longer than any other song that year. It wasn't just a hit; it was THE hit. Even Bette Davis herself loved it, sending Kim flowers and thanking her for the song that made her a household name all over again. "Getting that letter from Bette Davis was surreal," Kim recalls. "She was so gracious, so kind. She told me she played the song at her parties, which just blew my mind."Kim could have ridden that wave forever, but she was never one to rest on past success. She kept writing, kept recording, and kept working with the people she admired. One of those people was Barbra Streisand."Barbra is a force," Kim says. "When we worked together on Make No Mistake, He's Mine, I knew I had to bring my A-game. She has this presence—she knows exactly what she wants, and she'll work until it's perfect. And that's why she's Barbra Streisand."The song felt like a conversation between two women who knew exactly what heartbreak sounded like. Their voices blended in an unexpected way—Barbra's controlled precision meeting Kim's gravelly warmth—and the result was stunning.Through the ‘80s and into the ‘90s, Kim remained a force in the industry, both as a performer and a songwriter. She wrote for some of the biggest artists out there, proving again and again that she had a gift not just for melody, but for telling stories that stuck with people.Fast forward to today, and Kim is still making music, still revisiting the songs that made her who she is. In 2024, she released Bette Davis Eyes (Kim's Version), a new take on her signature song. This wasn't just a rehash—it was a love letter to the original, re-recorded with some of the same musicians who helped shape it the first time around. "I wanted to do it justice," Kim explains. "I wasn't interested in just re-recording it for the sake of it. I wanted to feel that magic again."And the response? Incredible. Looking back, Kim Carnes' career wasn't about chasing fame—it was about making music that mattered. Whether writing for others or stepping up to the microphone herself, she's always been an artist first. And that's exactly why, all these years later, we're still listening.
Message de l'animateur Starchild : Hello à tous, je vous donne rendez-vous ce soir pour le 86ᵉ numéro de Freeway. Le sixième de la saison 8, qui cette année porte le nom générique de « My Name Is David » pour les cinq épisodes à venir. Le chapitre de ce soir s'intitulant « Will You Be There In The Morning ?» Comme toujours, une histoire que je vous conte à l'antenne, illustrée sonorement par une playlist de 16 titres, tirés des répertoires Hard Rock, AOR et Pop : Queensrÿche, Don Henley, Wax, London Grammar, Mötley Crüe,Electric Light Orchestra, The Struts, Loreen, AC/DC, Toto, Ph.D, Kim Carnes, Kiss, Chicago,TalkTalk et Belinda Carlisle.
It's Black History Month y'all! Get it how you live it. In this final episode of Season 3, COVID and Chemo take another fond look at one Lionel Ritchie, aka “Lion-el” the icon on the purported “greatest night in pop.” We also must insist on an audit of the integration project after reviewing the tireless and united efforts of so many excellent Franklins, who used their powers to summon even a couple halting notes from these yt “superstars.” Ongoing questions include: 1) did Stevie reveal to us a secret true magical Negro spell for banishments? 2) Who is Kim Carnes? 3) Where is the demo tape? We broke, but we will pay good coins for it.
Welcome to Live From Progzilla Towers Edition 545. In this Cover Versions special edition we heard music by Ally The Fiddle, Robert Wyatt, Large Plants, Earth, Wind & Fire, Kim Carnes, Anubis Gate, Pacifico, The Prog Collective, Body Count, D12, Cheeto's Magazine, Cary Grace, Laibach, Barock Project, Tom Tom Club, Hideki Togi, Kevin Gilbert, Brownout Presents Brown Sabbath, Kopilott, Dirty Loops, Carmine Appice & Fernando Perdomo, Pussy Riot, Fates Warning, Michel St. Pere, Zzebra, Exploring Birdsong, Birdeatsbaby and Jeff Beck.
Just before Christmas 1984, Harry Belafonte wanted US artists (and especially black artists) to create a charity album to benefit starving people in Africa as the Do They Know It's Christmas single by the days most popular UK bands was a huge success. He teamed up with manager to the stars Ken Kragen to put together the team that would write and record the lead single. Immediately, Ken enlisted his client, Lionel Richie, to write the song. Lionel and Ken knew they'd need all-star producer Quincy Jones to put it all together. Quincy thought it would be a good idea to get the biggest pop star in the world, Michael Jackson, involved and things snowballed from there as Ken brought on legends like Bob Dylan, Bruce Springsteen, Willie Nelson, Diana Ross, Kenny Rogers, Dionne Warwick, Stevie Wonder, Ray Charles and artists that were popular at the time like Billy Joel, Kim Carnes, Cindy Lauper, Huey Lewis and more. But how would they get all that talent in one room at one time? Ken devised the idea that so many would be in LA for the American Music Awards on January 28, 1985 so that would be the ideal time. But that was 5 weeks away!!! So Ken went about finding the venue and Lionel and Michael worked on the song. It was all kept very hush hush and even the artists didn't know where they were going after the AMAs until they were on the way. And to make the night even more stressful for Lionel, he was hosting the AMAs and was performing twice (not to mention collecting 6 awards that night). The documentary was a fascinating glimpse into one special night where all egos were put aside in order to record a special song for a worthy cause. If you haven't seen it on Netflix, check out The Greatest Night In Pop - it's a fascinating story! Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Just before Christmas 1984, Harry Belafonte wanted US artists (and especially black artists) to create a charity album to benefit starving people in Africa as the Do They Know It's Christmas single by the days most popular UK bands was a huge success. He teamed up with manager to the stars Ken Kragen to put together the team that would write and record the lead single. Immediately, Ken enlisted his client, Lionel Richie, to write the song. Lionel and Ken knew they'd need all-star producer Quincy Jones to put it all together. Quincy thought it would be a good idea to get the biggest pop star in the world, Michael Jackson, involved and things snowballed from there as Ken brought on legends like Bob Dylan, Bruce Springsteen, Willie Nelson, Diana Ross, Kenny Rogers, Dionne Warwick, Stevie Wonder, Ray Charles and artists that were popular at the time like Billy Joel, Kim Carnes, Cindy Lauper, Huey Lewis and more. But how would they get all that talent in one room at one time? Ken devised the idea that so many would be in LA for the American Music Awards on January 28, 1985 so that would be the ideal time. But that was 5 weeks away!!! So Ken went about finding the venue and Lionel and Michael worked on the song. It was all kept very hush hush and even the artists didn't know where they were going after the AMAs until they were on the way. And to make the night even more stressful for Lionel, he was hosting the AMAs and was performing twice (not to mention collecting 6 awards that night). The documentary was a fascinating glimpse into one special night where all egos were put aside in order to record a special song for a worthy cause. If you haven't seen it on Netflix, check out The Greatest Night In Pop - it's a fascinating story! Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Send us a textThis episode, we look at what Rolling Stone magazine considers to be the best songs of the 80's. We have been critical of Rolling Stone in the past for the quality of their lists, and this time is no different. However, there's some good stuff in this list, which we're happy to acknowledge. Of course, we point out their failings as well – it'd be no fun if we didn't, would it?! In Rock News, we look at a new album from Coldplay (as if anybody cares!), the trials of Sean “Puffy” Combs, and The Beatles. Our “Album You Must listen to Before you Die” is 1985's The Nation's Saving Grace, by The Fall. Mick loves it, Jeff doesn't think much of it. So, what's new? Another fun episode. Enjoy. References: Rolling Stone magazine, 80's, Coldplay, ‘Moon Music', No 1 album, Sean Diddy Coombs, Puff Daddy, Diddy, Cassie Ventura, Beatlemania, Beatles '64, David Tedeschi, Disney+, The Fall, The Nations Saving Grace, John Leckie, Mark E Smith, Can, German, krautrock, Damo Suzuki, DoubleJay, TripleJ, Prince, ‘Kiss', Madonna, ‘Like a Prayer', Grandmaster Flash and the Furious Five, ‘The Message', Michael Jackson, ‘Billie Jean', Public Enemy, ‘Bring the Noise', Whitney Houston, ‘How Will I Know?”, The Go-Gos, ‘Our Lips Are Sealed', Duran Duran, ‘Hungry Like the Wolf', Kate Bush, ‘Running Up That Hill', The Smiths, ‘There Is a Light That Never Goes Out', Husker Du, Minutemen, rap artists, Bowie, Depeche Mode, Culture Club, Clash, Neneh Cherry, U2, Joy Division, AC/DC, “Hell's Bells”, INXS, “Never Tear Us Apart”, Apple music streaming, Leonard Cohen, Tower of Song, Sisters of Mercy, “This Corrosion”, “Floodland”, Jim Steinman, “New Big Prinz”, Frankie Goes to Hollywood, “Relax", Cher, “If I Could Turn Back Time”, Missouri, Bow Wow Wow, “I Want Candy”, Haysi Fantaysee, “Shiny Shiny”, Countdown, Falco, “Rock Me, Amadeus”, A-Ha, “Take on me”, Nena, 99 Luftballon, Kim Carnes, “Bette Davis Eyes”, Shriekback, “Nemesis", parthenogenesis, Samantha Fox, Africa, Toto Playlist – Episode This is our usual playlist, where we curate a list to play what we've talked about in the episode Playlist – Spotify's complete list Africa – Mass band Samantha Fox web site – purely for academic interest!
This week on The Metro, Rev. Jeff Ivins brings you the following artists for your weekly time warp back to the 1980s: Joy Division, The Psychedelic Furs, The The, The Go-Go’s, Ultravox, Midnight Oil, Culture Club, Chris de Burgh, Rod Stewart, The Cars, The Human League, Kim Carnes, Depeche Mode, and ending off with Soft Cell.
This week on The Metro, Rev. Jeff Ivins brings you the following bands for you weekly time warp back to the 1980s: Tears For Fears, Maria McKee, INXS, Fischer-Z, Til Tuesday, Wham!, Fiction Factory, Mr. Mister, Kim Carnes, Ultravox, Bronski Beat, Robert Palmer, Big Audio Dynamite, and finishing off with the Pet Shop Boys.
My friends, we have done it. We've reached the cream of the crop. The best of the best. The superstars to outshine all of the other superstars that contributed to the greatest charity single of all time, "We Are The World". To date, "We Are The World" and USA For Africa have raised over $100,000,000 for African famine relief. The list of stars that heeded that certain call and sang their hearts out in this endearing classic tune is a who's who of legendary legends in music. Here in Part 3 The ATTT All-Stars rally to attempt to properly rank these icons with picks 7-1. We can't thank Shannon Hurley, Matt Dinan, Joe Lavelle, Ryan Blake, Dustin Prince, Gabe Scalone and the mighty David Daskal enough for putting it all together in this ridiculous exercise. These rankings are for novelty purposes only, and for our love of the music. If you missed picks 21-15 in Part 1 start here first:https://podcasts.apple.com/us/podcast/episode-633-the-stars-of-we-are-the-world-worst-to/id573735994?i=1000668868444Then mosey on over to Part 2 here:https://podcasts.apple.com/us/podcast/episode-634-the-stars-of-we-are-the-world-worst/id573735994?i=1000669687395If you're feeling generous after listening to all of this, you can contribute to USA For Africa here:https://usaforafrica.org/Listen to the quite excellent The Stars Of "We Are The World" Worst To First official Spotify playlist, won't you?https://open.spotify.com/playlist/17mP5eLZBTTtnRKKoZxURI?si=9a1a69c2547b4358Follow our beloved all-stars on social media!https://www.instagram.com/shannonsongs/https://www.instagram.com/chrisdprince/https://www.instagram.com/the_la_frankenstein_channel/https://www.instagram.com/soulsurfhb/https://www.instagram.com/therealjoelavelle/https://www.facebook.com/xyzyxhttps://www.facebook.com/gabescaloneAll hail the beloved Patreon people! These upstanding citizens put their money where their mouth is and keep the show afloat by contributing $5 a month. In return they're rewarded with a monthly bonus episode using our patented Emergency Pod format, our improv game where we pull a playlist out of our butts in real time. On September 1st we released an all-new Emergency Pod episode with our good friend Ryan Stockstad, who, frankly, was born to do it. Get this and every episode we've done, plus a new one every month, Find out more at:https://www.patreon.com/alltimetoptenChat with us! On Facebook! Get more involved in the ATTT cinematic universe by chatting with us on the Facebook Music Chat Group. Start a conversation about music!https://www.facebook.com/groups/940749894391295
This episode features Mossy and Rob choosing their own songs. The program starts with the 1980 Song Of The Year from Kim Carnes, Bette Davis Eyes. It's followed by Australian... LEARN MORE The post Lucky Dip appeared first on Yesterday Once More.
Send us a textIn 1980s Hollywood, adult film star and aspiring actor Rocky Overhang finally gets his big break. But as a mysterious killer stalks the back lots of Hollywood, a trail of blood threatens to reveal the secret hiding beneath his jeans. On Episode 634 of Trick or Treat Radio we discuss MaXXXine the final film in the X trilogy from director Ti West! We are also joined by our good pal Anthony Landry to talk about the Silver Scream III Convention, there is plenty of 80s horror thrillers discussed, and we find out the significance of the number 784. So grab your favorite 80s outfit, indulge in an excessive amount of your favorite vice, and strap on for the world's most dangerous podcast!Stuff we talk about: Art the Clown, collectible popcorn buckets, Anthony Landry, Lucio Fulci, Conquest, 784 Dildos, Diddy is a Douche, Vince McMahon, revealing affidavits, Rock and Shock, Morbid Vision Films, Rough House Publishing, Silver Scream Con, Spencer Charnas, Ice Nine Kills, Eli Roth, Cannibal Holocaust, Egotesticle, Sean Cunningham, Worcester MA, Art the Clown, Terrifier 3, David Howard Thornton, Mike Nelson, Jose Mangin, Liquid Metal, Fantastic Fest, Pennywise: The Story of It, John Campopiano, Brian Collins, Fangoria, hyperbole, Don Henley, MonstaXpo, The Levy Brothers, Fuzz on the Lens Productions, Damien Maffei, Damien Leone, Kevin Barbare, Scout Taylor Compton, Danielle Harris, Metallica, Derek Mears, Janes Addiction, Kurando Mitsutake, A Clockwork Orange, Malcolm McDowell, Blackout Bacchanalia, Mistress Carrie, The Horror Nerds Podcast, Chris Nelson, “A Work of Art” the official theme song of Terrifier 3, Misty Mundae, Mummy Raider, I'm the Labattman, House of the Devil, Ti West, X, Pearl, MaXXXine, Sophie Thatcher, Yellowjackets, Kevin Bacon, The First Power, Angel, Kathryn Hahn, Stephen King, PMRC, Tipper Gore, Dee Snider, John Denver, Frank Zappa, Kim Carnes, New Order, Frankie Goes To Hollywood, Ratt, “good for her” moments, Elizabeth Debicki, The Texas Porn Star Massacre, Lou Diamond Phillips, Hollywood back lots, sleazy bacon, The Night Stalker Richard Ramirez, “don't page me bro”, Barbara Steels, Behind the Green Door, Humanoids from the Deep, Infinity Pool, Poor Things, The Vourdalak, A Different Man, Sebastian Stan, Brian de Palma, Paramount, Mrs. Doubtfire, a comedy of horrors, the freaky freak off fertility was flowing, ain't no party like an Ewok party, and Hot Fudge Mundaes.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show
There comes a time when we heed a certain call. And now you have the greatest charity single of all time stuck in your head for the rest of the day. Sorry not sorry. Our certain call is to gather the ATTT All-Stars together and assign them a mission. Our mission, that we have chosen to accept, is to take a loving look at "We Are The World" - the song that to-date has raised more than $60 million for African famine relief - and apply our patented Worst-To-First format to the stars of this beloved classic. There are 21 main stars in this song, legends all, and our good friends Shannon Hurley, Matt Dinan, Joe Lavelle, Gabe Scalone, Dustin Prince, David Daskal and the Old Boy Himself Ryan Blake are charged with ranking their legendary careers. Here in Part 2 of this 3-part epic episode, we reveal our choices for picks 14-8. Feel free to argue with our placements - we did!If you missed picks 21-15 in Part 1 start here first:https://podcasts.apple.com/us/podcast/episode-633-the-stars-of-we-are-the-world-worst-to/id573735994?i=1000668868444Follow our beloved all-stars on social media!https://www.instagram.com/shannonsongs/https://www.instagram.com/chrisdprince/https://www.instagram.com/the_la_frankenstein_channel/https://www.instagram.com/soulsurfhb/https://www.instagram.com/therealjoelavelle/https://www.facebook.com/xyzyxhttps://www.facebook.com/gabescaloneAll hail the beloved Patreon people! These upstanding citizens put their money where their mouth is and keep the show afloat by contributing $5 a month. In return they're rewarded with a monthly bonus episode using our patented Emergency Pod format, our improv game where we pull a playlist out of our butts in real time. On September 1st we released an all-new Emergency Pod episode with our good friend Ryan Stockstad, who, frankly, was born to do it. Get this and every episode we've done, plus a new one every month, Find out more at:https://www.patreon.com/alltimetoptenChat with us! On Facebook! Get more involved in the ATTT cinematic universe by chatting with us on the Facebook Music Chat Group. Start a conversation about music!https://www.facebook.com/groups/940749894391295
If it weren't for the fabulous crew lovingly known as the ATTT All-Stars, there simply would be no ATTT. These fine folks give up their precious time to help us bring entertainment to the masses of your asses, and we shan't forget them for it! Shannon Hurley, Matt Dinan, Dustin Prince, Gabe Scalone, Joe Lavelle and David Daskal are back,, and a little birdy told us we may or may not be joined by The Old Boy Himself Ryan Blake in Part 2 of this sprawling epic of a topic. In 1985 an insanely richly talented group of people got together to help save some lives with the most iconic charity single of all time, "We Are The World". Our mission, should we choose to accept it, is to take the 21 lead singers on this hallowed track and rank their careers using our patented Worst To First format. In Part 1 (of 3!), the gang pore over who the bottom dwellers might be in this overstuffed lineup of stars. Who shall be ranked where? That's for us to decide and for you to argue about. Picks 21-15 are featured in this epically ridiculous episode.Follow our beloved all-stars on social media!https://www.instagram.com/shannonsongs/https://www.instagram.com/chrisdprince/https://www.instagram.com/the_la_frankenstein_channel/https://www.instagram.com/soulsurfhb/https://www.instagram.com/therealjoelavelle/https://www.facebook.com/xyzyxhttps://www.facebook.com/gabescaloneAll hail the beloved Patreon people! These upstanding citizens put their money where their mouth is and keep the show afloat by contributing $5 a month. In return they're rewarded with a monthly bonus episode using our patented Emergency Pod format, our improv game where we pull a playlist out of our butts in real time. On September 1st we released an all-new Emergency Pod episode with our good friend Ryan Stockstad, who, frankly, was born to do it. Get this and every episode we've done, plus a new one every month, Find out more at:https://www.patreon.com/alltimetoptenChat with us! On Facebook! Get more involved in the ATTT cinematic universe by chatting with us on the Facebook Music Chat Group. Start a conversation about music!https://www.facebook.com/groups/940749894391295
Get ready for a night of classic covers! Tonight, we're tackling Christina Aguilera and Great Big World's "Say Something," A-ha's "Take on Me," and Kim Carnes' "Betty Davis Eyes." We'll also share updates, behind-the-scenes stories, and have a whole lot of fun. Don't miss it! #cover #music #coversong #christinaaguilera #greatbigworld #say something #takeonme #kim carnes #betty davis #behindthescenes #fun #updates #shenanigans #musiclover #covers #acoustic #singing #song #songs #coversong #coversongs #musiccover #musiccovers #coverversion #coverversions #covermusic #covermusicvideos #coverartist #coverartists #coversinger #coversingers --- Support this podcast: https://podcasters.spotify.com/pod/show/luciaandglynn/support
The Police - De Do Do Do De Da Da Da Steppenwolf - Born To Be Wild The Beatles - Love Me Do James Brown - I Got You The Spencer Davis Group - Gimme Some Lovin' Toni Basil - Mickey Supergrass - Alright Lionel Richie - Running With The Night Queen - One Vision ABC - The Look Of Love Erasure - Oh L'Amour (PWL Remix) Yazoo - Situation OMD - If You Leave Kim Carnes - Bette Davis Eyes Madonna - Into The Groove Cher - The Shoop Shoop Song (It's In His Kiss) Prince - I Wanna Be Your Lover Fleetwood Mac - Everywhere The Rolling Stones - Sympathy For The Devil
This week on The Metro, Rev. Jeff Ivins brings to you the following bands for your weekly time trip to the 1980s with Beat, Stray Cats, The Psychedelic Furs, Squeeze, Kim Carnes, Wham!, Chaka Khan, Dead or Alive, Falco, Echo & The Bunnymen, Heaven 17, Missing Persons, Duran Duran, and finishing off with Power Station.
National Lollipop day. Entertainment from 1965. Sitting Bull surrendered, First man on the moon, Miss America had to resign due to nude pictures of her. Todays birthdays - Richard Owen, Edmund Hillary, Buddy Knox, Diana Rigg, Natalie Wood, TG Shepperd, Kim Carnes, Carlos Santana, Donna Dixon, Radney Foster, Chris Cornell, Sandra Oh, Julianne Hough. Buce Lee died.Intro - Pour some sugar on me - Def Leppard https://defleppard.com/Lollipop - The Chordettes(I can't get no) Satisfaction - The Rolling StonesBefore you go - Buck OwensBirthdays - In da club - 50 Cent https://www.50cent.com/Pary doll - Buddy KnowI loved em everyone - TG ShepperdBetty Davis eyes - Kim CarnesEvil ways - SantanaNobody wins - Radney FosterBlack Hole Sun - SoundgardenThat song in my head - Julianne HoughExit - Its not love - Dokken https://dokken.net/Follow Jeff Stampka at Facebook and cooolmedia.com
We are heading back to 1986, blasting the Kim Carnes, and spending some time with the campers at Camp Bloodbath! Timestamps :09 What's Making us Happy 19:56 The Time Machine March 15th, 2015 26:00 The Final Girls Discussion
WHAT YOU NEED TO KNOW. Morales comes in the studio for some fun & frivolity. We play some audio from Lonzo Ball's podcast. What did he have to say? RADIO TINDER. GUEST BLAKE HARRIS. Sedano takes a trip down memory lane on Kim Carnes. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week on The Metro, Rev Jeff Ivins brings you another set of tune to remind you of the 1980s: Midnight Oil, The Birthday Party, Patty Smyth, Nick Heyward, Kim Carnes, Visage, Kenny Loggins, Real Life, Planet P Project, Midge Ure, Fischer-Z, The Go-Go’s, Duran Duran, and ending off with Devo.
Director Denny Tedesco has followed up his smash hit documentary, The Wrecking Crew with an enlightening look at the next generation of session musicians who worked closely with 70s' singer/songwriters in creating the soundtrack which continues to enrich and lift our lives. They are Waddy Wachtel, Leland Sklar, Russ Kunkel, Danny Kortchmar and Steve Postell. The band and the film are called Immediate Family.Denny joins us, along with Waddy and Leland to get into the making of the film and their incredible journey through the history of rock, pop, folk, jazz, country and beyond. Waddy shares career highlights with David Crosby, The Everly Brothers, Warren Zevon, Steve Perry, Jackson Browne, Kim Carnes, and Stevie Nicks. Leland has stories about Carole King, Linda Ronstadt, James Taylor, Neil Young, and Phil Collins. These guys hand crafted our playlists!When Crosby asked Waddy if he should team up with Stills and Nash, Waddy gave him a solid thumbs up. When Don Henley asked Leland what he thought of “The Eagles” as a band name, Lee said, “Sure. Why not?” #TrendsettersIt took Denny 18 years to complete The Wrecking Crew, a love song to his father, Wrecking Crew guitar man, Tommy Tedesco. The fruits of that effort continue to blossom with the credentials and lessons that made Immediate Family possible and now, Denny's next film about Wolfman Jack.Weezy and Waddy have a Cowsills history in common. Waddy appears in her film, Family Band: The Cowsills Story and they share thoughts on the moment in the movie where Billy Cowsill finally stands up to his father, Bud when Bud makes a derogatory remark about Billy's mentor, Waddy. It's a fierce and loving act that gets Billy kicked out of his own band.Fritz and Denny both share impossibly beautiful Linda Ronstadt memories and Leland tells us how a friend of a friend of a friend led to his lifelong relationship with James Taylor.Plus, Fritz and Weezy are recommending the doc, Filling in the Blanks on Prime and Burn Book: A Tech Love Story by Kara Swisher.Path Points of Interest:Immediate FamilyDenny TedescoDenny Tedesco on IMDBLeland Sklar on YoutubeThe Wrecking CrewSound Explosion: Inside L.A.'s Studio Factory With The Wrecking Crew by Ken SharpFamily Band: The Cowsills StoryFilling In The BlanksBurn Book: A Tech Love Story by Kara Swisher
You can now join our mailing list and have access to all our videos. https://lp.constantcontactpages.com/sl/9qk7AEYGet your own “Rock History Music” baseball cap https://rock-history-music-store.creator-spring.com/listing/rock-history-music-hatIf you would like to donate to "Rock History Music"https://www.paypal.com/donate/?hosted...Support “Rock History Music” on Patreonhttp://patreon.com/rockhistorychannelsSupport the show
This week on The Metro, Rev. Jeff Ivins brings you the 80s from the following bands: Kim Carnes, The Knack, Fools, Wham!, Roxy Music, Red Rider, Bruce Hornsby & The Range, The Cars, Eddie Grant, Gleaming Spires,Cutting Crew, Split Enz, Roman Holiday, and finaling with Golden Earring.
"Changing Beats: Goose's Drummer Departure and New Musical Ventures"Larry Mishkin dives into a live performance of the Grateful Dead's Mardi Gras Show from 1986. The discussion highlights the additional set by The Nevels, a brief comparison of songs played, and the significance of the venue, Kaiser Convention Center. The conversation transitions to Goose, a contemporary jam band, announcing a change in drummers and their new album release. Larry also touches on the Grateful Dead's record-breaking achievement of having the most Top 40 albums on the Billboard 200. Lastly, it explores the origins and themes of the Grateful Dead's song "Cassidy," drawing connections to individuals associated with the band and the Beat Generation. Throughout, there's a mix of musical analysis, historical context, and personal anecdotes, offering a comprehensive exploration of the music and culture surrounding these iconic bands plus the latest cannabis news. Grateful DeadFebruary 12, 1986 (38 years ago)Henry J. Kaiser Convention CenterOakland, CAGrateful Dead Live at Henry J. Kaiser Convention Center on 1986-02-12 : Free Download, Borrow, and Streaming : Internet Archive Show Title: Dead and the Neville Brothers Rock Oakland Celebrating Mardi Gras A short Dead show by Nevilles played a set after turning it into a marathon evening of great music INTRO: Sugaree Track #3 Start – 1:35 Jerry comes out smoking on this crowd favorite to get things rocking (second song after Hell in a Bucket). Released on the Jerry's first solo album, Garcia, in January, 1972. Played 362 times 1st at on July 31, 1971 at the Yale Bowl in New Haven, CN six months before its release Last played on July 8, 1995 at Soldier Field in Chicago Kaiser Convention Center is a historic, publicly owned multi-purpose building located in Oakland, California. The facility includes a 5,492-seat arena, a large theater, and a large ballroom.[2] The building is #27 on the list of Oakland Historic Landmarks.,[3] and was listed on the National Register of Historic Places in 2021.[4]The building is located at 10 10th Street, in the Civic Center district of the city. It is next to the Oakland Museum, Laney College, Lake Merritt, and near the Lake MerrittBARTstation.he Beaux-Arts style landmark was built in 1914; the architect was John J. Donovan.[3] The structural engineer was Maurice Couchot.[5] Originally known as the Oakland Civic Auditorium, it was renamed in honor of Henry J. Kaiser after a 1984 renovation.The city closed the facility in 2006 and its future was uncertain for a decade.[1] In 2006, Oakland voters defeated a ballot proposition advocating a library space in the building.The facility was owned by the City of Oakland until 2011, when it was sold to the local redevelopment agency for $28 million.[6] However, the redevelopment agency was dissolved by the State of California in 2012,[7] so ownership reverted to the city of Oakland.In 2015 the city chose a local developer, Orton Development, Inc. to renovate the facility. The plans are to turn it into a commercial space, with the Calvin Simmons Theater being renovated as a performing arts venue. The building is also supposed to be registered as a national historic landmark.In the 1950s and 1960s the Roller Derby played there hundreds of times. Elvis Presley performed at the convention center on June 3, 1956, and again on October 27, 1957. On December 28, 1962, Martin Luther King Jr. spoke to an audience of 7,000 at the auditorium to mark the 100th anniversary of the Emancipation Proclamation.[13]Ike & Tina Turner performed at the Oakland Auditorium on January 13, 1967.From 1967 through 1989, the Grateful Dead, an American rock band, performed at the convention center 57 times. Their first 23 concerts at the convention center were billed at "Oakland Auditorium", and later, starting in 1985, the venue changed to "Henry J. Kaiser Convention Center". In the 80's the band started performing "runs" of shows over the course of three to seven days.[ SHOW No. 1: Tons of Steel Track # 4 1:07 – 2:40 A “new” Brent song, released on In The Dark in 1987. Love the harmonizing with Phil – “She wasn't built to travel at the speed a rumor flies, these wheels are bound to jump the tracks, before they burn the ties.” Crowd loves it too – any excuse to hear Phil sing – this is just about a month before the Hampton show where Phil broke out Box of Rain, Deadheads couldn't get enough of him. David Dodd:Brent wrote the words and music for “Tons of Steel.” It was first performed on December 28, 1984, at the Civic Auditorium in San Francisco (now Bill Graham Civic). The other first in the show was "Day Tripper." I was there! It sounded like a hit to me. But then, I was completely disconnected from whatever it was that passed for hit-making in the 1980s.It was performed fairly regularly throughout 1985 through September 1987, making its last appearance on September 23 at The Spectrum in Philadelphia. That seems odd to me, because it was dropped from rotation just a little more than two months after it was released on In the Dark, in July. Any thoughts?So, it's a song about a train. One of the prime motifs in Grateful Dead lyrics. Quick—name five Grateful Dead songs with trains! No peeking!What do trains evoke in Dead lyrics? Everything from danger (“Caution,” “Casey Jones”) to adventure (“Jack Straw”) to love (“They Love Each Other”) to farewell (“He's Gone”) to whatever that thing is that we feel when Garcia sings about wishing he was a headlight... (and take a look at the back cover of Reflections sometime). Played 29 times First played December 28, 1984 S.F. Civic Auditorium (NYE run) Last played September 23, 1987 at the Spectrum, Philly SHOW No. 2: Cassidy Track #6 2:20 – 4:09 "Cassidy" is a song written by John Barlow and Bob Weir[1] and performed by the Grateful Dead, Ratdog, and Phil Lesh & Friends.[2] The song appeared on Bob Weir's Ace, and the Grateful Dead's Reckoning and Without a Net albums.[3]The song was named after Cassidy Law, who was born in 1970 and was the daughter of Grateful Dead crew member Rex Jackson and Weir's former housemate Eileen Law.[1] The lyrics also allude to Neal Cassady, who was associated with the Beats in the 1950s[4] and the Acid Test scene that spawned the Grateful Dead in the 1960s. Some of the lyrics in the song were also inspired by the death of Barlow's father.[5]The song was quoted in the admiring and admirable obituary of Barlow in The Economist.One of my favorite songs, a great sing a long.I really like this version because it gets nice and trippy. Always good for a helping define the mood of the show, usually about mid to late first set. A very fun tune. Played 339 times 1st: March 23, 1974 at the Cow Palace in Daley City, just outside S.F. Last: July 6, 1995 Riverport Amphitheatre, Maryland Heights, MO outside of St. Louis SHOW No. 3: Willie and the Hand Jive Track # 14 1:23 – 3;05 Played with the Neville Bros. but without Phil who left the stage for this one song. Willie and the Hand Jive" is a song written by Johnny Otis and originally released as a single in 1958 by Otis, reaching #9 on the Billboard Hot 100 chart and #5 on the Billboard R&B chart.[1][2] The song has a Bo Diddley beat and was partly inspired by the music sung by a chain gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation,[2]though Otis always denied it.[3] It has since been covered by numerous artists, including The Crickets, The Strangeloves, Eric Clapton, Cliff Richard, Kim Carnes, George Thorogood, The Bunch, and in live performances by The Grateful Dead.[4][5] Clapton's 1974 version was released as a single and reached the Billboard Hot 100, peaking at No. 26. Thorogood's 1985 version reached No. 25 on the BillboardRock Tracks chart. The lyrics tell of a man named Willie who became famous for doing a hand jive dance.[1][2] In a sense, the story is similar to that of Chuck Berry's "Johnny B. Goode", which tells of someone who became famous for playing the guitar and was released two months before "Willie and the Hand Jive".[1] The origin of the song came when one of Otis' managers, Hal Ziegler, found out that rock'n'roll concert venues in England did not permit the teenagers to stand up and dance in the aisles, so they instead danced with their hands while remaining in their seats.[2][5] At Otis' concerts, performers would demonstrate Willie's "hand jive" dance to the audience, so the audience could dance along.[2] The dance consisted of clapping two fists together one on top of the other, followed by rolling the arms around each other.[2] Otis' label, Capitol Records, also provided diagrams showing how to do the hand jive dance. Eric Clapton recorded "Willie and the Hand Jive" for his 1974 album 461 Ocean Boulevard. Clapton slowed down the tempo for his version.[12] Author Chris Welch believes that the song benefits from this "slow burn".[12]Billboard described it as a "monster powerful cut" that retains elements from Clapton's previous single "I Shot the Sheriff."[13]Record World said that "Clapton slowly boogies [the song] into laid-back magnificence. George Thorogood recorded a version of "Willie and the Hand Jive" for his 1985 album with the Destroyers Maverick.[27] His single version charted on the Hot Mainstream Rock Tracks chart, peaking at #25, and reached #63 on the Billboard Hot 100 chart.[1][28]Allmusic critic James Christopher Monger called the song one of Thorogood's "high points. Other artists who covered the song include: Johnny Rivers, New Riders of the Purple Sage, The Flying Burrito Brothers, Sandy Nelson, The Tremeloes, Amos Garrett, Ducks Deluxe and Levon Helm.[4]Lee Michaels released a version of the song on his 1971 album, 5th To my surprise, played 6 times by the band, all in '86 and once in ‘87 This is the fist time they ever played it Last: April 4, 1987 at the Centrum in Worcester, MA SHOW No. 4: In the Midnight Hour Track # 16 2:20 – 4:01 Played with the Nevilles, Phil back on stage Again, Jerry's playing really stands out. "In the Midnight Hour" is a song originally performed by Wilson Pickett in 1965 and released on his 1965 album of the same name, also appearing on the 1966 album The Exciting Wilson Pickett. The song was composed by Pickett and Steve Cropper at the historic Lorraine Motel in Memphis, later (April 1968) the site of the assassination of Martin Luther King Jr. Pickett's first hit on Atlantic Records,[1] it reached number one on the R&B charts and peaked at number 21 on the pop charts. Wilson Pickett recorded "In the Midnight Hour" at Stax Studios, Memphis, May 12, 1965. The song's co-writer Steve Cropper recalls: "[Atlantic Records president] Jerry Wexler said he was going to bring down this great singer Wilson Pickett" to record at Stax Studio where Cropper was a session guitarist" and I didn't know what groups he'd been in or whatever. But I used to work in [a] record shop, and I found some gospel songs that Wilson Pickett had sung on. On a couple [at] the end, he goes: 'I'll see my Jesus in the midnight hour! Oh, in the midnight hour. I'll see my Jesus in the midnight hour.'" and Cropper got the idea of using the phrase "in the midnight hour" as the basis for an R&B song.[3] More likely, Cropper was remembering The Falcons' 1962 song "I Found a Love," on which Pickett sings lead and says "And sometimes I call in the midnight hour!" The only gospel record Pickett had appeared on before this was the Violinaires' "Sign of the Judgement," which includes no such phrase.[4]Besides Cropper, the band on "In the Midnight Hour" featured Stax session regulars Al Jackson (drums) and Donald "Duck" Dunn (bass). According to Cropper, "Wexler was responsible for the track's innovative delayed backbeat", as Cropper revamped his planned groove for "In the Midnight Hour" based on a dance step called the Jerk, which Wexler demonstrated in the studio. According to Cropper, "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[5]Pickett re-recorded the song for his 1987 album American Soul Man."In the Midnight Hour" t has become an iconic R&B track,[citation needed] placing at number 134 on Rolling Stone's list of the 500 Greatest Songs of All Time,[citation needed] Wilson Pickett's first of two entries on the list (the other being "Mustang Sally" at number 434).[citation needed] It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll,[citation needed] Pickett's only such entry. In 2017, the song was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant."[7] In 1999, "In the Midnight Hour" recorded in 1965 on Atlantic Records by Wilson Pickett was inducted into the Grammy Hall of Fame. Covers:· The Grateful Dead regularly performed the song in concert from 1967 onwards, most notably with extended improv vocals by frontman Ron "Pigpen" McKernan. It was occasionally the Dead's “midnight song” at their NYE shows – I saw them do it in 1985 at midnight on the 31st. Fun way to start the new year although I was always partial to Sugar Mag at NYE midnight. 57 times played 1st: December 10, 1965 at the Fillmore in S. F. Last: October 17, 1994 at MSG, NYC OUTRO: Johnny B. Goode Track #17 Start – 1:40 We just featured this song from a different show, but this version demands recognition. Played with the Nevilles – great mash up of musicians, singers, the whole thing is just great. Interestingly, not the encore, but the last song of the second set (US. Blues was the encore, a ripping version, but no Neville Bros so I went with JBG instead to hear them one more time). Chuck Berry tune Dead played it 283 times First played: September 7, 1969 at The Family Dog at the Great Highway, S.F. Last played: April 5, 1995 at the Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Theo tells the story of the Los Angeles singer/songwriter's 1981 movie star name-dropping synth-rock chart-topper. Hosted on Acast. See acast.com/privacy for more information.
J.D. Steele doesn't just walk onto a stage. He bursts on with a mic, full of energy and ready to belt into song. Steele is the oldest sibling in the Minnesota gospel group The Steeles. And he's been making music and spreading soul and joy for 40 years in Minnesota.Steele toured with actor Morgan Freeman on “The Gospel at Colonus,” which landed on Broadway in 1988. He collaborated with Prince during the 1990s. He's produced, performed and recorded multiple Steeles albums and worked with artists like George Clinton, Mavis Staples, Kim Carnes, Fine Young Cannibals and The Sounds of Blackness.MPR News host Angela Davis and producer Maja Beckstrom revisit one of their favorite shows from 2023, a conversation last spring with J.D. Steele. It covers his long career, his collaboration with Prince, the healing power of song and his current projects, directing community choirs and inspiring the next generation to sing with soul.Useful resourcesWant to sing with one of the community choirs directed by J.D. Steele? They are free to participate in, don't require auditions and rehearse together once a week for 90 minutes. Click to find more information about:The Mill City Singers. The MacPhail Community Youth Choir. The Capri Glee! Adult Community Choir.Guest:J.D. Steele is a singer, songwriter, arranger, producer and choir director known for his work with Prince, as part of the J.D. Steele Singers in “The Gospel at Colonus,” in musical theatre and as a member of the Twin Cities-based vocal group The Steeles.Subscribe to the MPR News with Angela Davis podcast on: Apple Podcasts, Google Podcasts, Spotify or RSS. Use the audio player above to listen to the full conversation.
J.D. Steele doesn't just walk onto a stage. He bursts on with a mic, full of energy and ready to belt into song. Steele is the oldest sibling in the Minnesota gospel group The Steeles. And he's been making music and spreading soul and joy for 40 years in Minnesota.Steele toured with actor Morgan Freeman on “The Gospel at Colonus,” which landed on Broadway in 1988. He collaborated with Prince during the 1990s. He's produced, performed and recorded multiple Steeles albums and worked with artists like George Clinton, Mavis Staples, Kim Carnes, Fine Young Cannibals and The Sounds of Blackness.MPR News host Angela Davis and producer Maja Beckstrom revisit one of their favorite shows from 2023, a conversation last spring with J.D. Steele. It covers his long career, his collaboration with Prince, the healing power of song and his current projects, directing community choirs and inspiring the next generation to sing with soul.Useful resourcesWant to sing with one of the community choirs directed by J.D. Steele? They are free to participate in, don't require auditions and rehearse together once a week for 90 minutes. Click to find more information about:The Mill City Singers. The MacPhail Community Youth Choir. The Capri Glee! Adult Community Choir.Guest:J.D. Steele is a singer, songwriter, arranger, producer and choir director known for his work with Prince, as part of the J.D. Steele Singers in “The Gospel at Colonus,” in musical theatre and as a member of the Twin Cities-based vocal group The Steeles.Subscribe to the MPR News with Angela Davis podcast on: Apple Podcasts, Google Podcasts, Spotify or RSS. Use the audio player above to listen to the full conversation.
Greetings oh feathered beauties! I am back with more hidden bounty from my ancient song archives. More rare demos, sonic experiments and even a brand new track will hopefully charm your “OwlHead” ears. It was wonderful to work back in the day with the fine singer/songwriter/guitarist Hamish Stuart of the iconic band, “The Average White Band”. I'll start off the show by playing you a track we wrote together that became a single for his band, “Easy Pieces”; A cool psychedelic soul number that I now think was somewhat influenced by the “Prince” aesthetic. Of course, Hamish went on to work with Paul McCartney and is now presently with Ringo Starr … so it was lovely to discover and spin this little gem from our past. For the songwriters out there, I'll play two demos I was working on with Robbie Williams - two rough home demos of the same idea, which illustrates quite well how I develop a concept. I think you'll find it very interesting how my demos were presented and constructed for Robbie … to inspire and encourage him to engage and develop an idea with me. And here's a treasure for all Jack Hues (Wang Chung) fans: I'll play the cassette demo of a song we were writing together for his (so far) unreleased renowned solo album “The Anatomy Lesson”. It's a very, very COOL track … and, although we are loosely jamming and it's just rough and ready, the potential of this song is self evident. Because the re-ignition of the “Pagey Quiz” lit up the internet and caused traffic to stop during last month's episode, I will be asking you three more incredibly hard brain curdling “Pagey” questions. These are conundrums from which I believe even the most wise OwlHead will cower away - fearing that investigating these questions could cause neural problems. Beware - approach with extreme caution. I'll spin a terrific London-recorded demo - a song I wrote and performed with Brian Fairweather that Kim Carnes eventually heard and recorded on her album, “Cafe Racers”. It became “Fairweather/Page's” first top ten adult/contemporary hit in America … and listening to it today, I'm very proud of the Doobie Brothers/Pointer Sisters swing and irresistible groove we achieved on this particular demo. I always like to include a new song I've just written if I can on these shows, and I'm happy this month to present a song called, “How”. I hope you like it and that it speaks to you. Bloody hell, this is the penultimate episode 49, we are nearly at the final 50th show; who would have thought, “I'd ever get my feet this far”.
Beth covers “Sexy Eyes” by Dr. Hook and Amy covers “Bette Davis Eyes” by Kim Carnes. Listen to the songs first before Amy & Beth ruin them for you.Email us at amyandbetharesorry@gmail.comVisit us on Instagram at https://instagram.com/sorryiruinedthatsong?igshid=1cqqhy050qg8qListen to our Spotify Playlist here:https://open.spotify.com/playlist/4TWLMgrKwCQzh24umxIB5R?si=zUmNWqQfRwCBVzvExGLSvACheck us out on TikTok: https://vm.TikTok.com/TTPdMmQJS8/Logo artwork by: http://www.etsy.com/uk/shop/MollyPukes
There is something so beautifully rendered in this piece of heartbreak I have always identified with.Written by husband and wife Dave Ellingson and Kim Carnes and released in March 1980, it was the first single from Rogers' album Gideon. It's a tough three plus minutes to travel for some because the poetry informs with an unbearable truth for those paying rapt attention.When Kim cries "Put Out The Light" and Kenny counters with his plea of"Just Hold On", attaching their dramatic authenticity to the words, I Can't Keep From Crying Sometimes.A profound prayer from two dreamers who could never have imagined the twist of consequence dedication and attachment can bring.I'm a sucker for songs which dispense a healthy dose of yearning and struggle.And when two gifted voices collide within a symphonic world of intense devotion real humans share , I'm Gone, Gone, Gone Like A Cool Breeze.I imagine that's why "He Stopped Loving Her Today" has been named in several surveys as the greatest country song of all time. It was released in April 1980, only a month after "Don't Fall In Love With A Dreamer". That Bobby Braddock / Curly Putman composed opera made 1980 quite A Good Year For The Roses."Don't fall in love with a dreamer‘Cause he'll always take you inJust when you think you've really changed himHe'll leave you againDon't fall in love with a dreamer‘Cause he'll break you every timeOh, put out the light, just hold onBefore we say goodbye".Damn Straight.-Rich Buckland
A bonus Episode on America's Podcast!! On today's podcast, we have a special guest: Gabby, the daughter of Charles Traynor. Together with Eddy Cannistraci, we step out of our comfort zone to review Taylor Swift's 2020 album, "Folklore". Tune in as we offer our unique perspectives on the music, lyrics, and overall artistic direction of Swift's highly-acclaimed album. Join us on this journey as we delve into the captivating world of "Folklore" and explore its impact on the music industry. Tracks of the Week: Gabby, "Gold Dust Woman" by Fleetwood Mac. Charles "Bette Davis Eyes by Kim Carnes. Eddy, "A&W" by Lana Del Rey. Jerry, "Levitating" Dua Lipa and we End with Marc, "Back From The Dead' by Halestorm. Until Friday watch out for rag weed and rock on!! #taylorswift #folklore #pop #americaspodcast #freeformrockpodcast
Kendall is super excited to see Barbie tonight after the show! Giant lollipops for National Lollipop Day, mukbanging childogs and cheeseburgers, masks at In n Out, Happy Birthday to Kim Carnes, news of the day, your calls and Blurry Creatures.com
This week we are joined by a real Rock N Roll warrior. Lead guitarist Dave Amato grew up outside of Boston, played in some pretty cool bands like Ice and August, and then set out for Los Angeles in 1980 with one goal in mind, to be a rock star. Since then he has shared the stage with many greats such as Cher, Ted Nugent, Jimmy Barnes, Kim Carnes, Julian Lennon, and even sang background vocals on a few Motley Crue records and played on a Richie Sambora solo album. In 1989, he joined REO Speedwagon and has been "riding the storm out" ever since. He also has one of the most impressive gear collections, you'll ever see. We had a fantastic fun conversation, enjoy! Music The Charms "So Pretty"(theme song) REO Speedwagon "Run Away Baby" Support the podcast: patreon.com/twistedrico Contact: Steev Riccardo twistedrico@gmail.com #DaveAmato #REOSpeedwagon #BlowingSmokewithTwistedRico
J.D. Steele doesn't just walk onto a stage. He bursts on with a mic, full of energy and ready to belt into song. Usually he gets his audience to sing along or at least clap and sway in their seat. Steele is the oldest sibling in the Minnesota gospel group The Steeles. And he's been making music and spreading soul and joy for 40 years in Minnesota. Steele toured with “The Gospel at Colonus” with actor Morgan Freeman and when it landed on Broadway in 1988. He collaborated with Prince during the 90s. He's produced, performed and recorded multiple Steeles albums and worked with artists like George Clinton, Mavis Staples, Kim Carnes, Fine Young Cannibals and The Sounds of Blackness. MPR News host Angela Davis talks with J.D. Steele about his life work making music his and current projects, directing community choirs and inspiring the next generation to sing with soul. Useful resources Want to sing with one of the community choirs directed by J.D. Steele? They are free to participate in, don't require auditions and rehearse together once a week for 90 minutes during the fall, winter and spring. Click to find more information about: The Mill City Singers. The MacPhail Community Youth Choir. The Capri Glee! Adult Community Choir. Guest: J.D. Steele is a singer, songwriter, arranger, producer and choir director known for his work with Prince, as part of the J.D. Steele Singers in “The Gospel at Colonus,” in musical theatre and as a member of the Twin Cities-based vocal group The Steeles. Subscribe to the MPR News with Angela Davis podcast on: Apple Podcasts, Google Podcasts, Spotify or RSS. Use the audio player above to listen to the full conversation.
Montrose was considered to be America's answer to Led Zeppelin in the early 70's. Founder Ronnie Montrose had played with a number of musicians including Van Morrison, Boz Scaggs, and with Edgar Winter on the hit singles “Frankenstein” and “Free Ride.” He formed the band bearing his name with bassist/keyboardist Alan Fitzgerald, drummer Denny Carmassi, and front man Sammy Hagar. Paper Money is the group's second album, and was the band's highest-charting release, reaching number 65 on the Billboard 200 chart. This follow-up to their self-titled debut album took on a broader style, with a stronger range of rhythm and dynamics while downplaying the heavy metal feel of the first album. Ronnie Montrose thought that the heavier music was a passing thing. However Montrose was just ahead of its time, and heavy metal was about to explode. Ronnie Montrose had a strict no-drug use policy for concerts, as he wanted all the members to be in top shape on their instruments and vocals for the show.The sessions for Paper Money were often marred by the deteriorating relationship between Montrose and Hagar. Soon after this album release, Sammy Hagar would leave the band for a solo career and eventual duties as the front man for Van Halen. Fitzgerald would go on to play for Night Ranger, and as an offstage keyboard player for Van Halen in the 90's. Carmassi would play for a number of artists including Heart, Whitesnake, Al Stewart, Kim Carnes, and Joe Walsh, as well as his own solo work, placing him on more recorded albums than Sammy Hagar.Wayne features this rocking album for today's podcast. StarlinerWe start this podcast with an instrumental with a space theme — prior to Star Wars. This song is the final track for side 1 of the album. Spaceage SacrificeAnother space themed song, this one was written by Hagar and Montrose. Although considered “sci-fi rock,” the song itself is a bit critical of the effort and money spent to go to the moon when troubles remained unsolved on Earth. "Don't think twice spaceage sacrifice. Well, let's go back when it all was starting. A man on the moon and people were starving."Paper Money This track is a critique of the monetary system in a time of inflation. “Take away all my silver, take away my gold, and hand me a stack of paper, paper money don't hold.” This one is the first single from the album, and the concluding track.I've Got the FireWayne saves his favorite track for last. It is a hard-driving song with explosive energy. This one may benefit from the concealed tension between Montrose's edgy tone and Hagar's vocal virtuosity. It would be the last one the band recorded before Hagar left the band to pursue a solo career. ENTERTAINMENT TRACK:Puttin' On the Ritz by (from the motion picture “Young Frankenstein”)Mel Brooks' black and white comedy classic featured Dr. Frankenstein (pronounced FRAHNK-en-steen) and the monster in Broadway-styled number. STAFF PICKS:You Ain't Seen Nothing Yet by Bachman Turner OverdriveRob get's the staff picks rolling with a Canadian band's number 1 hit on the Billboard Hot 100. The song was intended as a joke for Randy Bachman's brother Gary, who had a stutter. It was used as a “work track” to set up the mics and amps in the studio, but it wound up being a hit after it was included on their “Not Fragile” album.Killer Queen by QueenBruce's staff pick is the first U.S. hit from Queen. It went to number 12 on the Billboard Hot 100, and is off their third album “Sheer Heart Attack.” It is the first Queen song to incorporate the cabaret-style and harmonies that we know today as the quintessentially Queen sound. The lyrics are about a high class call girl.Longfellow Serenade by Neil Diamond Lynch brings us a song inspired by an incident in school where Diamond used the poetry of Henry W. Longfellow to woo a girl. It went to number 5 on the Billboard Hot 100 and number 1 on the Adult Contemporary charts. It is off Diamond's ninth studio album, "Serenade."I've Got the Music In Me by Kiki Dee and the Kiki Dee BandWayne wraps up the staff picks on a positive note. The lyrics describe how the singer will not be deterred because they have the music in them. Kiki Dee is best known in the U.S. for her duet with Elton John, but is better known in England as a singer of "blue eyed soul." She was the first white British artist to be signed by Motown. NOVELTY TRACK:Kung Fu Fighting by Carl DouglasInterest in martial arts in the early 70's inspired this song which would go to number 1 on the US, UK, Canadian, and Australian charts.
Tina Turner 1939- 2023 The Queen Of Rock-N-RollRandom Vinyl Spin 5/25/23 complete setlist in video-Kim Carnes - More LovePat Benatar - One LoveTina Turner - Whole Lotta LoveTina Turner - Better Be Good To MeFlorence and The Machine - Call Me CruellaSupertramp - Bloody Well RightTina Turner - Steamy WindowsTina Turner - Typical MaleTina Turner - We Don't Need Another Hero (Beyond Thunderdome)Tina Turner - Private DancerRecorded live at the She Shack Studio May 25th 2023. © Copyright Danny Diess
The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro) TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago? For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt. That was the logo of the disc's distributor. Vestron Video. A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it. But before we get there, we, as always, must go back a little further back in time. The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company. But what to call the company? It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point. At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future. Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling. The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet. Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great. Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night. For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron. They were doing pretty good. And in 1984, Vestron ended up changing the home video industry forever. When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video. It would become the second home videotape to sell a million copies, after Star Wars. Suddenly, Vestron was flush with more cash than it knew what to do with. In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made. Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies. Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build. But it costs money to build a movie production and theatrical distribution company. Lots of money. Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day. It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution. Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure. Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000. Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside. And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year. Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2. The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner. The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again. In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco. Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross. Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week. It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for. Dirty Dancing. Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname. Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle. But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it. They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise. To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special. Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget. For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials. Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny. Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role. Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming. Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released. After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th. Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance. But, to be fair, one important element of the film was still not set. The music. Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film. Vestron would spend another half a million dollars licensing the original recording. The writer nailed all ten. But even then, there was still one missing piece of the puzzle. The closing song. While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.” Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version. The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there. While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals. With all the songs added to the movie, audience test scores improved considerably. RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts. When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts. The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds. But then a funny thing happened… Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack. Its second week in theatre would only see the gross drop 6%, and the film would finish in third place. In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales. Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better. When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago. On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong. The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988. Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets. Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then. Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola. The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role. New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.” Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck. But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales. Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves. Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo. The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales. And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting. Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot. One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either. John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6. The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres. Vestron would also release two movies in 1987 through their genre Lightning Pictures label. The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film. The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them. After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run. While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school. People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years. Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was. Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right? We'll find out next episode, when we continue the Vestron Pictures story. Thank you for joining us. We'll talk again next week. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
This week on The Metro, Warlock Jeff Ivins brings you the following bands: Kim Carnes, Roxette, Wang Chung, Erasure, Genesis, Escape Club, Depeche Mode, Big Country, Japan, Crowded House, Siouxsie & The Banshees, Michael Sembello, Inmates, The Clash, and finishing up with some Tonio K.
Merriam-Webster's Word of the Day for January 2, 2023 is: precocious • prih-KOH-shus • adjective Precocious means "having or showing mature qualities at an unusually early age." It can also mean "exceptionally early in development or occurrence." // A precocious musician, he's been performing concerts since the age of seven. // She was a precocious child who could read before she started school. See the entry > Examples: "Songs aside, the musical [Matilda] follows the plot of [Roald] Dahl's book pretty closely, chronicling the life of Matilda Wormwood, a precocious and sweet child who feels misunderstood by everyone both at home and at school." — Emma Dibdin, Town & Country, 17 June 2022 Did you know? Precocious got its start in Latin when the prefix prae-, meaning "ahead of," was combined with the verb coquere, meaning "to cook" or "to ripen." Together, they formed the adjective praecox, which meant "early ripening" or "premature." By the mid-1600s, English speakers had turned praecox into precocious and were using it especially to describe plants that produced blossoms before their leaves came out. Within decades, precocious was also being used to describe humans who developed skills or talents sooner than others typically did. Pop music lovers may recall the lyric "She's precocious!" from "Bette Davis Eyes," although the song itself was something of a late bloomer: originally released in 1974 by Jackie DeShannon (and cowritten by DeShannon and Donna Weiss), it didn't become a hit until Kim Carnes' Grammy Award-winning version was released in 1981.
The cult classic film Easy Rider was released this month. A landmark counter culture movie, the film traces the journey of Wyatt and Billy as they make their way on motorcycles from a successful drug deal in Los Angeles to the Mardi Gras festival in New Orleans. Peter Fonda, Dennis Hopper, and Terry Southern wrote the film, and it stars Fonda, Hopper, and Jack Nicholson. Dennis Hopper directed the movie. Originally the plan was for Crosby, Stills & Nash to do all the songs on the soundtrack. When the editor plugged in contemporary songs as placeholders, the sound convinced Dennis Hopper to reverse this decision.The Easy Rider Soundtrack was crafted with contemporary late 60's music, and stands out as an excellent example of the music of the counterculture. Each piece used in the movie was curated with the idea of maintaining the story. Wayne brings us this forerunner of prog rock and heavy metal. Don't Bogart Me by Fraternity of ManPsychedelic and blues rock band the Fraternity of Man would have their biggest hit with this song. It recommends generosity with illicit smoking materials. This song originally appeared on their self-titled debut album in 1968 before being included in this soundtrack.Ballad of Easy Rider by Roger McGuinnBob Dylan was an uncredited contributor on this song. The Byrds front man Roger McGuinn performed this as a solo work. It was the only song originally written for this film, and appeared on one of McGuinn's albums later.The Weight by The BandThis song chronicles the experience of a visitor to Nazareth, Pennsylvania, even though much of its influence is from the American South. Nazareth is the home of Martin guitars, and that is why the lyrics transfer to that location. Licensing could not be gained for the soundtrack even though it was used in the film, so a group called Smith was used for the soundtrack instead of The Band.Born To Be Wild by SteppenwolfSteppenwolf's most successful single appeared on their debut album in 1968 before being used in "Easy Rider." Many consider it to be the first heavy metal song, and the lyric "heavy metal thunder" contributes to that. This song would be used as a motorcycle anthem from this time on. ENTERTAINMENT TRACK:Wasn't Born to Follow by The Byrds (from the motion picture “Easy Rider”)Yes, we get to do a little double dipping with our entertainment track this week. STAFF PICKS:Put a Little Love in Your Heart by Jackie DeShannonRob opens this week's staff picks with a song that hit number 2 on the Billboard Hot 100, and it was used in the film "Drugstore Cowboy." Jackie DeShannon is best known for the song, "What the World Needs Now is Love." DeShannon also wrote "Betty Davis Eyes" for Kim Carnes.In the Ghetto by Elvis Presley Brian brings us The King with a poignant song about a child from the dirt street part of town. Writer Mac Davis was inspired by the story of a friend who grew up in poverty. Elvis completely identified with this song because of his impoverished upbringing.I Can Sing a Rainbow/Love Is Blue by the Dells Bruce's staff pick is a cover medley of Sing a Rainbow, best known in its 1955 rendition by Peggy Lee, and Love is Blue, originally a French song best known as an instrumental easy listening piece by Paul Mauriat that was a number 1 hit in March of 1968. the Dells hit number 22 on the US charts with this version during the height of their success between 1966 and 1973.I'd Rather Be an Old Man's Sweetheart by Candi Staton Wayne features a soul hit from Muscle Shoals. This is Staton's first hit, rising to number 9 on the R&B charts, and number 46 on the pop charts. Staton is known as the "First Lady of Southern Soul." "I'd rather be an old man's sweetheart than a young man's fool." INSTRUMENTAL TRACK:A Boy Named Sue by Johnny CashCash released this novelty song telling the story of a boy who had to grow up tough after his absentee father left him with the name of Sue.
This week on The Metro, Warlock Jeff Ivins brings you the following bands for your time warp to the 1980s: Buggles, Sting, Nick Lowe, Ultravox, Humans, Dexy’s Midnight Runners, The J Geils Band, Kim Carnes, Bow Wow Wow, Real Life, The Human League, Peter Schilling, Let’s Active, Men At Work, and finishing with Billy Idol.
“The Universe will do things in your life that you don't know why, at the time…” On this Niko Bolas Interview: Learning engineering by mixing church music and porn soundtracks, Getting sober and choosing to stay sober every morning, letting go of toxic friendships, amazing stories about working with Val Garay, Jack Nitzsche, Neil Young, Dolly Parton (one of his best gigs ever), Don Henley, Warren Zevon, Keith Richards, Vinny Colaiuta, Mike Scott & The Waterboys… Forgetting to hit “record” while Glyn Johns was in the studio with him, dealing with self-doubt, why “If you have an intention and you truly feel it, your needs will be met,” and loads more - absolutely awesome conversation Cool Guitar & Music T-Shirts!: http://www.GuitarMerch.com Niko Bolas is a producer, recording engineer and mixer. Here's a small sample of the artists Niko has worked with: Neil Young, Keith Richards, Prince, Bonnie Raitt, Warren Zevon, Jackson Browne, James Taylor, Kim Carnes, Linda Ronstadt, Toto (IV), Barbara Streisand, Steve Perry, Dan Fogelberg, CSNY, Stan Getz, Tracy Chapman, The Waterboys, Robben Ford, Kiss, Herbie Hancock, Jeff Babko, Jeff Beck, The Mavericks, Boz Scaggs, Beth Hart, Los Lobos, Steve Jordan, doz. of others Subscribe & Website: https://www.everyonelovesguitar.com/subscribe Support this show: http://www.everyonelovesguitar.com/support
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