Podcasts about man who fell

In the thirty-third episode of Season 11: The Son of Cult Flicks, Kyle is joined by filmmaker Daniel Lopez and musician Ben Childs to discuss the fractured and enigmatic construction of Nicolas Roeg's Christ-like allegory for modernity's denial of true progress and enlightenment in the experimentally bold adaptation of Walter Tevis' novel The Man Who Fell to Earth (1976).

!!! HTML 설정이 자꾸 깨지는 이유로, 이번에는 링크 그냥 생으로 넣겠습니다. !!!- - -듀오링고https://www.duolingo.com/고관절 영상https://youtu.be/fC36CluWbAA?si=dYxDwZPZoZd1JxMB아스트라 픽 목록https://aimdreaming.imaginariumkim.com/astra-%ed%94%bd-%ec%98%81%ed%99%94/< 아가씨 >https://www.imdb.com/title/tt4016934/< The Man Who Fell to Earth >https://www.imdb.com/title/tt0074851/데이비드 보위https://namu.wiki/w/%EB%8D%B0%EC%9D%B4%EB%B9%84%EB%93%9C%20%EB%B3%B4%EC%9C%84< 신데렐라 > (2015년 실사판)https://www.imdb.com/title/tt1661199/< The Grimm Variations >https://www.netflix.com/title/81050090라스 폰 트리에https://namu.wiki/w/%EB%9D%BC%EC%8A%A4%20%ED%8F%B0%20%ED%8A%B8%EB%A6%AC%EC%97%90< 살인마 잭의 집(The House That Jack Built) >‘잭이 만든 집'은 제목이 아니었더라…https://www.imdb.com/title/tt4003440/Authors Guild, Inc. v. Google, Inc.https://en.wikipedia.org/wiki/Authors_Guild,_Inc._v._Google,_Inc.Hachette v. Internet Archivehttps://en.wikipedia.org/wiki/Hachette_v._Internet_Archive”Anthropic reaches deal on AI 'guardrails' in lawsuit over music lyrics” (January 3, 2025)(“Deal”이 있었긴 했으나, “"While Anthropic's stipulation is a positive step forward, this lawsuit remains ongoing," the publishers said in a statement on Friday.”)https://www.reuters.com/legal/litigation/anthropic-reaches-deal-ai-guardrails-lawsuit-over-music-lyrics-2025-01-03/Ycombinator's “Requests for Startups” Spring 2025 중 “B2A: Software Where the Customers Will All Be Agents”https://www.ycombinator.com/rfsFrom “Three Observations” by Sam Altman, ”Anyone in 2035 should be able to marshall the intellectual capacity equivalent to everyone in 2025; everyone should have access to unlimited genius to direct however they can imagine.”https://blog.samaltman.com/three-observationsStefan Thomas (Coil 했던 사람)https://x.com/justmoon“Stefan Thomas Update on Recovering $230 Million in Locked Bitcoin”아직 찾지 못하셨다고 한다…https://youtu.be/RwN_rsu8xJc?si=56zPl1coHcMDq1Ac- - -녹취록:https://aimdreaming.imaginariumkim.com/듀오링고-1의-비밀-걷뛰걷뛰-1-삭제-2-패스-취향-클론-b2a/한아임한테 ☕️ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠커피 사주기⁠⁠⁠⁠

Cette semaine: des films d'extra-terrestres qui sont peut-être... à propos de quelque chose d'autre? Nous discutons de The Man Who Fell To Earth de Nicolas Roeg et Echo à Delta de Patrick Boivin en plus de nos films de la semaine: le pilote de Moonlighting, Miracle Woman de Frank Capra, Take Out de Sean Baker et Airport de George Seaton.

Twenty-three years after Mohammed Ayaz fell from the wheel bay of a plane coming in to land at Heathrow, his brother visits the car park where the body was found. Esther Addley reports. Help support our independent journalism at theguardian.com/infocus

This week, Josh and Drusilla are divided on Jonathan Glazer's 2013 film, Under the Skin. From wiki: “Under the Skin is a 2013 science fiction film directed by Jonathan Glazer and written by Glazer and Walter Campbell, based on the 2000 novel by Michel Faber. It stars Scarlett Johansson as an otherworldly woman who preys on men in Scotland. The film premiered at Telluride Film Festival on 29 August 2013. It was released in the United Kingdom on 14 March 2014, and in other territories later in the year.”Also discussed: muppets, Exotica and the careers of Atom Egoyana nd Mia Kirshner, Black Christmas (1974) Silent Night, Deadly Night, Sicko, Luigi Mangione, Christmas Evil, The Man Who Fell to Earth, and more. NEXT WEEK: Return of the Cat PeopleFollow them across the internet:Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/https://www.instagram.com/sister__hyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/https://bsky.app/profile/joshuaconkel.bsky.social  

John Williams, London Symphony Orchstra [00:23] "The Desert and The Robot Auction" Star Wars 20th Century Records 2T-541 1977 Pretty much every aspect of this soundtrack is seared into my Gen X nerd mind. Silver Jews [03:15] "Advice to the Graduate" Starlite Walker Drag City DC55 1994 The debut outing from David Berman and friends, here including partners in crime Steve Malkmus, Bob Nastanovich, and even Steve West. There is also a lovely cover of this song by The Pastels (https://youtu.be/tQ1vuKAGmUo?si=y7G-DZUy094zyJUf) (recorded for a Peel session). Lena Lovich [06:30] "I Think We're Alone Now" Stateless Stiff Records SEEZ 7 1978 (1979 reissue) From the original UK Stiff Records release of Stateless, a very first-wave New Wave version of "I Think We're Alone Now", originally recorded by Tommy James and the Shondells. Also available in Japanese! (https://youtu.be/URPtOAs_eMc?si=zX0h-wST3jcLzadK) Lena Lovich [09:18] "Lucky Number" Stateless Stiff-Epic JE 36102 1979 The US version changes up the track order, and has a number of songs remixed by Roger Bichirian. David Bowie [13:47] "Golden Years" Station to Station RCA Victor AQL1-1327 1976 (1986 reissue) Carlos Alomar and Earl Slick laying down the funky guitars. The cover features a photograph of Bowie by Steve Shapiro from Nicholas Roeg's The Man Who Fell to Earth (1976) (https://youtu.be/KarWCgIw3Wk?si=52k2oqnxkEJ2HNah). Sinéad O'Connor [17:46] "Some Day My Prince Will Come" Stay Awake (Various Interpretations of Music from Vintage Disney Films) A&M Records B0029005-01 1988 (2018 reissue) The late great Sinéad O'Connor interpreting Snow White's ballad accompanied by the late great Andy Rourke from the late great Hal Willner. Willner was one of the most imaginative music producers, responsible for so many excellent tribute albums, and one of the most innovative music shows on network television: Night Music (https://youtu.be/ChPPW6NbsFk?si=AusrNnmpxTl4mWUI). Graham Parker and the Shot [18:55] "Wake Up (Next to You)" Steady Nerves Elektra 9 60388-1 1985 Graham gets all romantic in a Motown sorta way. This single made it as high as 39 on the Hot 100. Graham Parker and the Rumour [24:00] "I'm Gonna Tear Your Playhouse Down" Stick to Me Mercury SRM-1-3706 1977 Graham and company do a fine rendition of this song that was initally a hit for Ann Peebles (https://youtu.be/cyMsvE8UcbI?si=VqkTZdDF9ubuspVT). The Rolling Stones [29:35] "Dead Flowers" Sticky Fingers Rolling Stones Records COC 59100 1972 The first album the Stones recorded after being freed from their Decca Records obligation. This copy has one of the actual working zippers, as designed by Andy Warhol. Many listeners will also be familiar with Townes van Zandt's acoustic version that appears on his live album Roadsongs, and was subsequently used in The Big Lebowski (Coen, 1998). The Aquadolls [33:40] "Tweaker Kidz" Stoked on You Burger Records BRGR390 2014 Fun track from the debut Aquadolls album. Talking Heads [36:06] "Once in a Lifetime" Stop Making Sense Sire 1-25186 1984 There was a very cute promo (https://youtu.be/R2gVgpHIDz0?si=UfreL9mJCNr_K3iC) for the A24 re-release of the film recently. Nadja [42:03] "The Stone" The Stone Is Not Hit by the Sun, Nor Carved with a Knife Gizeh Records GZH70 2016 As usual, more heavy dreamy goodness from one of my favorite duos. Music behind the DJ: "Gomez" by Vic Mizzy

Twenty-three years after Mohammed Ayaz fell from a plane wheel bay as it descended to Heathrow airport, his brother visits the car park where his body was found. Esther Addley reports. Help support our independent journalism at theguardian.com/infocus

Alcoholic aliens plus a little David Bowie. Support the network and gain access to over fifty bonus episodes by becoming a patron on ⁠Patreon⁠. Want more science fiction in your life? Check out ⁠The Gene Wolfe Literary Podcast⁠. Love Neil Gaiman? Join us on ⁠Hanging Out With the Dream King: A Neil Gaiman Podcast⁠. Lovecraft? Poe? Check out ⁠Elder Sign: A Weird Fiction Podcast⁠. Trekker? Join us on ⁠Lower Decks: A Star Trek Podcast⁠. Want to know more about the Middle Ages? Subscribe to ⁠Agnus: The Late Antique, Medieval, and Byzantine Podcast⁠.

SERMON SERIES: Questions Jesus Asked SPEAKER: Ps. Des Curtis We're more than a church; we're a family across five locations in Dublin City, Ireland, united in faith and love of Jesus. Our mission is simple: to help you relate deeply with God and others, reach your potential, and rise in your calling. Explore our podcast episodes, and we look forward to meeting you in person at our Sunday services at 10 a.m. and 11.45 a.m. at 42a Pearse St, Dublin. Welcome home! CONNECT WITH A PASTORAL CARE Do you need a prayer? Would you like to find out how you can get involved at St. Mark City church? One of our pastoral care leaders would love to meet with you. Just write an e-mail to pastoralcare@stmarks.ie FIND US IN SOCIAL MEDIA Facebook: https://www.facebook.com/stmarkscity Instagram: https://www.instagram.com/stmarkscity/ Youtube: https://www.youtube.com/@stmarkscity

Like Schwarzenegger after him, he just needed to find the role he was born to play. Following the career track of Nicholas Roeg, we come to one of his seminal films, THE MAN WHO FELL TO EARTH. It's a head-scratcher and we say that with an understanding of Roeg's work being a little disjointed and a heavy use of visual metaphors and match cutting BUT... It would have been nice to get a better through-line in the story. But no one hates this movie at OTB HQ, certainly not when Rip Torn is tearing through this sexy sci-fi circus like a Professor Lothario!

Elvis Presley, Elvis' use of Egyptian symbolism, the magical rituals of Elvis, Elvis and sex magick, Ginger Alden, Davis Bowie, Bowie's metaphysical interests, the shared love of sci-fi Elvis and Bowie both had, Stanley Kubrick, Aleister Crowley, William Burroughs, Bowie's occult development, Bowie's sexuality, how Bowie's sexuality influenced his metaphysical worldview, Labyrinth, the occult symbolism in Labyrinth, Bowie's occulted film career, Twin Peaks, the significance of Bowie and Elvis as both musicians and actors, the next successor to Elvis & Bowie, Outkast, Andree 3000, Elizabeth Frazer, The Man Who Fell to Earth, Astro GnosisAstro Gnosis:https://www.eventbrite.com/e/sophia-and-simulated-realities-tickets-836775256317Music by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/Additional Music by: Corwin Trailshttps://corwintrails.bandcamp.com/album/corwin-trails Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

“Bowie to Bowie… Come in Bowie…” So begins a completely unrelated piece of Bowie-related media that one of us wishes he watched instead. Come have a listen to find out which of us has the appetite (or patience?) for a Nicolas Roeg-directed 1970s dystopian science fiction film starring a beguiling and beloved pop star at the top of his game.  Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Luis Buñuel's The Exterminating Angel (1962).

Two strangers in New York City ended up having a hero moment when they jumped down to save an unconscious man who fell off the subway platform. VIDEO: https://www.wdjx.com/tourist-becomes-a-hero-in-the-nyc-subway/

This pointed question to the expert in the law reframes what a neighbour is, challenges our prejudices and demonstrates …

This episode is funny because we spend the first 3/4s of it talking about an incredibly interesting, strange, 70s film starring David Bowie at one of the peaks of his David Bowie-ness, and then also we mention that the movie kinda sucks. It's THE MAN WHO FELL TO EARTH, with Rowan, Kev, Carli, and returning guest Jack McDonald! Assassination crash helmets! Too Many Televisions! Rip Torn's penis! This is a movie that has it all except connecting tissue, or any action scenes! It is certainly a movie! 

We followed editor Graeme Clifford to 1976's The Man Who Fell to Earth. David Bowie is painfully thin, Rip Torn is incredibly naked, and Buck Henry does a weird spit bubble thing that none of us can explain. Can you?

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On this episode, I spoke to Emmy Award-winning and Grammy-nominated composer Jeff Russo about his work on the limited series Ripley.  Ripley stars Andrew Scott, Johnny Flynn and Dakota Fanning.  Russo's upcoming projects include Nicholas Tomnay's What You Wish For; and FX's series Alien. His music can be heard on shows such as FX's Fargo, for which he received an Emmy in 2017 and three additional nominations; Peacock's Mrs. Davis; HBO Max's Love and Death; Amazon Prime's The Consultant; Showtime Networks' The Man Who Fell to Earth; CBS All Access's Star Trek: Discovery, and Clarice; Paramount +'s Star Trek: Picard and Star Trek: Strange New Worlds; Netflix's The Umbrella Academy; FX's Legion and Snowfall; and more. His film credits include Chiwetel Ejiofor's Rob Peace, which premiered at the 2024 Sundance Film Festival; Bartlett Sher's Oslo, which he co-scored with Zoë Keating and for which he received an Emmy nomination; Paul Dektor's American Dreamer; Sabrina Doyle's Lorelei; Noah Hawley's Lucy in the Sky; Peter Berg's action-thriller film, Mile 22; and Jon Avnet's Three Christs. 

We are raiding the Guardian Long Read archives to bring you some classic pieces from years past, with new introductions from the authors This week, from 2021: In 2019, the body of a man fell from a passenger plane into a garden in south London. Who was he? by Sirin Kale. Help support our independent journalism at theguardian.com/longreadpod

In the final episode of the series, Louis is in the Spotify studio with lifelong friend, comedian and fellow podcaster, Adam Buxton. In a typically rambling conversation, they chat about problematic musical heroes, Adam's ascent to podcast royalty and his anxieties about the culture wars which led to him abandoning social media. Expect salty language and an assortment of impressions. Warnings: Strong language and adult themes.  Links/Attachments: ‘Steve Harwell, the former lead singer of Smash Mouth, dies at 56' - NPR  https://www.npr.org/2023/09/05/1197578311/steve-harwell-the-former-lead-singer-of-smash-mouth-dies-at-56 ‘Tom Hanks' - The Adam Buxton Podcast  https://www.adam-buxton.co.uk/podcasts/lpbk8k9zbhx54zt-8yl8m-mdzjc-whmf8-2lwfg-emz92-cxnlh-ghwwh-r34cb-sfwnb-kmjcj-x8cgn-gzmzx-xfpt5-x6cma-d8lbc  ‘Kayvan Novak' - The Adam Buxton Podcast  https://www.adam-buxton.co.uk/podcasts/wmcgmfe7zj7chps-89fa4-2e48e-rwzy8-824b8-4mdjd-2hcs8-chrb2-7y8jj-5pcse-2wtsh-cz8zd-e3cdy-g68s7-3dezn-7k5mw ‘Sarah Silverman' - The Adam Buxton Podcast https://www.adam-buxton.co.uk/podcasts/wmcgmfe7zj7chps-89fa4-2e48e-rwzy8-824b8-4mdjd ‘Sarah Silverman: ‘There are jokes I made 15 years ago I would absolutely not make today” - The Guardian https://www.theguardian.com/global/2017/nov/19/sarah-silverman-interview-jokes-i-made-15-years-ago-i-wouldnt-make-today ‘How the alt-right uses internet trolling to confuse you into dismiss its ideology' - Vox  https://www.vox.com/2016/11/23/13659634/alt-right-trolling  ‘Iggy Pop isn't about to whitewash his past' - New York Times https://www.nytimes.com/interactive/2023/01/02/magazine/iggy-pop-interview.html ‘The death of the groupie' - New Statesman  https://www.newstatesman.com/culture/music/2023/05/death-groupie-music-the-beatles-rolling-stones-nick-cave ‘The Man Who Fell to Earth' (1976) - Trailer  https://youtu.be/KarWCgIw3Wk?si=j7kC5IKpizNdmq9w  ‘The Ricky Gervais Show' - Podcast  https://youtu.be/9LtjWxmC6KY?si=pI2hH41OvhpFKd0V  ‘The Adam and Joe Show' - Channel 4  https://www.channel4.com/programmes/the-adam-and-joe-show (UK Only) ‘Adam and Joe' - XFM https://www.adamandjoearchive.org/XFM/ ‘Adam and Joe' - BBC 6 Music  https://www.adamandjoearchive.org/6%20Music/ ‘Jon Ronson On' - BBC Radio 4  https://www.bbc.co.uk/programmes/b007mhqc ‘Attack The Block' (2011) - Trailer  https://youtu.be/m0ntk1o4V3k?si=3fF9U6ljnkuwnW-7 ‘Louis Theroux' - The Adam Buxton Podcast https://www.adam-buxton.co.uk/podcasts/128 ‘Tash Demetriou' - The Adam Buxton Podcast https://www.adam-buxton.co.uk/podcasts/lpbk8k9zbhx54zt-8yl8m-mdzjc-whmf8-2lwfg-emz92-cxnlh-ghwwh-r34cb-sfwnb-kmjcj-x8cgn-gzmzx-xfpt5-x6cma-d8lbc-9adl4-5smea ‘Ad reads' - The Adam Buxton Podcast https://www.adam-buxton.co.uk/sponsor-ads ‘Louis Theroux' - Diary of a CEO https://youtu.be/cj8ojSVgU9I?si=RX8_ON5riOIZ8Zhn ‘Michael Barbaro: About Those Hmms' - New York Times https://www.nytimes.com/2019/05/24/podcasts/daily-newsletter-reporter-diary-summer-playlist.html ‘The Adrenochrome conspiracy theory – pushed by ‘Sound of Freedom' star – explained' - Forbes https://www.forbes.com/sites/conormurray/2023/07/15/the-adrenochrome-conspiracy-theory-pushed-by-sound-of-freedom-star-explained/?sh=218d24645179 Credits: Producer: Millie Chu  Assistant Producer: Maan Al-Yasiri  Production Manager: Francesca Bassett  Music: Miguel D'Oliveira  Executive Producer: Arron Fellows     A Mindhouse Production for Spotify  www.mindhouse.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

NEW EPISODE! When he was forced to eject from his F-8 Crusader in 1959, Lt. Col. William Rankin found himself falling through a thunderstorm. To this day, he's only one of two people to survive a fall through a cumulonimbus thunderstorm. In this episode, we tell the story of Rankin's harrowing ordeal and then play the quiz game with Comedian Lisa Berry! Review this podcast at https://podcasts.apple.com/us/podcast/the-internet-says-it-s-true/id1530853589 Bonus episodes and content available at http://Patreon.com/MichaelKent For special discounts and links to our sponsors, visit http://theinternetsaysitstrue.com/deals  

Wayne Cabot and Paul Murnane have the morning's top headlines from the WCBS 880 newsroom...

Gas prices in Metro Detroit seem to be floating around $3.29 per gallon, a huge spike from last week. WWJ's Charlie Langton has more. The U.S. Coast Guard is handing out awards to a crew who saved a man who fell off the Ambassador Bridge. WWJ's Mike Campbell has the details.  (Credit: Getty)

  Doha,Qatar - “Qatar Airways Cargo confirms that Mark Drusch has been appointed as Chief Officer Cargo effective immediately.” This in Qatar's Press Release: “with over 25 years in senior airline management roles, Mark is a well-known figure in the aviation world. His most recent role was SVP Revenue Management, Alliances and Strategy at Qatar Airways where he led the development and implementation of the company's revenue strategy as well as managing strategic alliances with key partner airlines. Prior to joining Qatar Airways, Mark spent 20 years at Delta Air Lines, Continental Airlines and Lufthansa LSG Sky Chefs . --- Support this podcast: https://podcasters.spotify.com/pod/show/geoffrey-arend/support

Memo to you: Pop Screen is back for 2024 and we're covering one of the wildest, most controversial and most ambitious rock movies of the 1970s. Starring Mick Jagger among a motley cast of models, gangsters, boxers and one father of a national embarrassment, Performance saw Nicolas Roeg and Donald Cammell join forces for a joint debut like no other. On this episode, Rob and Graham reunite to talk about the film's turbulent production, its difficult journey into a form Warner Brothers - who thought this was going to be like A Hard Day's Night - found acceptable, and the short but eventful life of the mysterious Donald Cammell. If you want to hear us talk more about his co-director, Rob and Graham have also covered The Man Who Fell to Earth. If you want us to talk more about Mick Jagger, well... ...there's an exclusive bonus episode of this podcast concerning Tony Richardson's Ned Kelly coming out on our Patreon very soon, where it'll join a galaxy of quality content: the franchise-reassessing podcast From the Video Aisle is about to dive into the Mr. Vampire series, our X-Files and Red Dwarf reviews are well into the golden age of those shows, and there's also the movie miscellany podcast Last Night... at the end of the month. This isn't even close to the limit of what we do: check Twitter, Instagram and Facebook to find out more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/pop-screen/message

We're back in the Hall and this week we're talking about David Bowie, Join jD, Matt, and Thomas as they welcome Ryan McNeil to the pod.Transcript:[0:42] All right, thank you so much, Doug DeNance. It is great to be here inside the SNL Hall of Fame.You may have arrived yesterday only to find that the doors were locked.Well, it's Thanksgiving here in Canada, and that explains that, because this is, of course, where the hall is located in my recording studio in Toronto, Ontario, Canada.How are you doing, everybody? I hope you're well. Uh, whoa, hold on.That doesn't mean come inside. You got to wipe those feet first.Now, now that you're here, the SNL Hall of Fame podcast is a weekly affair.Each episode, we take a deep dive into the career of a former cast member, host, musical guests, or writer, and add them to the ballot for your consideration.Once the nominees have been announced, we turn to you, the listener, to vote for the most deserving and help determine who will be enshrined for perpetuity inside the hall.[1:43] It's really quite simple how this game works. We invite a guest on to tackle one of our nominees.They build the case for them. You listen and you ultimately get to cast the vote to determine whether or not they make it inside the hall.This year we'll be doing things a little bit differently. You will be getting an email if you have registered in the past to remind you to vote, but there is no actual registering to vote this year.You can just vote with your email address and you'll be good to go. So there's that.This week on the program, we have a good one for you. We have a, we always have a good one for you. I need to strike that.Can you strike that from the record, please? Very few people understand the operation here at the Hall of Fame, but we do have a stenographer that sits beside me as I recite thisintroduction, and she's wonderful.She's just wonderful. Her fingertips are like lightning.[2:49] She does a great spine massage as well. Anyway, before we go too much further into this and I incriminate myself, uh, let's head over to Matt's minutia minute, because I understandMatt is chomping at the bit this week to talk about David Bowie, who we will be joined by Ryan McNeil in the recording cellar with Thomas to talk about David Bowie and hisnomination.But before that, as always, we are going to track down our friend Matt, and he is going to talk to us in the... Oh, Jamie. Yes, Matt!Track 3:[3:25] Oh, Jamie!Track 2:[3:25] Yes, I know you!Track 3:[3:26] I am very excited about this one! I know, I know! You're gonna have a hard time stopping me talking, my friend.Track 2:[3:31] Okay, let's just do it.Track 3:[3:32] Can't wait.Davy Jones, aka David Bowie, was born January 8, 1947.He was 5'10".[3:45] Along with Tim Curry in the Rocky Horror Picture Show, David is the source of a lot of my youthful sexual awakenings.A little bit of TMI off the top, but just thought I'd get that out of the way.Born in London's working-class borough of Brixton, David Robert Jones changed his name so he was not confused with Davy Jones of the Monkees.Another heartthrob, but for very different reasons.[4:13] He had a rather unremarkable musical career early on, with his choir teacher calling his voice adequate, but he found inspiration in artists including The Teenagers, The Platters, FatsDomino, Elvis Presley, and Little Richard of whom he said upon hearing Tutti Frutti he declared that he had heard the voice of God.That early rock and roll really shook and shook people to their bones and you know if somebody's gonna be the voice of God, I wanted to be Little Richard.Now, he had some pretty incredible childhood friends, one of whom was Peter Frampton, who he met when he went to Bromley Technical High School, where Frampton's dad wasteaching David Bowie art and possibly creating the future of music secondhand.Just shows the importance of teachers. He was also at this time friends with David Jones's friends with a certain Reginald Kenneth Dwight, aka Elton John.Sadly, they drifted apart as their fame began to grow and did not have a chance to reconcile prior to David's death.[5:28] David formed his first band at the age of 15 called the Conrads, a skiffle band aping the Sound of the Beatles and other British skiffle bands of the time, which drew from US guitarmusic and blues.He drifted from band to band, including The King Bees and The Lower Third, before striking out on his own as David Jones.That didn't last long, shortly after he changed his name.His first release was the single Can't Help Thinking About Me, flopped, like all of his prior efforts with his bands to date.During his hippie era, David began working with producer extraordinaire Tony Visconti, who continues to talk about working with David to this day, and their relationship continued upuntil David's passing.He studied dramatic arts under Lindsey Kemp, including avant-garde theater, mime, comedy del arte, and all of this really does carry through to a lot of Bowie's performances, whichembrace movement, extreme performance, and, honestly, a lot of the time, comedy of the absurd.[6:37] His career exploded out of the gate with Space Oddity, which was released at a very timely moment, right before the moon landing.The BBC decided to use the song over top of their coverage of the moon landing, and that catapulted him from an obscure hippie to one of the most influential musicians that catapultedhim from an obscure hippie to one of the most influential musicians of the 20th century.[7:15] Over his career, he embraced a host of characters, including the most famous being Siggy Stardust, the Thin White Duke, and Aladdin Sane, but he also included characters likeMajor Tom and art detective Nathan Alder.His first song in character was the 1967 bassoon-driven single, The Laughing Gnome, which is as weird as the name makes it sound.Seriously, listen to it. Your life will be changed. There's a tiny talking gnome.I thought I dropped acid. I haven't dropped acid since high school.It was triggering.[7:58] He has 99 composer credits, 38 film acting credits including the alien refugee Tom Jerome Newton in The Man Who Fell to Earth and source of much sexual consternation, Jareth inLabyrinth, not to mention a delightful cameo as himself in Zoolander and appearance on Broadway and in London's West End as the Elephant Man.His first recording, I Never Dreamed, was recorded in 1963 when he was 16 and a member of the Conrads.His fellow bandmate and drummer, David Hadfield, was moving house in 1990 and found it in a bread box wrapped in wax paper.You can actually go back and hear that. Young David Bowie. Big difference from later David Bowie.[8:50] Now a myth about David is that he has heterochromia, but he does not.What happened was he was punched in the eye by a band member and developed a condition called anoscleruria, a permanently dilated pupil, which is the cause of why some people thinkthat eye is a slightly different color.Many songs were inspired by his brother, who suffered from complex mental health issues, jump, they say, and these issues led to him being institutionalized and then sadly his eventualsuicide.[9:30] Bowie is a cultural icon, so much so that there are multiple Barbies that have been released celebrating his unique looks, and I am sad that none of them appeared in the Barbiemovie.An innovator, he launched his own ISP in 1996 called Bowie.net, which is one of the earliest social media platforms where he basically invented the AMA.Not long after, he also pioneered artists monetizing their products and creations by selling shares in David Bowie.You could own a share of Bowie.I don't know what part I'd want to own, but I wish I had had the money at the time.His last album, Blackstar, was released on his birthday, January 8th, in 2016.A deep, penetrating meditation on death, loss, regret, pain, and hope, ultimately.Two days later, he died at the age of 69. His life ended as it was lived, a piece of art.Track 4:[10:59] Yes, indeed, Jamie and Matt, thank you so much. I am down here in the recording cellar and I will not leave until the business at hand is done.Today we are talking about David Bowie and here to discuss all things Bowie and SNL with me is a great guest that we've had on, this is his fifth time on the podcast. Oh man, do I get ajacket?Well, I see, you know, I think, uh, our previous five timers have just been okay, Ryan, with, with like, uh, your bragging rights and there, you know, you could, we could send you businesscards if you want something like that.You know, I see, I make that joke and yet I have, I'd say at least a dozen people who have been on my own show five times. I have nothing for them.I don't have stickers. I don't have buttons, nada.I've got people who've been on like seven, eight, nine times.I don't even, like not even a gift basket.So I'm just happy to, happy for the acknowledgement. Yeah, well, rest assured we have nothing for you as well. So, you don't feel the need to pay it forward with this.So you, yeah, so Ryan's been on, Ryan McNeil has been on for the Prince episode.He's been on to talk about Justin Timberlake, Bill Murray.[12:19] Dave Grohl was a wonderful episode. We've gotten a lot of great feedback still on the Dave Grohl episode.And Ryan McNeil, host of the Matinee Cast as well, a podcast, over 300 episodes now.Ryan, geez, tell me this is it. One of these days, I hope to get paid.[12:39] But yeah, when we recorded 300 this year, it was wild to think that I'd been doing it as long as I have.You know, there's times... My cat, every once in a while, will make an appearance.So I do apologize to your listeners. Okay. If they hear Lord Baelish crying, he's crying for nothing, really. 300 episodes. Yeah, you know, there's times where I think nobody's listening,just like any other show.But it's been great. I've met some really fantastic people doing it.I've seen some fantastic films that I might not have otherwise have seen.And it's part of the reason why I got the job I have.I'm not podcasting for a living, but I was able to put myself out there and kind of create a portfolio beyond just my own work of, if you're interested in learning about me, go listen to thisbecause this is, you know, something I create and can give you an idea of who you're talking to.Yeah, it's a good one. And this is coming out in mid October.Is there anything specifically that you might have in mind for mid October, we'll be getting into a new season, I usually take September off because it's kind of a wasteland for movies andcoming out of the Toronto International Film Festival, I can usually use a bit of a breath.So we'll be starting a whole new season of of shows mid-October.[14:00] I think the new Scorsese will be showing up by then. So we'll probably have an episode dedicated to that for sure.Yeah, that's a good one. I just read the book, by the way. So so I'm really looking forward to the movie. If it's anything like the book, it's gonna be outstanding, I think. So definitely. Yeah,that's the matinee cast course with Ryan McNeil.Go check that out. And today here on the SNL Hall of Fame, we are talking about another musical guest again, David Bowie And Ryan, this is your third musical guest that you've beenon for, of course, Prince and Dave Grohl.And I find it fascinating how viewers of SNL and voters of the SNL Hall of Fame look at musical guests.And I'm curious, why do you think people have been so hesitant to vote musical guests into the SNL Hall of Fame at this point? Paul Simon's the only one that's in now. I'll pat us on theback and say, I think we did a great job advocating for Dave Grohl.But why do you Do you think voters might be hesitant to put musical guests into the hall?I do think that the musical component of SNL is something that the most avid viewers.[15:07] You know, they go get a beer during that part of the show, especially if it's a band they don't know.I, I've actually found, discovered a lot of bands because they were on SNL.And I kind of felt a little foolish for not having known about them before, because SNL, as much as they can promote music and, and, you know, create an interesting showcase for a widearray of artists.And I got to give them credit for that too. They, they really have all kinds of different musicians on.It's not what everybody tunes in for. So if it's not your thing, if you're rather, if you're waiting for update or if you're waiting for, you know, the next round of the Target Lady or the nextround of the Wild and Crazy Guys, the Four Strunk Brothers or whatever you happen to be waiting for, that part of the show doesn't latch for you.This is just one of those things for me where where the Venn diagrams overlap, where the comedy nerd and the musical nerd are both delighted at the same moment.So I know that's not everybody, and that's cool.Get from things what you want to get from things. But for me, it's one of the highlights of SNL is the way they can work with a musical act and the way they can highlight and promoteand foster musical careers.[16:26] Yeah, I'm sometimes that way too. I'll admit, I oftentimes, especially if it's a musical guest I've never heard of, I'll use that time to go use the restroom or let my dogs out for for onelast pee before they go to sleep for the evening.So that's that is like a convenient break in between.I know I'm not going to miss update. I know I want to see what sketches come up.So unfortunately, like something sometimes in an hour and a half has to kind of fall through the cracks for some people and this does but depending on the artist and I think the one we'retalking about today if I was you know I was watching SNL for probably two or three of his appearances but in his prime there's no way I would have gotten out of my seat to go dowhatever get a snack or whatever I would have been glued to the TV of course to watch David Bowie so there's those certain artists that you just have to, I think, just stay there for.And I think we're talking about one of them today, Ryan, in David Bowie.And I wanted to ask you to start off, like, if you just can put into context for anybody who might not totally be familiar, anybody who wants to reminisce, like where David Bowie was likeon the rock star hierarchy, like throughout the 70s.His first appearance was 79, so throughout the 70s, where was Bowie in that hierarchy?[17:47] What's interesting about him showing up for the first time in 79 is, it's not like our Dave Grohl episode, where the first time Dave Grohl shows up, he's still got that new car smell.He looks like he's going to freak out if he misses a beat. David Bowie, by the time he shows up in 79, he's been going full tilt for 11 years.He is fully formed. He is deeply in the rock.Parthenon at that point, he's influencing other artists behind him.He will influence other artists who come after him.And watching that first appearance, I mean, if somebody is going to go back and watch his appearances in order, the only downside is the first one is the best, and they're all kind ofshuffling in between after that.But that first episode that he appears in 79, he is firing on all cylinders.He's actually a little bit subdued in terms of how weird he will be and how weird he'll get later. He's a little, you know, he's a little glossy in this era. He's kind of in between personae.But when he shows up, that's the great thing, is he is showing up at his prime.[18:59] It's like watching Muhammad Ali fight, you know, as a 26 year old and beating Sonny Liston.It's an incredible thing to witness. Yeah, I agree. I think this might be this Bowie appearance. It was season five, early in season five, it was season five, episode seven. So that wasDecember of 79.I think it was arguably in those early years, maybe the biggest get that SNL had.I mean, as far as we can run through, I'm sure I'm missing someone, but there are a few musicians around that time who were as big as Bowie.So I'm venturing to guess like they never had, they didn't have McCartney until the next year, I'm venturing to guess that Bowie was maybe the biggest get in those early years for SNL.Mm-hmm. I'd say that's pretty much on the nose. And what I like is it's embracing the new, right?[19:53] At that time, they were still trying to get the Beatles to come back, like Lauren was offering checks.They were very much interested in some of those New York bands, but they weren't exactly what I'd call leading edge with a lot of the music.So having somebody like Bowie who comes out and does something a little artier, a little kookier, it's them embracing the way that rock is changing and the way that rock is changingfrom, you know, four white boys copying blues into something a little bit more experimental, a little bit more arty, a little bit more New York.Bowie, of course, is an English artist, but those records, they feel, along with being very, very Berlin, obviously, they feel very at home with the New York vibe at the time of bands liketelevision and talking heads and those kinds of bands.Think it maybe lent some credibility in some ways to being a musical guest on SNL.And because before that, we would see a lot of, I mean, Randy Newman, of course, Paul Simon, he's buddies with Lorne Michaels. He appeared in those early years. But a lot of it wasblues musicians who are great, but they didn't have like the cultural cache.They didn't pop culturally necessarily like David Bowie did.So this was this was a great get for SNL. Again, his first appearance season 5 episode 7. This was in December of 79.[21:21] This was a few months after he released Lodger.Lodger? I've never actually heard anybody say this album name out loud.I've always called it Lodger, so we'll go with that.So he released Lodger a few months prior to this.The host was Martin Sheen, so we could delve in, unless you have anything else to say about Bowie in the 70s, could delve into this first appearance.No, let's go for it. I mean, I could, you know, we could be doing a whole other show.Sure. If we were doing that. But yeah, Lodger, it's a great place for him to be showing up. It ends off his Berlin trilogy, as I said, it's him very, very much in his prime.[22:03] He's gonna kind of take a weird and interesting wander after this, but it's a great place for him to show up.And the first song that he did, uh, was not from that album.It was, it was, it was the man who sold the world from the album, the man who sold the world. What did you think of this performance of the man who sold the world?So the one thing I adore about this first performance is that he is very much playing the, uh, the, the New York art gallery nerd.He is, he's putting on these performances that will influence David Byrne and influence Lady Gaga, all of these in the best ways.I'm a big believer in lineage when it comes to rock and roll.I don't look at somebody and turn up my nose and be like, David Bowie did that first.[22:56] I love seeing the influences. Yeah, he does this very cool installation art performance.Kanye will cop to this later on, where he's in this huge suit and he's basically like, almost wheeled out, although he's carried by these two aliens who are completely – Yeah, those spooky-looking guys who also served as the backup singers, yeah.Yeah, who are completely blasé about all things, but they carry Bowie out to the microphone, like they're wheeling out Hannibal Lecter.And yeah, he starts out – that's kind of a flex, is like, I'm going to start with something I did a while ago. I'm promoting a new record, but I'm not going to start with that. I'm going to goback and remind you why I'm here. and he slays as he always does.[24:00] I might prefer this just the performance and the sound of it.I might prefer this to the album version. Quite honestly, I think it was it was maybe a little more textured.It had so many layers. And I think just I listening to it, I was like, God, this is so good.Like, I like the album version. Quite honestly, I like Nirvana's version on Unplugged.Right. Better than better than Bowie's album version.But this was like this really popped to me. I thought it was really interesting.I think the two scary looking dudes, the backup singers, I added to it quite a a bit. So I really enjoyed this performance and visually, it was something that SNL didn't always do back then.It's half like, as you said, the performance art aspect.No, because you need the, like that part I feel is driven from the artist.I feel like every time they book somebody, they're like, okay, so you know what the set is and you know what you're working with, you know, good luck.And I think it's, it can be on the artist to come back to them and say, well, I want to turn it into a bedroom the way that Lizzo did, or I want to turn it into just a blank white wall the waythat Kanye did.[25:07] It's on them to change what's in front of you that much. And the set is still static. It's not like David Bowie is doing anything really drastic with the train stations behind him.But he was the one who's like, all right, boys, you're going to put me in this big clunky suit and you're going to wheel me out forward so that I'm going to sing.Standing stark still, mind you, like he's not, not so much as a sway.He's very much locked in place. And yet you can't take your eyes off him because it's the song is that good and he's so charismatic doing it.Yeah. That's the thing about Bowie is he's someone who you can't take your eyes off. To me, he's one of the most interesting looking people, I think, who has ever lived.And every time you see him, he has a different look. Like from Gaga today, every time you see Lady Gaga, she looks different.That was Bowie back then. He just, and he pulled off anything.He was just so visually, just an interesting person to look at.The thing that's wild too is, that's a handsome dude.[26:08] That guy rolls out of bed and just like puts on jeans and a black t-shirt, and that's a good looking cat.Does not need to do anything. He does not need to put on makeup.He does not need to change his hair.He does not need to put on a crazy outfit. He just shows up as a gorgeous human being.And yet, throughout his career, he's like, I am going to dye my hair bright orange. I am going to dress like an alien. I'm only going to wear the white suit. And it's like, okay, cool, becauseyou just go along with it.[26:38] It's like he's eschewing his natural beauty because he doesn't feel like that's interesting enough.Yeah, everything he did made sense with his style.Even if – like I couldn't pull any of that stuff off.Most of us couldn't. But anything that he tried, he pulled off.Whether it was like – and we saw his style kind of change with the times as we will see it here on SNL, but even as he got older, he had what I call like the cool dad kind of haircut. Hegrew into it.I don't know how he aged that way, especially considering later on in life, he was very sick, but he just, he aged so incredibly.He's a, like a one of one in terms of just the style.Like few people, Prince could probably pull off a lot of things, but maybe not as many types of different types of things as Bowie.And then, I mean, like, so, you know, the big suit was that he could have just kept trotting back out the big suit we all would would have got a laugh but then he comes back out and doesTVC 1-5.[28:07] Again, not off the new record, so it's like, I have something out, but I'm not going to sing about that right now.It's like the opposite of a concert where they start with six new songs before they get to the stuff you love.And TVC15, I mean, again, he's not going back out in the suit here.He's going out in like a blazer and a dress. He's doing his little sexually fluid androgynous thing that will spark a whole other movement.Influencing a lot of artists to come, influencing the culture to a better place, I think. So he's out there. He's kind of dressed like a glam schoolmarm.And now the aliens are bored. Now the aliens are reading the newspaper.And what's the other alien doing? Oh, the other alien is walking his dog.You know, they're still seeing – there's a little poodle with a TV.Yeah, with a TV in its mouth.[29:02] So yeah, so it's like, okay, we gave them the suit and that worked, but we can't give them the suit again because they won't buy that.What else can we do? All right.Let's dress me, let's dress me somewhat in drag, not fully in drag.And you guys just act bored. Just act aloof, sing when we need you to, trade the newspaper and the dog, and that will work.Yeah, and everything that happens makes sense. Everything that he wears makes sense. It's just given who he is, it all of this weird, weird stuff on stage makes sense. Yeah, you got it. Yougot to tip your cap to that.I love it. That was TVC one five from station to station. So we're not even getting anything yet from his, from his new album. But the third song, which by the way, pretty cool. They lethim perform three songs that didn't all. Yeah, they don't do that. Yeah, they don't. Yeah, I know.That's usually a sign that they're really happy that you're there when they give you a third. I can only count on a very few instances where they give you a third.They still do. Every once in a while, they'll give you a third song, but it's really, really rare.Sometimes I think it's because they're light on material.[30:07] Boys Keep Swinging, I mean, just when you think he's fired the gun empty, Boys Keep Swinging is- This is wild.It starts out so normal. It actually starts out like the Nazi boy singing in Cabaret, where it's just from the neck up. And you're like, oh, this is pretty.And then this shot reveals and you're like, oh, it's a little Nazi boy singing.That's not what David Bowie did here. That's in Cabaret. Watch that movie.It's an incredible movie. And when that moment comes, it's horrifying.No, in here, David Bowie is singing from the neck up and you're thinking everything is normal.[31:08] And then the shot pans down and he's basically composited with a marionette that's being shot offstage and he's like following the marionette.He's not just sticking in place. He actually can see what the puppeteer is doing with the doll and how it's making it dance and his head is following it.People can't see obviously because it's an audio medium, but his head is like bobbing back and forth or his head is, you know, bouncing along with the puppet and it's just such a delight towatch.[31:40] Yeah, it was jarring. And so you're saying, so I was trying to figure out how they were doing this. And so the marionette was on a different, so Bowie was on the stage and themarionette was on a different stage.I, it's, it's kind of hard to figure out exactly how they're doing it.I was trying to figure it out. Yeah. Bowie can clearly see what the puppet is doing in real time.So I don't know if one camera is pointing at him in front of a green screen and another camera is pointing at the puppet and they're nearby, but they don't happen to be on the stage with theband.That may very well be what it is, but they're definitely aware of each other.They're definitely in proximity to the band.That's one where I would love a shot. I'd love a behind the scenes shot where I can see how they did it.Cause it's also, I mean, it's really low budge. It's not, you know, it's, it's not any kind of like avatar trickery here, you know, this was 1979. Yeah. Yeah. So it's something you couldprobably do with your phone.[32:40] But it just, it's, it's, it's delightful. It's so kooky. It's all hanging on a song. That's like, not exactly one of his bangers.You know, you gotta go like 20 songs deep or so, or 30 songs deep before people start talking about Boyz Keep Swinging, but the song slaps, the performance is amazing, he finishes offhis little.[33:00] Gallery residency and, you know, shows SNL how it's done.I would have loved to see, like you said, I would have loved to know what this looked like to the studio audience to be there.But Bowie was just so perfect at coordinating his movements with that marionette, turning it into a cohesive thing.That's impressive. In 1979, I bet people were watching, going like, what the hell? This is like, this is awesome. I was watching it today going like, this is so fun to watch. It's wonderful.You know, do you think that these performances on SNL, like captured Bowie's late seventies essence. Like, do you think fans got what they wanted with these performances?[33:37] Yeah, yeah, absolutely. Like, you know, this is, this is back in the day where seeing a band only ever, you know, if you, you either went to a concert, if they came near your town oryou saw them on TV, you know, like there, there was, you know, there was no YouTube, there were no videos, like you, you, and not only that, but there were very seldom like reruns,right?Or, or you had to, it was appointment television. had to be on the living room floor, you had to be on the couch at midnight on Saturday night, Sunday morning to see these things.So, you know, yeah, I think he may have even thought of that, you know, that at the time when people are seeing bands on television, that they are making a point to see them.Because this is long, long before TV was just company in the room, or, you know, God forbid, a second screen.If something was on, you were generally watching it with intent.So he probably thought if somebody's watching me with intent, I want to give them a show.[34:36] I was really impressed with with all three of these, and visually and the songs to everything kind of gelled.And so that was like, right under the wire as far as like, him getting on SNL in the 70s. It was the second to last episode of the entire decade.So he went the entire 80s without appearing on SNL.Which is weird because his music, like, we talked about this with Prince.Like, Prince took a really long wander in between appearances, but Prince also took a really long wander with his career.[35:08] Bowie in the 80s, I mean, Bowie in the 80s was very, very poppy, very much more FM radio, you know? Like, his songs were a lot slicker.He wasn't doing the arty, weird, alien, I'm going to dress in a giant suit while the aliens are bored behind me thing anymore.He was doing something much more commercial with songs like Let's Dance and Modern Love and those kinds of things. Love them, but they feel much more like they they could havebeen done by just about anybody.Um, so, but the thing is, they suit what SNL was doing in the 80s very much.So it's kind of interesting that he never showed up for any of that.Yeah, I'm surprised what Let's Dance, the album came out in what, 83?Thereabouts. Thereabouts. So, so I think he would have been a great fit on there.And there's well known, I mean, Modern Love, Let's Dance, China Girl, Cat People, like there was some really beloved songs. Yeah. And he was, he was touring. He was big. Like hewas, it wasn't like he was being that guy in the cabin off in the woods, that would come later.But he was he was around, he was doing stuff, he was touring, he was, you know, doing duets with Mick Jagger.[36:17] For whatever reason, he just never showed up. I think especially with that album, too.I think he adapted to like the 80s sound. He made it Bowie, but he still fit in to what the overall vibe of was of that time. Yeah, it's always cool. I don't know.Maybe Ebersol didn't didn't love him. be. I mean it's always cool to talk about Bowie's fans because everybody has like their era of Bowie that they love.Stones fans, it's kind of the same sort of thing. People love 60s Stones. People love 70s Stones.[36:48] There's a lot of people who swear by 70s, 80s, 70s Bowie and then everything after 1979 is trash or there's people who came in much later and find those 90s records really, reallyinteresting and really, really wonderful and anything before or after that is weird.So it's Bowie's kind of – that's one of the things that I love about him is that because he's got all of these movements like an artist, like you can see he's very, very much inspired by thegreat artists who had their movements.[37:19] He lends himself to people coming in and out of his work at various points.Yeah. Where do you find yourself on that spectrum of preferences?Does it vary just by what mood you're in? It does, actually.[37:32] I mean, I really clung to him in late 90s. So I have a soft spot for some of those late 90s records that we're going to talk about in a second.As time went on, I grew to appreciate more and more of, you know, I then like jumped straight back to the 70s stuff first and the 80s stuff kind of took a minute with me.I have a a bittersweet fondness for those last two records just because I found, I found them so, so intricate and unexpected.Like he had, as I mentioned, he'd been gone for quite some time and I'd actually kind of squared myself to the fact that he may be gone permanently because it had been so long with himnot doing anything until of course he was completely gone.Um, but I, I, I very much, I love, I love a lot of it, but I do have a soft spot for those, those 90 records because that's that's where I joined the circus.[38:22] His second appearance on SNL, it's said went through the entire 80s without appearing on SNL. His second appearance was in November of 91, season 17.A pretty memorable episode, honestly. Macaulay Culkin hosted this episode.And I have visceral, kind of vivid memories as a child of Macaulay Culkin saying.Ladies and gentlemen, Tin Machine. Yeah. And at the time when I was a little kid, I didn't know, I didn't really know who David Bowie, like I think I knew the name. You probably knewhim as that guy from Labyrinth.Yeah, yeah, honestly, yeah. Like Labyrinth, I knew him from there, but I didn't put it together that Tin Machine was David Bowie's band.I thought it was just some band that I had never heard of. but Ryan, are you a big tin machine guy?[39:05] Not so much. Tim Machine is, it's a strange little moment in his career because it comes as an answer to the poppy, glossy, mainstream commercial 80s music that he was doing.He found himself restless and dissatisfied, understandably, even though, you know, I would say that a lot of that 80s music has its merit.He just didn't like where he was at and the kind of people he was drawing into the to the theater.So he decided to take a break and do something different and go work with other people and create this little band 10 machine.Here's the really strange thing is that it's not, it doesn't feel like that hard of a swing away from what he's doing of everything he he ever did.It's it feels just fine. It doesn't feel like a drastic shift back to the art stuff, it's not what I'd call like especially harder.It kind of feels like it's in between the eras of music, you know?Like yeah, in a time where Metallica and Guns N' Roses and Motley Crue were the biggest things in rock, this feels very different.But considering that at the same time Pearl Jam and Red Hot Chili Peppers and Nirvana are about to take over, this feels like a step behind all of them.[40:27] So I mean, they're good. It's a good performance. It's not the aliens and there's no suit.It's very 90s. Yeah. The first song they did is called Baby Universal.And I actually surprised I was surprised I actually like these performances more than than I expected.I expected it to be a huge, huge drop off because it wasn't like bowie, it was a side project.But I think I came to the conclusion that I would still like this if it wasn't bowie. Like I think it fits in fine, like it was a fine, good, enjoyable performance In my opinion.[41:26] I mean, I'm, I'm curious for sure. I'm not, I'm not thinking that, I know, I feel sad that I missed it in this moment. There's a lot of stuff that I, I was really late to the party and I'mlike, why wasn't I listening to this then? Um, this is not one of those moments.I'm like, Oh cool. I've got something new that I can find out about.Um, he's very styled in this, you know, he's not doing the, the arty weirdo.He's, he's very, very much, you know, a handsome dude in like leather jackets and, and sharp collars and that kind of thing. What is it? Mid to late forties around this time? 1991? Yeah.Yeah. Late forties there about the mid forties.Um, you know, cool guy who's in his mid forties in the early nineties.Yeah. And he works it well. Yeah. It's what I, what I thought was cool about this too, is it's, it's really awesome to have this band documented in the landscape of SNL.Like that's one of the things I like about this show is that it's around for a lot of moments that are interesting experiments that people may forget about.Like, correct me if I'm wrong, but there is an episode where the musical guest is Chris Gaines, right? Yeah. Well, Garth Brooks hosted and then the musical guest was Chris Gaines. Yeah.[42:36] If you tried to explain that to somebody now who was not around at the time, it would seem bananas.And yet it's like, no, it's right there in the archive.Go watch it. And it's a perfect snapshot of that time too.And we're thankful that it's there. Yeah, yeah, yeah, for sure.And I would have to say tin machine. I mean, they're good musicians, too Oh, yeah, David Bowie got Tony Fox sales hunt sales and then Reeves Gabriels He's in the Rock and Roll Hallof Fame as a member of the cure and Reeves is gonna play with him for a while Yeah, so it's it's kind of it's kind of neat because you're seeing the beginning of a relationship.Yeah. Yeah, it's really neat They're their second song to me.I think the vocals especially sounded more classic Bowie Yeah, the way he was singing his inflection.Yeah, the song is called if there is something.[43:51] To me, that sounded like that's how I know Bowie. Yeah, that one was better of the two.Yeah, yeah, I think I preferred that one as well because like, you know, it's that warm blanket of Bowie that we're probably used to.Totally. So that was Tin Machine.That was his second episode on SNL, season 17.And then we go about six years before the next one, 1997, that was season 22 in February of 97.He's promoting Earthling, which was released about five days prior.Yeah. Tell us about Earthling.You said you liked, you started liking around this era of Bowie.This is very much where I show up.So I had found myself very interested in the record that came before Outside, and that was my gateway drug to Bowie.I started listening to old Bowie around that time, became very, very interested in him as an artist, his looks and whatnot, and listened to the older stuff.So this was the first one that it dropped, and I latched right away.I was lucky in that this is where I got to see him perform a show.Oh, wow. Yeah. And he was performing this record mixed in with his older work.So I have a soft spot for this, for this record. It is very late nineties.Yes. It is very, very, you know, grunge is over.[45:20] Electronic is taking over. You know, we're- To me, it sounded like the Prodigy, like the song, Little Wonder, that the first song that performed, I got the vibes of The Prodigy, whichis a total late 90s.[46:08] It begins with this beautiful drum lick, which unfortunately is a drum machine.The drummer's just sitting there waiting for his turn. And when the drums come in, they're fantastic. But it's amazing that this really quick and steady drum line is a machine.Bowie is kind of reminding you again of his Aladdin sane time, like he's got the bright orange hair again.Again, he's very, very, his look here is very like.Sharp and demon-like. He's got this big collar. He's got this very 90s goatee on his chin.But again, this could just be me talking fondly about the era where I walked into.It's incredible. It's wonderful. It's powerful. It's strong. It's loud.[46:53] And it's very, very interesting, again. He's not trying to style up the performance that I found a little bit weird because this era he was doing, he was wearing this really great UnionJack coat at the time.If people find the cover of Earthling, he had this really great coat around the same time that the Spice Girls were wearing it as a dress.It was a very, very big time for England.But he didn't wear that on SNL, even though he was wearing that for some of his concerts. And it's fantastic.Yeah, what I love, this is an example to me of something that I love about Bowie is that he doesn't thumb his nose at the trends of the day.No, he's interested. He's interested in it and he really embraces it.Like we see, like we're hearing electronic elements in this, in this first song, in this album, Earthling.[47:40] He works with Trent Reznor, obviously maybe a couple of years after this, around this time. So I love that he embraces. This is around the time he was co-head, he was touring. Hewas touring with Trent. Yeah.The tour before this. Yeah. Yeah. So he's embracing that stuff and I love it.He's not one of the old school guys who's just sticking to what he knows and everything in my day was great and everything now sucks.Like, I love that he embraces new, new things in music.I mean, he was friends with John Lennon and John had that too, right? Like John was always interested in doing new and interesting and different things. So it's, it's, it's, you know, itmakes sense that the two of them would be cut from the same kind of cloth. Yeah, definitely.And the second performance here, it's a throwback. He gives older Bowie fans something that they love. he performs Scary Monsters.[49:01] I love this song and I think it was such a great performance.I love seeing something scary monsters came out in 1980 So it was like a early late 70s early 80s kind of still Bowie vibe Yeah, it's the hinge from one area into the other what I love aboutthis and you know with like if we put the tin machine Performance aside for a second all of his other three performances.He does something new and then shows you how it fits with something old You know or in the case of the first one does the old stuff and then shows you how it fits with the new stuff.[49:32] So doing Scary Monsters, Super Creeps and kind of making it just that little bit harder than it was on the record and showing you how well it fits with something like Little Wonder,you know, to anybody who's like, Oh, I liked him better when he was doing Scary Monsters.It's like, well, this is very much like Scary Monsters. Just, you know, we're doing it a little harder.Reeves is just shredding on this on this performance, just absolutely wailing.Bowie is going for it. There's so much bravado in this performance.It's it's just so cool to see.Yeah, I love that. He he's given the people what they want. Yeah, essentially.I mean, he's doing a great performance of a new song, but he's like, I'm going to go back to 1980.And and when you when you discount, like when you if you if you don't include the tin machine performances, these are five songs and five different albums.So he performed from lodger station to station, the man who sold the world, we're getting something from earthling and scary monsters and super creeps.This is like, this is so cool. I love when the when artists say, we'll play you a new one, but then we're going to play you something that's a little bit different.[50:42] We know that you love, like we're going to take you back. So I love, I love that, that the, again, like the lack of pretension that's in there.I wish more artists would do it. Like, I know it's important to promote your new work.You know, especially when you're, when you may not get another chance.Like, I mean, not everybody is David Bowie. A lot of these bands are going to come on one time and they may never come again. So, you know, along with the fact that they may not haveolder work to draw on, on.They really want to make the most of why they're there.[51:11] But the ones who do get another chance or the ones who have been around for a minute, you know, play something older, rearrange it or something and just let us see how it fits.Yeah. So I think, you know, third episode that he's appeared on as musical guest.I think we're, we have a high batting average here. Even the tin machine stuff, honestly, I enjoyed. Yeah.Like it was super enjoyable to surprise me how much I enjoyed his tin machine stuff.So I think we're, we have a high batting average here with David Bowie on SNL, uh, his fourth appearance, season 25, the, the first episode of the season, Jerry Seinfeld hosting thisepisode in 1999.And again, Bowie promoting his new album, Hours, but he's given us something old and something new. something new Ryan Thursday's child from ours.[52:26] So Thursday's Child, I actually kind of love. It's nothing complicated.It's not something that I would say is like, you know, top 20 Bowie or anything like that, but it's just so sweet.It's so comforting and just really lyrical. It's kind of like a sundown kind of record.His performance is actually very subdued.[52:51] He's dressed like he just walked out of Banana Republic. Um, this is the cool dad look that I was talking about. His hair is a little longer, but it's kind of parted in the middle. It'syeah, but it's shaggy, but it's like intentional.[53:04] It's like, and he w you're right. He looks like he walked out of banana Republic.This is what I see. Like, I have an uncle who reminds me that he, like he, he, he, who wears his hair like that so perfectly.And he, and he just looks like a, like a cool dad kind of vibe.And, and this is another different look that Bowie's just pulling off.I wish I could, and I don't know, 15 to 20 years.I wish I could pull something. Exactly. I will not. Like, that's the thing is that he's still, you know, even with the fact that he looks his out, I kind of wish that he was a little bit more styled,but the fact is he still looks like David Bowie.You know, this looks like David Bowie on laundry day. Yeah. Did we mention he's married to a supermodel? Yeah. Supermodel. Yeah. There's, you know, it's, it's, it's a little odd. Uh, Imean, maybe that's the thing he settled down now. So he doesn't have to try so hard.Um, the song is beautiful. The album is somewhat forgettable hours is not what even even somebody who comes to him in the late 90s.It's not one of the records that a lot of people mention. It kind of it was kind of Thursday's Child and done, but it's a beautiful song.It's a lovely song. Really sweet, really romantic.You know, there's no angle on this one. It's just here's a guy who can sing and he's going to sing for you.Yeah, I just I love that it's a it's highlighting his voice, his singing, and that was the main thing that stood out to me.It's just like, this is Bowie's voice. We're highlighting that.And I'm fine with it being more of a subdued performance.[54:26] I think it shows a different side of him as a performer that I think is necessary.I think it was a really good addition to the night.And that's, you know, I think it especially works because we're getting like a really rockin' song to close the night.Throwback, again a song that I've always loved, Rebel Rebel from Diamond Dogs.One One of his big songs that I think a lot of people love.[55:21] This is usually one of the showstoppers. Again, you know, he reminds you how the new stuff fits with the old stuff.It's all swagger. This performance is all, I know how much you all love this song. I know how much you're all gonna lose it, and I will not disappoint.I'm not gonna act above it.I'm not gonna act like I'm tired of singing it. I am here because I know you enjoy it, and it's wonderful.He even kind of like, cozies up to his bass player for the lines, like, not sure if you're a boy or a girl. Hey baby, your hair's all right.She's a bald woman of color. So of course there would be kind of that fluidity to her appearance and, you know, any time a woman's hair is bald, it's, you know, I love your hair.No, who cares if your hair is bald? You know, it's great to see him reinterpreting those lyrics in that kind of way.[56:15] And I think what I love about it the most is it shows that, yeah, we started with the dog and the TV in his mouth, and we started with the puppets, and we started with the aliens.We started with Arty Schtick, but the reality is that even if he didn't use the Arty Schtick, if he just went out and sang Rebel Rebel, or if he just went out and sang Man Who Sold theWorld, it wouldn't have mattered because the thing is, the work is genius.So you can dress it up and you can have fun with it and you can give your audience something more because you want to and you want to create and you want to find and build these littlelasting moments.But if you strip it away and the work is still genius, it doesn't matter. It still holds.[57:04] Right, and if he did the arty shtick in 1999 like he was in the 70s...Probably wouldn't have come across as authentic because that's not where he was as a creative person in his life probably in the time.That's just not what he was interested in. So if he just forced himself to do the arty shtick, it probably would have fallen flat, I think, if he wasn't as invested in it.I want to see him be authentic to himself. Yeah. I mean, he will still keep calling back to those earlier records on The Records to Come, Like stuff that he wouldn't even play on SNL, likerecords like, um, when he will later get to Heathen, Heathen has a lot of callbacks to, I mean, other singers, like he does covers on Heathen, but he calls back to a lot of his Berlin, uh,albums, certainly later on when he will do The Next Day, um, The Next Day is a callback to kind of his whole career.So he's going to keep- cover on the next day is a callback to Heroes.Because it's just a box that says the next day over the Heroes album cover.Yeah. Yeah. So he's going to do that. And he will continue to find the way that the new work can be informed by the old work. Not copying the old work, exactly, like he's not, you know,as much as I love the Stones, he's not doing the Stones.[58:27] Just, he's finding new ways to, to take, to add chapters to, to those earlier stories without necessarily needing to dress in the white suit or dress like the alien or get in the dress.You know, it's, it's, it's an interesting, it's, it's kind of, it's a very mature approach to, to rock and roll and to, you know, art pop.Yeah, I agree. And, and we see it here, his relationship to, to older material in here in in 1999 with Rebel Rebel. This was a song, I don't know if you saw this tour.But this was a song that he hadn't played for like a decade and he decided to start playing it again on the tour.And you mentioned like it's one that really gets the crowd excited and going.He decided to reintroduce it to his set list. I guess he took out the Quaaludes reference in the song. Maybe that's why he had a tough time performing it.But I guess from what I read, he took out the reference to Quaaludes in Rebel Rebel once he started performing it again.But that's just something that, you know, he took a song, he maybe saw an aspect that he didn't love about it, but then he made it work again.He's like, hey, I want to perform this again. Yeah. And later on, he would play with the intro, like the intro would actually be stripped down and sound really lovely before the blaringguitar came in at the top of the first chorus.[59:45] It's yeah, he was always interested in doing that and kind of leaving some songs behind bringing them back in. And, you know, he was never the guy who was like, I don't want toplay that anymore, ever. You know, he got, he got tired of things and he needed to find them again.But, um, he always found his way eventually, even, even down to stuff like, um, even down to some of that stuff, like the 80s stuff that he was trying to get away from with Tin Machine.By the time I saw him again in 2003, uh, or 2004, I think the concert was, he was starting the shows with songs like China Girl and Modern Love and those kinds of songs where it's like, Ikind of thought you were ready to put all this stuff in a box.Man, I wish I could have seen him.[1:00:26] I'm like jealous. You're telling me that you've been able to see him, uh, what, two or three times, two times, two times. And one of the first one, I got really, really, really lucky.The first of the two times was in a club of about 1500 people.[1:00:41] And it was completely because I met the right person at the right time and they had a ticket. I got in good and close and, uh, had a transformative experience watching DavidBowie in that kind of room.Um, I'm, I'm really, really lucky and I always count myself really, really lucky that I had that experience.Gosh. Yeah. I used to go to the Coachella festival like every, I think I've been six or seven times to those sensibilities maybe a little bit more, but that was always the one artist who whoeverybody would request and want to headline every single year is maybe this is the year that we're gonna get Bowie.This is the year. You think Bowie's gonna headline? It never happened.I always thought that maybe that would be the chance I had to see him, but how was he as performer?He was incredible. He was, so this was, he was touring, he was touring Earthling.He was mixing the set really, really nicely. Like he started the set with Quicksand it was just him and Reeves and Reeves was playing an acoustic guitar to start the set.[1:01:56] And then, you know, things would come and go. He was, he was playing very electronic at the time.So some of these songs sounded like they were a little bit rearranged.But it was, it was, it was fantastic. And, and he's, you know, I, I like the, the set list is kind of blurring in

Welcome to Light On Light Through, Episode 355, in which I interview Dan Abella about the upcoming Psychedelic Film and Music Festival he is organizing.  The Festival will take place October 20-22, 2023 in New York City, and there will both live and remote events and access. Among the topics we discuss: Hegel's spirit of an age ... Impressionism ... Matthew Modine ... Dennis McKenna ... Les Bicyclettes de Belsize ... Lewis Carroll ... John Lennon ... popular culture labels ... Philip K. Dick ... psychedelics and science fiction ... reading backwards ... Isaac Asimov's Foundation trilogy ... The Man Who Fell to Earth and its sequel ... Strawberry Alarm Clock ... The Moody Blues Links to some of what we discuss in the podcast: more about The Psychedelic Film Festival, October 20-22, 2023, Producers Club Theaters (358 W 44th St, New York, NY) video of this podcast interview more about Matthew Modine's I Am What You Are more about Dennis McKenna "Les Bicyclettes de Belsize" (Engelbert Humperdinck) ... And here's a beautiful cover I just discovered by Kelly Ann Cosentino "I Am the Walrus" my interview with Rufus Sewell about his role in the TV adapation of Philip K. Dick's The Man in the High Castle "Incense and Peppermints" "Tuesday Afternoon" my 2021 interview with Dan Abella about his book, The Theater of the Mind  

In this episode of Weirdhouse Cinema, Rob and Joe discuss Nicolas Roeg's 1976 sci-fi film "The Man Who Fell to Earth," starring the legendary David Bowie.See omnystudio.com/listener for privacy information.

Films(trips) celebrates 250 regular episodes by taking a look at the directorial debut of Lilly and Lana Wachowski, Bound!What do Andrew and Dave make of the 1996 cult favourite? How great is Christopher Meloni's suit in the film? And why do the hosts bicker about Performance and The Man Who Fell to Earth? Tune in and find out!Next Episode: A YA film from... Robert Rodriguez and James Cameron?All music by Andrew Kannegiesser. Editing by Dave Babbitt.

Movie Meltdown - Episode 608 Join us for a wrap-up of this year's Harry Dean Stanton Fest - featuring a discussion with biographer Susan Compo. And while we remember our favorite moments with Sean Young, we also mention… Warren Oates, Young Doctors in Love, watching movies in a cemetery, where did I get that voice, The Man Who Fell to Earth, laughing uproariously, changing seats while the vehicle was in motion, Hector Elizondo, front page of the LA Times, Frederic Forrest, F. Scott Fitzgerald, heading out to Joshua Tree to look for UFOs, a Corey art house movie, Sam Shepard, One from the Heart, this veneer of not caring, it was so designed to fail in a way that I find really fun, I was in my little childhood room with my rotary dial, Nicolas Roeg, Dream a Little Dream, a football field size open space, David Bowie, The Fourth War, Peter Fonda, roadtrips and mushrooms and Harry Dean Stanton's scene in Apocalypse Now.  “Things go pretty seamlessly with Harry Dean Fest… and I've always said, that's just because of the magic and the energy that surrounded Harry.”  

T.J. Arriaga has hit the headlines as ‘the man who fell in love with his ai girlfriend' on popular app Replika, but is that what really happened? In this interview he explains the true story, how ai companions are taking the world be storm and what this all means for the future of human relationships. For a man that the media love to clickbait, T.J. has some very smart thoughts on where this is all heading.

Do you love yourself more than anyone else? Are you sure that you're prettier, smarter, and more charming than others? Well, you might hive narcissism. The word that describes this unusual mental condition appeared in ancient times. According to Greek mythology, the name Narcissus belonged to some fascinating character. His story can teach you that too much self-love can cause too many problems. Learn more about your ad choices. Visit megaphone.fm/adchoices

An email from a man who fell victim to birth control hormones and Children who know how to play musical instruments To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

An email from a man who fell victim to birth control hormones and Children who know how to play musical instruments--plus warm up To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Uncovering the hidden histories of concepts, people and events you thought you knew.  In a first for Origin Story, Dorian Lynskey and Ian Dunt focus on a living figure: the ubiquitous and divisive richest man in the world, Elon Musk. In the past two years the public perception of Musk has changed dramatically, from Time's Man of the Year and “real-life Iron Man" to radicalised right-wing troll and destroyer of Twitter. Ian and Dorian trace his journey from sci-fi obsessed child prodigy in Apartheid-era South Africa to dotcom entrepreneur to the self-appointed techno-messiah at the helm of SpaceX and Tesla, and ask what happened to the man who said he wanted to save the world. They discuss what his career says about the arc of Silicon Valley and 21st-century capitalism, the cult of technocracy and the dangers of believing your own hype. Support Origin Story on Patreon for exclusive benefits: www.Patreon.com/originstorypod  “He doesn't seem that interested in money. The choices he's made have not been your regular ‘rich guy' choices.” – Dorian Lynskey “On Twitter some of the disinformation has been morally abysmal. You think, how could you be a person who would even write these words?” – Ian Dunt "He said it was the duty of the educated to reproduce so ‘we don't devolve into a not very literate, theocratic and unenlightened future.' It's low-level eugenics.” — Dorian Lynskey Reading list: Eric Berger – Liftoff: Elon Musk and the Desperate Early Days That Launched SpaceX Agustin Ferrari Braun – The Elon Musk Experience: Celebrity Management in Financialised Capitalism David S. Kidder – The Startup Playbook Hamish McKenzie – Insane Mode: How Elon Musk's Tesla Sparked an Electric Revolution to End the Age of Oil Ashlee Vance – Elon Musk: How the Billionaire CEO of SpaceX and Tesla Is Shaping Our Future Douglas Coupland, ‘The smartest person in any room anywhere:' in defence of Elon Musk, The Observer, 2021 Tad Friend, Plugged In, The New Yorker, 2009 Jordan Liles – What We Know About Elon Musk and the Emerald Mine Rumor, Snopes, 2022 Linette Lopez, Elon Musk Doesn't Care About You, Business Insider, 2018 David J Roth, Burning Down the House, Defector, 2023 Neil Strauss – Elon Musk: The Architect of Tomorrow, Rolling Stone, 2017 Matthew Sweet, Why Jeff Bezos and Elon's Musk real business inspiration is science-fiction, The Times, 2021 The Elon Musk Show, BBC documentary, 2022 I Do Not like Elon Musk Very Much, Behind the Bastards podcast Elon Musk: The Techno Shaman, Decoding the Gurus podcast Written and presented by Dorian Lynskey and Ian Dunt. Audio production and music by Jade Bailey. Logo art by Mischa Welsh. Lead Producer is Anne-Marie Luff. Group Editor: Andrew Harrison. Origin Story is a Podmasters production. https://twitter.com/OriginStorycast  Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the All Local 12pm update 6/22/23

Editor's note: Unfortunately, the original audio recording of this event contained a significant amount of echo picking up from the multiple microphones. We have done our best to diminish the echo interference while still maintaining listenable audio quality. Bill Fletcher, Jr. is a world-renowned racial justice, labor, and international activist, scholar, and author; he has served in leadership positions with many prominent labor organizations, including the AFL-CIO and the Service Employees International Union; he is the former president of TransAfrica Forum and the author of numerous books, including “They're Bankrupting Us!” And 20 Other Myths about Unions. He is also the author of two works of fiction: The Man Who Fell from the Sky and a new novel, The Man Who Changed Colors. At a book-launch event hosted by Red Emma's cooperative bookstore and cafe in Baltimore, TRNN Editor-in-Chief Maximillian Alvarez sat down with Fletcher, Jr. to talk about his new novel, what fiction gives us that other realms of writing and thinking don't, why the right is so much better than the left at harnessing the political power of storytelling—and what we can do to change that. Post-Production: Jules TaylorClick here to read the transcript for this episode: Help us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer: Donate: https://therealnews.com/donate-podSign up for our newsletter: https://therealnews.com/newsletter-podLike us on Facebook: https://facebook.com/therealnewsFollow us on Twitter: https://twitter.com/therealnews

A and B decided to play Star Realms midst their discussion of The Decameron, The Divine Comedy, The Stranger, The Fellowship of the Ring, The Man Who Fell to Earth, A Portrait of the Artist as a Young Man and Through a Glass Darkly. We hope you enjoy, and thank you for your time.

Hosts Josh and Jamie and special returning guest Brianna Zigler discuss aliens inside of human bodies experiencing the high and lows of mankind in Nicolas Roeg's psychedelic, erotic THE MAN WHO FELL TO EARTH (1976) starring David Bowie and John Carpenter's surprisingly tender Hollywood romance/road movie STARMAN (1984). Next week's episode is a patron-exclusive bonus episode on THE EVIL DEAD (1981) + BLOODY MUSCLE BODY BUILDER IN HELL (1995) you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-11:56 MAN WHO FELL TO EARTH // 11:56-1:02:06 STARMAN // 1:02:06-2:01:25 Outro // 2:01:25-2:05:04 Brianna's Substack: https://briannazigler.substack.com/ MERCH: www.teepublic.com/stores/sleazoids?ref_id=17667 WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller

The Man Who Fell Through the Earth

Humanoid Woman plays a curious tone and compels Chris and Charlotte to discuss Humanoid Woman, Through the Thorns to the Stars, Per Aspera Ad Astra, To The Stars by Hard Ways, and Через тернии к звёздам.SHOW NOTES.Humanoid Woman: MST3K Wiki. IMDb.Come see us live in Portland! Our episode on Robot Monster.[UPDATE: Looks like they were peeking at the movie beforehand at this point, but probably not watching it all the way through.]Some Russian sources: A thirtieth anniversary article. A fashion-forward look back. An official site [if it looks weird, try it in Chrome].A comparison of some of the edits.The full movie, unMSTed, uploaded [I believe] by the copyright holders. Watch this one, is my advice.A channel hosting a few versions of the 2001 edit with new effects [but possibly with the original sountrack and actors' voices?].An interview with Vladimir Federov.Ruslan and Ludmilla.Vadim Ledogorov in New Zealand.The Man Who Fell to Earth.Kir Bulychev.Gumby: Rain Spirits.Katsina dolls.The Cat from Outer Space.Jay Levy: Heiveinu Shalom Aleichem.All You Need Is Cash.The Rutles: Cheese and Onions.Hūsker Dū for sale.The New Zoo Revue: School.Support It's Just A Show on Patreon and hear some more from this episode that we cut for time.

More painful obits, epic 4ks and an amazing month for Criterion. Only on the DigiGods. DigiGods Podcast, 03/07/23 (M4a) — 60.1 MB right click to save Subscribe to the DigiGods Podcast In this episode, the Gods discuss:   The Adventures of Batman: The Complete Collection (Blu-ray) Air Force One (4k UHD Steelbook) (4k UHD Blu-ray) American Gigolo: Season One (Blu-ray) American Murderer (Blu-ray) Bergman Island (Blu-ray) Bones and All (Blu-ray) Bubba Ho-Tep (4k UHD Blu-ray) Call Jane (Blu-ray) City on a Hill: The Complete Series (Blu-ray) Cloverfield 15th Anniversary 4k UHD Steelbook (4k UHD Blu-ray) .com for Murder (Blu-ray) Crimes of the Future (4k UHD Blu-ray) Dazed and Confused (4k UHD Blu-ray) Detective Knight: Redemption (Blu-ray) Devotion (4k UHD Blu-ray) Dynasty (2017): The Final Season (DVD) The Fabelmans (4k UHD Blu-ray) Father of the Bride (2022) (DVD) Fear the Walking Dead Season 7 (Blu-ray) The Great: Season One (Blu-ray) The Great: Season Two (Blu-ray) Hollywood Shuffle (Blu-ray) The House That Screamed (Blu-ray) I Wanna Dance With Somebody (Blu-ray) Incredible But True (Blu-ray) The Inspection (Blu-ray) Joe Pickett: Season One (Blu-ray) John Wick Stash Book Collection – SteelBook® Box Set (4k UHD Blu-ray) Lady Whirlwind & Hapkido (Blu-ray) Lars von Trier's Europe Trilogy (The Element of Crime, Epidemic, Europa aka Zentropa) (Blu-ray) Legion of Super-Heroes (4k UHD Blu-ray) The Loneliest Boy in the World (Blu-ray) Longmire: The Complete Series (Blu-ray) The Lukas Moodysson Collection (Blu-ray) The Magnificent Seven (4k UHD Blu-ray) The Man Who Fell to Earth: Season One (Blu-ray) Marquis de Sade's Justine (4k UHD Blu-ray) Marquis de Sade's Philosophy in the Boudoir (Eugenie...The Story of Her Journey Into Perversion) (4k UHD Blu-ray) The Mask of Zorro (4k UHD Blu-ray) Millionaires' Express (Blu-ray) Nothing is Impossible (DVD) The Old Way (Blu-ray) On the Line (DVD) Paradise City (Blu-ray) Poppy (DVD) Pretty Little Liars: Original Sin: The Complete First Season (DVD) Puss in Boots - The Last Wish (4k UHD Blu-ray) The Remains of the Day (4k UHD Blu-ray) Resident Alien: Season Two (Blu-ray) The Return of Swamp Thing (4k UHD Blu-ray) Rock Dog 3: Battle the Beat (Blu-ray) Romeo and Juliet (Blu-ray) Running the Bases (4k UHD Blu-ray) Savage Salvation (Blu-ray) Sesame Street – Elmo & Tango: Furry Friends Forever (DVD) She Said (Blu-ray) The Split: Series 3 (DVD) Station Eleven (4k UHD Blu-ray) Texas Chainsaw Massacre (4k UHD Blu-ray) This is not a Burial, It's a Resurrection (Blu-ray) Three Colors (Blue, White, Red) (4k UHD Blu-ray) Training Day (4k UHD Blu-ray) Two Films by Marguerite Duras (India Song; Baxter, Vera Baxter) (Blu-ray) The Vagrant (Blu-ray) Violent Night (Blu-ray) What Remains (Blu-ray) Please also visit CineGods.com. 

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.

It was a 12-foot drop, and it happened in California. www.patreon.com/stevelehto

Drink Your Water and Find Your Purpose: A Discussion of the Showtime series, The Man Who Fell to Earth | Episode 93 We watched the first season of The Man Who Fell To Earth created by Jenny Lumet and Alex Kurtzman. We discussed terrible people, finding your purpose and saving the world.  Join our Patreon: https://www.patreon.com/thescifisigh?ltclid=74dee16e-c704-48b4-a577-240e80313ce7 Follow on Instagram: https://www.instagram.com/thescifisighpodcast/ Follow on Tik Tok: https://www.tiktok.com/@burr_iam?lang=en   Subscribe on YouTube: https://www.youtube.com/watch?v=A-quzNQbZTQ&list=PLRgBIvxlI3NZ8OyviVDNrn71KxhFWSBhK Click here to listen on Apple Podcast, Spotify, Amazon Music and Vodacast: https://linktr.ee/thescifisighpodcast  

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Welcome to Episode 422. Probably one of the worst episodes we've ever done. AND it just so happens to fall on our 9 Year Anniversary. Which is so uneventful and unimportant that it's not even mentioned during the episode. No one cared to remember. Anyway, Happy 9 Year Anniversary to us I guess. (Insert fart noise) We've got Paul Hart from Apple to Oranges Podcast joining us on this one. For Good Pop in Movies this week we review THE UNBEARABLE WEIGHT OF MASSIVE TALENT starring Nicolas Cage and Pedro Pascal. Brian watched 2 animated films this week THE BAD GUYS out now in theaters and POMPO: THE CINEPHILE. And Brian and Paul talk about the new Ben Foster movie on HBO Max THE SURVIVOR. In TV this week we talk about the new Paramount+ series THE OFFER a biographical drama miniseries about the development and production of Francis Ford Coppola's landmark New York City gangster film The Godfather (1972) for Paramount Pictures. We also talk about 2 new Showtime series THE MAN WHO FELL TO EARTH and I LOVE THAT FOR YOU. EPIX released a new series BILLY THE KID that chronicles the life of the outlaw. And Howie Mandell hosts a new game show for Netflix BULLSH*T THE GAME SHOW. In News we talk about a lot of CinemaCon News that came out this week. We've got some reactions to TOP GUN: MAVERICK. Avatar 2 has a title: AVATAR: THE WAY OF THE WATER and we now know when we'll see a trailer. John Wick 4 released some footage at CinemaCon 2. And Justin Lin exits FAST X as the director. In Marvel News we talk about BLACK PANTHER: WAKANDA FOREVER news from CinemaCon 2022. We've got rumors for She-Hulk and Echo. There are a ton of 4chan rumors about the SSU (Sony Spider-Man Universe) including KRAVEN, MADAME WEB, VENOM 3, SILVER SABLE and MORE. And it looks like we're getting an EL MUERTO movie set in the SSU. And in DC News we talk about THE FLASH and SHAZAM: FURY OF THE GODS news and rumors.