Podcast appearances and mentions of Mary Woronov

Happy (almost) new year! We're ending 2024 with an all-timer episode of YOU DON'T KNOW DICK (the world's finest Dick Miller podcast) featuring guest Oscar Goff joining us to not only chat about a Season 6 episode of WHO'S THE BOSS (featuring Dick Miller as a suspicious hotel manager), but also a lengthy discussion on Alan Arkush's beloved 1979 comedy ROCK 'N' ROLL HIGH SCHOOL featuring P.J. Soles, The Ramones, Paul Bartel & Mary Woronov and - of course - Dick Miller! Learn about PUNK MUSIC from the experts! Enjoy and see you on the other side. The post Episode 254 – You Don't Know Dick – Rock ‘n' Roll High School (1979) (/w Oscar Goff) first appeared on Cinema Smorgasbord.

BARTEL ME SOMETHING GOOD returns with two films co-written by the man himself! We start with a rare oddity, the Paul Bartel-starring sex comedy(?) UTTERLY WITHOUT REDEEMING SOCIAL VALUE from 1969, also featuring Don Calfa and a guy who makes robotic art. FUN! Then we're finishing up with the totally bizarre, totally tasteless Police Academy.. uh.. spoof? from 1988 MORTUARY ACADEMY, which reunited Paul Bartel and Mary Woronov! How do we feel about it? It's complex! Listen! The post Episode 252 – Bartel Me Something Good – Utterly Without Redeeming Social Value (1969) & Mortuary Academy (1988) first appeared on Cinema Smorgasbord.

Mini bonus-ep time! We chat Patrick O'Neal & Mary Woronov in this early 70s low-budget, late night holiday chiller. Some stuff works for us and some doesn't. It is pretty neat to see some similarities between this flick & other slashers that came after it! Hope you enjoy!

Hello and welcome back to another episode of B Bin Horror! On this week's episode we talk about the 1986 Horror/Sci Fi film, Chopping Mall. Chopping Mall was co-written by Jim Wynorski and Steve Mitchell and was directed by Jim Wynorski. The film stars Kelli Maroney, Tony O'Dell, John Terlesky, Russell Todd, Paul Bartel, Mary Woronov and Barbara Crampton. On this week's episode the guys talk about the film, the deleted horse scene idea and they create their own Kill Bots! If you like what you hear please follow us on Instagram and Facebook @bbinhorror. You can also send us emails at bbinhorror@gmail.com and please don't forget to subscribe to B Bin Horror on whatever podcast platform you listen on! *B Bin Horror theme music - "Uprising" by Karl Casey @ White Bat Audio*

Today the ghouls discuss the 2012 remake of the sleaze classic, Maniac. From wiki: “Maniac is a 2012 psychological slasher film directed by Franck Khalfoun, written by Alexandre Aja and Grégory Levasseur,[4][5] and starring Elijah Wood and Nora Arnezeder. It is a remake of the 1980 film of the same name, and follows the violent exploits of a brutal serial killer.”Also discussed: mannequin hands, Lebron, Paul Morrissey, Mary Woronov, Good Luck Miss Wyckoff, Polly Platt, The Bad Seed, All That Heaven Allows, Skrillex, and more!NEXT WEEK: The Night of the Hunter (1955)Follow them across the internet: Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

In this episode the guys tackle yet another Top Dawg Patreon pick! This time around though the pick and name of the Patron are a little suspicious and we wonder if there may have been some greased palms in getting this movie chosen. Afterall the movie in question is "Night Of The Comet" from 1984, which some of you may know is one of Josh's faves. However the guys are excited to chat about this often underappreciated 80's horror/sci-fi gem. So kick back, stay hydrated so you don't turn into red dust or a teenage comet zombie and enjoy the episode! 

Elon Thrust is back with his dumb pick! Content Warning: we discuss outdated themes in the film that would not be acceptable by today's standards. Click here to see Thor's Drum of Dumb randomly select the last topic of Septdumber.   Check out the various projects of our pantheon members: Mr. Monopoly cohosts Bad For Me, Chibi hosts Unidentified Flying Obsession, and Ballarina Suzy is one of the panelists on Cinemondo.

This week we're kicking off the Spooky season a little early with the 1986 techno horror film Chopping Mall. Co-written and directed by Jim Wynorski and produced by Julie Corman, it focuses on three high-tech security robots turning maniacal and killing teenage employees inside a shopping mall after dark. The film stars Kelli Maroney, Tony O'Dell, John Terlesky, Russell Todd, Paul Bartel, Mary Woronov, and Barbara Crampton. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod                            

Fascism is scary AF but it's always been ripe for satire, so as counter programming to this week's RNC, we're pairing strains with two sendups of strutting authoritarians with THE ANTIFA EPISODE, aka the F--K FASCISM EPISODE. Hitler was named chancellor of Germany in January 1933, and the Marx Brothers spoofed the shit out of him by the end of the year with DUCK SOUP, which is widely considered to be their greatest work. Groucho is Roofus T. Firefly, who is installed on the throne of of Freedonia by wealthy widow Mrs. Teasdale (Margaret Hamilton). The plot hardly matters though, as it's all about the classic mirror gag, Harpo taking an oversized pair of scissors to everything he can lay his hands on, and the stellar word play between Chico and Groucho. Directed by Leo McCarey (AN AFFAIR TO REMEMBER) with a surprising amount of musical numbers. FREEDONIA! FREEDONIA! Then we pay tribute to Roger Corman with DEATH RACE 2000, his cult hit about a future fascist America where David Carradine, Mary Woronov, and Sylvester Stallone compete in a coast-to-coast race where they score points by running over hapless pedestrians in their rad muscle cars. Bob saw this at the Redwood City Drive In when he was 7-years-old and it's safe to say that the satire went waaaay over his head back then. Also featuring Martin Kove (KOBRA KAI) and Wendy Dio (wife of Ronnie James), and directed by the great Paul Bartel. Bob also tells you what he really thought of Kevin Costner's HORIZON, beardless Cory reveals the terrible new Paramount logo, Philena blames everything on people born in 1999, and Bob wonders what the hell is wrong with Generation X. Plus, it's FREEE SLURPEE DAY! Hosts: Bob Calhoun, Cory Sklar, Philena Franklin Greg Franklin is on assignment Special Guest Star: Holzfeuer, courtesy of ArnoCorps, the Greatest Band of All Time Trailer audio courtesy of Archive dot org "Sound Off Alert March" by the US Marine Band and "69 Bronco" by DJ Williams courtesy of YouTube Audio Library Sound effects via freesound.org Marching 3.wav by WebbFilmsUK -- https://freesound.org/s/200322/ -- License: Attribution 4.0 190318 pounding banging wood door close distant, mono, KMR82i.flac by TRP -- https://freesound.org/s/573808/ -- License: Creative Commons 0 Be back here on August 12th when Odie Henderson, author of “Black Caesars and Foxy Cleopatras: A History of Blaxploitation Cinema," joins OMFYS for BLACULA (1972) and DARK TOWN STRUTTERS (1975) Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com

Join us to discuss the world's "first wheelchair serial killer." At least, that's what the promotion claims. The movie is also semi-famous as the subject of a The People's Court episode involving pictures of Michelle Bauer. Bauer is inexplicably joined by Mary Woronov, Hyapatia Lee, Johnny Legend, and other b-movie talent sinking as low as they can possibly go. That's not necessarily a critique. As one letterbox review says, this is "transgressive garbage cinema" that has to be seen - probably multiple times - to be believed. 

Did anyone else just get the strangest craving for pizza? We could use a little snack here at Spooky Tuesday, especially since we've got nothing to do for the rest of the night besides play the harpsichord, try on other people's glasses, and snoop through this big old house while babysitting some old lady. Oh, yeah — and we're watching The House of the Devil (2009). In Ti West's Satanic Panic-inspired '80s slow burn, college student Samantha agrees to take on an unusual gig for some much-needed rent money, and though bestie Greta Gerwig reminds her to be wary of weirdos, things still go more than a little sideways.  References:https://filmmakermagazine.com/1392-ti-west-the-house-of-the-devil/ https://www.splittoothmedia.com/house-of-the-devil/ https://basile-lebret.medium.com/before-x-there-was-the-house-of-the-devil-b1aeb16e67c9 https://collider.com/ti-west-house-of-the-devil-the-innkeepers/ https://www.reddit.com/r/horror/comments/4k7lo6/spoilers_i_just_watched_house_of_the_devil_and/ 

Fret ye not!  Direct from Satan's black hell-besmeared farting hole*, we're back, we're giggling and we're here to discuss the 1989 horror adventure WARLOCK. * Chris' garageContent Warning: May contain giggling.END CREDITS- Presented by Robert Johnson and Christopher Webb- Produced/edited by Christopher Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-up by Christopher Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2023 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram @stillanygoodpodEmail stillanygood@gmail.comSupport the show

This is more like it! Bartel Me Something Good returns with Paul Bartel's end-of-the-80s satirical sex comedy triumph SCENES FROM THE CLASS STRUGGLE IN BEVERLY HILLS, featuring an all-star cast witnessing - and participating in - all sorts of bad taste fun. Jacqueline Bisset, Mary Woronov, Ray Sharkey, Robert Beltran, Ed Begley Jr., Wallace Shawn and Bartel himself chew up the scenery - and some wonderful dialogue from writer Bruce Wagner - while indulging in the best and worst of Reagan-era debauchery. CHECK IT OUT!  The post Episode 207 – Bartel Me Something Good – Scenes From The Class Struggle in Beverly Hills (1989) first appeared on Cinema Smorgasbord.

Nashville's pre-eminent film critic, curator & connoisseur Jason Shawhan returns for EATING RAOUL. We talk Paul Bartel, Mary Woronov, The Roger Corman Expanded Universe, Robert Beltran, swingers, wine-snobs, bad musical theater, the lurking terror of The Beach Boys, SCENES FROM THE CLASS STRUGGLE IN BEVERLY HILLS and much more. Join the Craig & Friends Patreon For more Jason Shawhan: ⁠⁠https://x.com/jshawhan?s=21&t=2TXy7cSLOHZN-Ef4khov0A⁠⁠ ⁠⁠http://rebirthoftheflesh.blogspot.com/⁠⁠ Jason & Sam Inglis host FEARLESS PRETENDER- The Only Podcast That Provides Extensive Analysis of Every-Single Film & Television Show Featuring Jennifer Jason-Leigh. Hear my guest spot on the episode devoted to the bizarro Rodney Dangerfield classic EASY MONEY

Merry Christmas, and happy holidays to everyone. Today on the podcast, the 70s horror curiosity, Silent Night, Bloody Night. The mansion. The madness. The Maniac. No Escape. A lawyer and his paramour are tending to an estate, converting a sprawling mansion into equity. The scion of the Butler family, Jeffrey, meanwhile, leaves California for New England to help settle the family matter as well. He soon finds that his grandfather's home, is cursed. And that the townsfolk are less than welcoming, claiming bad mojo about the dwelling that's persisted for decades. Genre heads will enjoy this, as we've got legendary John Carradine as a newspaper magnate and Mary Woronov as the mayor's daughter.  

Season's Greetings wonderful listeners! It is the time of year again that The FM3 go dumpster diving into Santa's dirty old Sack for another Xmas horror movie! This time around the crew decided on the proto-slasher to Black Christmas: "Silent Night, Bloody Night" from 1972! The Forever Midnight crew had hoped for a holiday hootenanny of a film with stockings filled with Christmas candy but instead got a weird wild tale about escaped mental patients and the wacky town they call home. We hope you enjoy this episode and wish you all a happy holiday and a fantastic new year!

Legendary filmmaker Allan Arkush joins me to talk GET CRAZY, directing Dokken, Bette Midler, getting dosed by The Grateful Dead, dealing with difficult people (Chevy Chase, Andy Kaufman), getting Sinatra to do more than one take, FAME, Mick Jagger's kitchen, making THE TEMPTATIONS, graduating Roger Corman University, Mary Woronov, Executive Producing HEROES, working for Bill Graham at the Fillmore east and MORE! Hear me on the latest episode of the fabulous Gala Avary's podcast, THE GALA SHOW https://podcasts.apple.com/us/podcast/the-gala-show/id1712577523?i=1000637015548 Check out Allan's videos on Trailers From Hell https://trailersfromhell.com/ Head over to ⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/CraigAndFriends⁠⁠⁠⁠⁠⁠⁠⁠ Snatch up ad-free & early versions of these episodes, exclusive bonus episodes AND get in early on Movie Clubs. Add your questions, comments (and maybe be directed to certain places where certain films might be) while supporting the show.

RMR 0235: Join your hosts Lizzy Haynes, Dustin Melbardis, and Chad Robinson for the Retro Movie Roundtable as they revisit House of the Devil (2009) [R] Genre: Horror, Mystery Jocelin Donahue, Tom Noonan, Mary Woronov, Greta Gerwig, AJ Bowen, Dee Wallace, Heather Robb, Darryl Nau, Brenda Cooney, Danielle Noe, Mary B. McCann, John Speredakos   Director: Ti West Recorded on 2023-09-28

A group of amorous couples decide to stay overnight at the local mall, at the same time that the mall's new robot security force is on duty. Things... don't go well. Sean joins us again to talk about Chopping Mall, in our penultimate episode of the 2023 edition of our 13 Days of Halloween series.

In this episode of Weirdhouse Cinema, Rob and Joe tune their satellite dish to 1986 and discuss the outrageous sci-fi horror camp-fest that is Ted Nicolaou's “TerrorVision,” starring Gerrit Graham and Mary Woronov. See omnystudio.com/listener for privacy information.

This episode Doc and GQ celebrate the 1986 killer robot classic, Chopping Mall! This is one of those absolute classic 80's horror films that both hosts go back to time and time again. Directed by longtime genre staple, Jim Wynorski, and starring Kelli Maroney, Barbara Crampton, Suzee Slater, and Tony O'Dell. Featuring cameos by Paul Bartel, Mary Woronov, and the legendary Dick Miller. Two Good Scares: Hide and Go Shriek (Doc) and Westworld (GQ) email@soundsscarypodcast.com www.soundsscarypodcast.com Sounds Scary Instagram

Drusilla and Josh are back with a packed episode on Ti West's House of the Devil with special guest Joe Vallese from It Came From the Closet and also actress, musician, writer Heather Robb. From wiki: “The House of the Devil is a 2009 American horror film written, directed, and edited by Ti West, starring Jocelin Donahue, Tom Noonan, Mary Woronov, Greta Gerwig, A. J. Bowen, and Dee Wallace.The plot concerns a young college student who is hired as a babysitter at an isolated house and is soon caught up in bizarre and dangerous events as she fights for her life.” Also, Drusilla talks Bottoms (2023), Joe talks Talk to Me (2023), and Josh talks Bad Biology (2008). Also discussed Drive-Away Dolls, Frankenhooker, Brain Damage, Basket Case, The Greasy Strangler, Crimes of the Future, Pearl, X, the aesthetic of the 80s, Jocelyn Donahue's acting, Joe Swanberg, Lena Dunham, Sleeping with the Enemy, Cabin Fever 2, the 2010s, Barbarian, David Gordon Green horror movies, Barbara Hershey and The Manor (2020) and more!NEXT WEEK: The Haunting of Julia aka Full Circle (1977)Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comJoe's Instagram: https://www.instagram.com/it_came_from_the_closet/Joe's Twitter: https://twitter.com/HomoHorrorHeather's website: https://www.heatherrobb.com/Heather's Instagram: https://www.instagram.com/heatherfrobb/Drusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/ Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/ Joshua's website: https://www.joshuaconkel.com/Joshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel    

WoHos!This week we took a look at two movies by a director we respect a lot, Ti West. We reviewed THE HOUSE OF THE DEVIL, which Mom loves and Mac...does not and THE INNKEEPERS, which is near and dear to both our hearts.Coming up on World of Foundational Horror, THESIS from Spain and EVIL DEAD TRAP from Japan. Next up on the Quinnisode, HUSH, HUSH, SWEET CHARLOTTE. Next up on the main show, TETSUO & eXistenZ.Check out our appearance on Comfortfilms Podcast and if you are a horror movie podcaster and would like to network with other podcasters, get in touch and I will hook you up with the Slack channel Eric Winick has set up.Get in touch, WoHos! Stay safe! We love you! DON'T go into the basement! Support the showInterstitial Music Works is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.https://creativecommons.org/licenses/by-nc/3.0/Theme by Charles Michel "Aqui"Interstitial MusicKumiko (edited)Coma-MediaSubscribe to the Podcast for a Special Shoutout!

0:00 - Intro & Summary2:00 - Movie Discussion44:07 - Cast & Crew/Awards48:08 - Pop Culture 53:21 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Get ready for racing and fighting, Shaolin-style! Okay, maybe there's not really any Shaolin action, but CANNONBALL (1976) stars KUNG FU's very own DAVID CARRADINE! Beating the 1981 CANNONBALL RUN to theaters by 5 years, Carradine's vehicle (pun intended) trades the comedy focus for a more serious look at the world of illegal road trips! Not only is Carradine along for the ride, but so is cult icon MARY WORONOV in this flick penned and directed by DEATH RACE 2000 legend PAUL BARTEL! Oh, and SYLVESTER STALLONE, MARTIN SCORSESE and JOE DANTE are tucked in there, too (yes, it's a ROGER CORMAN production!)We "HIT THE ROAD!" on this week's episode of CULT and CLASSIC Films Podcast! Listen wherever you get your podcasts and at https://cultandclassicfilms.com/!Last Week: "TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY" (2006)Host: NATE WYCKOFFPanelist: MANDY LONGLEY & CORINNE PORTER

On this episode of YOU DON'T KNOW DICK (the world's finest Dick Miller-related podcast) we're joined by writer/editor Christine Makepeace to discuss John Mellencamp's cover of Van Morrison's "Wild Night" (/w Me'Shell Ndegeocello), music videos, mallrats, late stage capitalism and Jim Wynorski's CHOPPING MALL from 1986 featuring Kelli Maroney, Barbara Crampton, Paul Bartel, Mary Woronov, and - of course - Dick Miller! Robots go berserk, paint stores explode, in-jokes abound and a good time is had by all. Join us, won't you? The post Episode 169 – You Don't Know Dick – Chopping Mall (1986) (/w Christine Makepeace) first appeared on Cinema Smorgasbord.

CRAGG Live From April 22nd, 2023Rock N' Roll High School Tribute ShowJoin us this week for a hybrid show between our "retro media shows" and our original show format from Live 365 where we did in depth audio documentaries on various subjects. We look back at the THIRD show we ever did (on Live365) and go back to Rock N' Roll High School with our 3-hour radio tribute/documentary. Our return to Rock n' Roll High School includes the original soundtrack, trailers, radio spots, dialogue clips and interview segments/clips with the film's stars including PJ Soles, Dey Young, Marky Ramone, Dick Miller, Clint Howard & Mary Woronov!    Listen to the show HERE.What is CRAGG Live Anyways?!  The flagship radio show of Cult Radio A-Go-Go!'s, CRAGG Live is a lively 2-3 hour talk radio show hosted by Terry and Tiffany DuFoe LIVE from an old abandoned Drive-In Movie theater with Wicked Kitty, Fritz, Imhotep and Hermey the studio cats and CRAGG The Gargoyle. We play retro pop culture, Drive-In movie, classic TV and old radio audio along with LIVE on the air celebrity interviews from the world of movies, TV, music, print, internet and a few odd balls thrown in for good measure. We air Saturdays at 5:00 pacific.We air on www.cultradioagogo.com which is a 24/7 free internet radio network of old time radio, music, movie trailers, old nostalgic commercials, snack bar audio, AND much more!  This show is copyright 2023 DuFoe Entertainment and the live interviews contained in this show may not be reproduced, transcribed or posted to a blog, social network or website without written permission from DuFoe Entertainment.NOTE* There is a brief leader before & after the show which was recorded "LIVE" off the air.

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

On this episode of Bartel Me Something Good we've reached Paul Bartel's Criterion Collected classic EATING RAOUL featuring Mary Woronov, Robert Beltran and Paul Bartel himself as Paul Bland. A darkly comedic social satire (/w cannibalism), it remains a gem in the Bartel filmography, and we're delighted to be joined by EATING RAOUL's editor Alan Toomayan to discuss his work on Bartel's films, including LUST IN THE DUST and SCENES FROM THE CLASS STRUGGLE IN BEVERLY HILLS. Alan also regales us with stories of his early work with New World Pictures, the guerilla filmmaking that went into Eating Raoul's production, and his transition to becoming an editor of film trailers and featurettes. CHECK IT OUT! 

Invité:  Guillaume "Capo" Capovilla Nous débutons notre mois ayant pour thème le Culte avec un film écrit et réalisé par Ti West (X, Pearl et MaXXXine).  Merci à Marc Boisclair d'Horreur Québec pour la proposition! Au menu: On aime Jocelin, on a peur de Mary Woronov, Serge se trompe de fruit, Bruno souligne les similitudes avec Rosemary's Baby, Tom Noonan attire pitié et malaise, Greta nous surprend et Capo nous partage sa théorie sur la perte de conscience de Samantha. Aussi, nos chanteuses vont te donner le goût de bouger. As-tu déjà tombé DANS les connaissances? Bonne écoute!   Tu peux nous écouter sur la plupart des plateformes de baladodiffusions et sur YouTube https://bit.ly/30HxCIE Aussi, tu peux échanger avec nous sur: https://www.instagram.com/terreursurlepodpodcast/ https://www.facebook.com/Terreur-sur-le-Pod-111446400732063 https://www.instagram.com/lafreniere.serge/ @surlepod sur Twitter LA SEMAINE PROCHAINE: L'invitation (The Invitation) 2015   The House of the Devil Creds Résumé chanté: Spice Girls - Say You'll Be There https://youtu.be/9ro0FW9Qt-4 Indéfendable | TVA https://www.youtube.com/watch?v=jxVjYD_str8 Musique fin Music par Karl Casey @ White Bat Audio

Tom and Jenny talk about the awesome and underrated 1982 black comedy about swingers, murder, and cannibalism. It was written and directed by Paul Bartel, who also stars, and features Mary Woronov and Robert Beltran as well. Audio version: Video version: https://youtube.com/live/ZmrU0EGapI8 Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us … Continue reading Movie Time LIVE: Eating Raoul (1982)

In which Jorge and JT take a look at arguably the greatest (and, well, probably only) teenage comet zombie movie ever made.NEXT WEEKGuilty PleasuresLINKShttps://linktr.ee/podferatuSkull logo by Erik Leach @erikleach_art (Instagram)Theme:  Netherworld Shanty, Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 License

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es Eating Raoul, es una película de comedia negra estadounidense de 1982 escrita, dirigida y protagonizada por Paul Bartel con Mary Woronov. Plot: Una pareja casada recurren a matar y robar a swingers con dinero, haciéndose pasar por cosplayers sexuales y así poder crear el restaurante de sus sueños. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Facebook: https://www.facebook.com/fnpod

Catherine Mary Stewart and Kelly Maroney share a night you'll never forget in this Thom Eberhardt directed film about two Valley Girls fighting against cannibal zombies and a sinister group of scientists when a comet wipes out most of life on Earth. This film also features Mary Woronov and Robert Beltran. Joining the show is filmmaker/podcaster Brian Cottington. Brian is a host of the podcast Cinema Psychos Show and you can find his portfolio HERE. If horror films are your jam, subscribe to Slasher Sports Cinema and catch Billy Graves among the rest of the SlasherSports team. You need a scary movie going into the weekend and he's bringing you the best horror movies to be found in theatres, on Netflix, Hulu, Tubi, Peacock, and VOD. Be sure to follow us on all our social medias and podcasts! You can also find Slasher Sports merchandise on RedBubble via our LINKTREE Find Billy, your host on INSTAGRAM or TWITTER We want to hear from you. Leave us your QUESTIONS/COMMENTS FOR THE HOSTS and we might play your audio on the show! Intro/Outro music by White Bat Audio Introduction by Brittany McCuiston #cultfilmretrospective #nightofthecomet #kellimaroney #retrospective --- Send in a voice message: https://anchor.fm/slashersportscinema/message Support this podcast: https://anchor.fm/slashersportscinema/support

David Carradine POPS THE CLUTCH again in Paul Bartel's follow-up to Death Race 2000, which features a cross-country race full of oddballs competing for a huge cash prize. Featuring an awesome cast of recognizable faces (Mary Woronov! Gerrit Graham! Robert Carradine! DICK MILLER! Joe Dante!) and even more awesome cameos (Martin Scorsese eating KFC with Bartel and Sylvester Stallone), it's a sometimes shaky, but always entertaining, collection of comedy, musical numbers (?) and car stunts. Find out how it all came together on this brand new episode of BARTEL ME SOMETHING GOOD.

He's come from the past to destroy the future, just like this episode of 80s Revisited! Use code "Revisited" for 20% off and free shipping at MANSCAPED.COM. 80srevisited@gmail.com to talk with us, and leave a review for us! Thank you for listening 80s Revisited, hosted by Trey Harris. Produced by Jesse Seidule.

Nothing says Halloween more like the time-honored tradition of settling in for a scary movie. Kristen Meinzer is a culture critic and host of the podcast "By The Book" and Rafer Guzman is a film critic for Newsday. Together Kristen and Rafer are the co-hosts of the podcast, Movie Therapy, and they joined The Takeaway to give their picks for Halloween movie prescriptions for different occasions. KRISTEN'S PICKS: Movie prescription for a romantic night: Warm Bodies (2013) A zombie romantic comedy. After a highly unusual zombie saves a still-living girl from an attack, the two form a relationship that sets in motion events that might transform the entire lifeless world. Movie prescription for family viewing: Cruella (2021)Cruella isn't specifically a Halloween movie, but it has that Halloweeny goth vibe and loads of fabulous costumes...as well as our lead's fabulous disguise! Movie prescription for satire/comedy lovers: Velvet Buzzsaw (2019) A satirical horror comedy about the art world - from the snobbery to the wealth to all the people who take themselves way too seriously - starring Jake Gyllenhaal, Zawe Ashton, Rene Russo, Toni Collette, Daveed Diggs, Nitya Vidyasagar, Tom Sturridge, Natalia Dyer, Billy Magnussen, Mig Macario, and John Malkovich. RAFER'S PICKS: Date horror movie: Night of the Comet (1984) Little known horror-comedy from 1984. Great valley-girls-versus-zombies premise, fun cast (Dick Rude, Mary Woronov) and a rare Hispanic leading man. Cute, funny, scary and romantic. Joss Whedon cited it as one inspiration for “Buffy and the Vampire Slayer.” Horror movie with the kids: Gremlins (1984) I still love this movie, which I saw as a kid, and I was just delighted by it. During the pandemic, I rented a movie theater for my son's birthday, and this is what we saw. I was really happy to see them jump out of their chairs one minute and then crack up the next. Plus it takes place during Christmas, so it's really an all-fall holiday treat. Best ‘70s horror movie you probably haven't seen: The Brood (1979)Early David Cronenberg, an extremely weird movie about a divorce that leads to the psychic birth of demonic children who roam around killing adults. Great cast, with Samantha Eggar as a kind of queen bee of the demon-spawn, and Oliver Reed as the leader of a 70s self-help cult that goes too far. Cronenberg wrote it following his own divorce, and it came out the same year as Kramer Vs Kramer, hilariously. Roger Ebert called it “reprehensible trash.”

Nothing says Halloween more like the time-honored tradition of settling in for a scary movie. Kristen Meinzer is a culture critic and host of the podcast "By The Book" and Rafer Guzman is a film critic for Newsday. Together Kristen and Rafer are the co-hosts of the podcast, Movie Therapy, and they joined The Takeaway to give their picks for Halloween movie prescriptions for different occasions. KRISTEN'S PICKS: Movie prescription for a romantic night: Warm Bodies (2013) A zombie romantic comedy. After a highly unusual zombie saves a still-living girl from an attack, the two form a relationship that sets in motion events that might transform the entire lifeless world. Movie prescription for family viewing: Cruella (2021)Cruella isn't specifically a Halloween movie, but it has that Halloweeny goth vibe and loads of fabulous costumes...as well as our lead's fabulous disguise! Movie prescription for satire/comedy lovers: Velvet Buzzsaw (2019) A satirical horror comedy about the art world - from the snobbery to the wealth to all the people who take themselves way too seriously - starring Jake Gyllenhaal, Zawe Ashton, Rene Russo, Toni Collette, Daveed Diggs, Nitya Vidyasagar, Tom Sturridge, Natalia Dyer, Billy Magnussen, Mig Macario, and John Malkovich. RAFER'S PICKS: Date horror movie: Night of the Comet (1984) Little known horror-comedy from 1984. Great valley-girls-versus-zombies premise, fun cast (Dick Rude, Mary Woronov) and a rare Hispanic leading man. Cute, funny, scary and romantic. Joss Whedon cited it as one inspiration for “Buffy and the Vampire Slayer.” Horror movie with the kids: Gremlins (1984) I still love this movie, which I saw as a kid, and I was just delighted by it. During the pandemic, I rented a movie theater for my son's birthday, and this is what we saw. I was really happy to see them jump out of their chairs one minute and then crack up the next. Plus it takes place during Christmas, so it's really an all-fall holiday treat. Best ‘70s horror movie you probably haven't seen: The Brood (1979)Early David Cronenberg, an extremely weird movie about a divorce that leads to the psychic birth of demonic children who roam around killing adults. Great cast, with Samantha Eggar as a kind of queen bee of the demon-spawn, and Oliver Reed as the leader of a 70s self-help cult that goes too far. Cronenberg wrote it following his own divorce, and it came out the same year as Kramer Vs Kramer, hilariously. Roger Ebert called it “reprehensible trash.”

Sean tries to rack up as many points as he can mowing down pedestrians in the Death Race 2000 (1975), a satiric, dystopian futuristic racing movie produced by Roger Corman and directed by Paul Bartel (so you can be sure Mary Woronov is in the cast). Sylvester Stallone also co-stars as a team of racers who try to beat top scorer Frankenstein (David Carradine) in a trans-continental death race. Listen as we careen off the road into sidebars about bare-assed acting scenes, propaganda clones, Looney Tunes, and the practicality of "wetting it down" down on this week's exciting episode! Hosted on Acast. See acast.com/privacy for more information.

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

Lee and Leah are back to cover the Paul Bartel written and directed "Eating Raoul" (1982). Many asides come up this week when the hosts are not gushing over the amazing chemistry of Paul Bartel and Mary Woronov. Some things brought up include the depictions of rape in the film; comparing this film's style to John Waters' style, and how Waters' would have done this differently even though the subject matter is very similar to his films; the twisted moral values of the Blands; the lack of a strong counterparts to our protagonists in a political sense; the depictions of sex work in the film; how sexy Mary Woronov was; some of the funny gags; proper use of a dildo in one's asshole, and much more. Also: what the hosts have watched recently and they play a round of the IMDB Ratings game. "Eating Raoul" IMDB  Check out Leah's inspirational father, Robert Hardy The Walker-Runner.  Check out Lee's appearance on Motion Picture Massacre.  Featured Music: "Gimme the Cash, Jack" by Bruce Scott and "Exactly Like You" by Jonathan Beres

Its a Ti West Double feature!! Leigh had so much fun talking X last week that he figured why not talk about The House Of The Devil from 2009. Will Britt dig this one?------ The House Of The Devil (2009) Is written, directed, and edited by Ti West, starring Jocelin Donahue, Tom Noonan, Mary Woronov, Greta Gerwig, A. J. Bowen, and Dee Wallace-------- Our theme Song BBQ MANIAC was written and performed by John Brennan, used with permission. You can listen and purchase all of Johns music at https://shopjb.bandcamp.com/   Join us on Patreon for bonus episodes and more fun!

Lee and Leah are teasing their cinematic sweet tooth this week when they bite into the sexy thriller "Sugar Cookies" (1973), directed by Theodore Gershuny, and co-written by future head of Troma, Lloyd Kaufman. Does this otherwise low-budget and poorly-made film have anything to offer other than the lovely nude bodies of the stars Mary Woronov and Lynn Lowry? Is this the progenitor of the sexy thrillers we'd see twenty years later on late night cable and direct-to-video VHS? Is it deserving of the "X" rating it originally got? Who the fuck is "Gus" and why the hell are we following him out of nowhere? Also, Leah has some rants this week and the host respond to comments (including one that's critical of one of our episodes) and talk about what they've watches as of late. "Sugar Cookies" IMDB  Featured Music: "All American Boy" by Gershon Kingsley and "Sally, Go 'Round the Roses" by The Jaynetts.

For our 100th episode, we explore an area of New World Pictures history that we've never discussed: when other companies had to release their movies because they were broke! Such is the case with 1989's WARLOCK, despite the presence of director Steve Miner, who had made some of New World's biggest hits, and Executive producer Arnold Kopelson, who had just won an Academy Award! Joining us in the discussion is Lindsay Wilkins from the Schlock and Awe podcast so we could properly discuss Mary Woronov's greatness, Julian Sands' charming but limited powers, and Richard E. Grant's accent!  Plus, we crunch the numbers on being a Mennonite, reveal what it's like partying in your 40's, and discuss the power of putting pennies in your mouth!  

LOST ANGELES Episode 16 PRIDE SPECIAL featuring guest JANE CANTILLON, Director of the feature film "The Other Side: A Queer History's Last Call,” a documentary about LA's last piano bar located on Hyperion Avenue in Silverlake.  Host Laura Craven chats with the director about the history of this landmark mid-century modern building and the bar and lounge that was home to the local queer community for decades before its unfortunate closing in 2012. Jane's 2013 film is an insightful, provocative and poignant exploration into the history of gay Los Angeles through personal stories from the 1940s to the 1960s, set against the backdrop of The Other Side, a venerable LA gay piano bar and a neighborhood fixture for more than forty years.  Rent or buy the film on Amazon NOW! Jane Cantillon is an LA-based director and producer for film and television.  In addition to her feature films, “The Other Side…” and “Paintings by Mary Woronov,” her television production credits include Entertainment Tonight, “Anderson,” Dr. Drew's Lifechangers, The Talk, and Ask Oprah's All Stars, among others.  Also a prolific musician and performer, her band “Dick and Jane Family Orchestra” plays regularly at Akbar in Silverlake and in and around LA and the West Coast. For more info and upcoming shows, follow her on Instagram @janecantillon Special thanks to Carmen Grillo at Big Surprise Music & Studios and to Kathleen Sullivan, Executive Director of Openhouse in San Francisco, for their assistance in making this special episode happen! Listen/Subscribe to LOST ANGELES wherever you get your podcasts and live & direct (with exclusive site-only extras, photos and outtakes) on jasoncharles.net Podcast Network Arts & Culture Channel See omnystudio.com/listener for privacy information.

On this episode of YOU DON'T KNOW DICK we're joined by Junk Filter Podcast host (and Twitter provocateur) Jesse Hawken to discuss Alan Arkush's long-unavailable concert-movie comedy GET CRAZY from 1983! It's a wild film, with performances from Malcolm McDowell (as an aging rock star), Daniel Stern, Lou Reed(!), Lee Ving, Mary Woronov, Paul Bartel.. and plenty more! We also discuss our favorite Rock and Roll movies, Alan Arkush's career, why the film was buried and all things DICK MILLER. Check it out!

Join Dan and Bradley as they chat with their friends Andrew and Elbee from GRUMPIRE about the great cult film actor, artist and former member of THE VELVET UNDERGROUND, MARY WORONOV. Now it's time to check out Grumpire.com - Andrew and Elbee's not-at-all boring or dumb website. A website dedicated to film and music with fantastic long form articles written by quite a few friends of the Movies from Hell podcast - it's good, you should go there.... now please.

It's opening night, maniacs!  This week we're talking the obscure 1984 slasher Blood Theatre. Join us as we discuss this Mary Woronov deep cut and other topics such as the iconic(?) character The Original Owner, the overuse of a strange Jetsons-style "whoosh" sound effect, and stick around until the end of the episode for a very lengthy Manic Feedback on your favorite underrated horror films!

Zach, Brian, and Arthur are live talking about the Roger Corman/Paul Bartel classic "Death Race 2000". It's the future, the year 2000 and the great race is on again. James Carradine, Sylvester Stallone and Mary Woronov speed across the country racking up points at the expense of those unlucky enough to be on the road. In this episode LRP gives you, what you want.

It's a journey for the ages this week, Junkies, as we explore the horrors of high school, college, and the workplace! Up first! It's Sean Cunningham's rarely discussed mid-80s rural Florida thriller The New Kids, (aka Striking Back) from 1985! It's that one where Lori Laughlin and the other kid beat the crap out of James Spader and those other dudes in a decrepit Santa Claus themed theme park. Remember? Next up! Everyone's favorite actors, Paul Bartel and Mary Woronov return to the screen with a Police Academy style send-up of the funeral home industry entitled Mortuary Academy (from 1988)! It's got a lot of puns, some on-screen rapping, and has been compared favorably to Hamburger the Motion Picture by at least one of the JFD hosts. Finally! Of course, it's 1997's Office Killer, from esteemed fine art photographer Cindy Sherman. How could we not review a movie where Carol Kane goes batso and attacks Molly Ringwald? All this plus Sean's surprise visitor, unwanted baseball chats, Easter candies and Easter regrets, medium skype factors, ruminations on an Armenian film classic, horror folks, the world's biggest Marvel zombie, why aren't they making Draculer for god's sake?, lighting as character, podcast jazz, cats pulling the plug, anti-work groups, nerd news and even more! Recorded live-to-tape on National John Parker Day, 2022!! Direct Donloyd HereGot a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION!Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll move to a gas station in rural Florida for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

Devin & James are serving up a treat in the DEN OF CIN. It's an unlikely and weird double feature of CANNIBAL FILMS! First we get into Paul Bartel's 1982 cult comedy EATING RAOUL, starring Bartel, his longtime collaborator Mary Woronov, and Robert Beltran in the title dish... er, we mean role. Then we dive into a very recent film for a change, the 2022 Hulu "meat cute", FRESH. Directed by Mimi Cave, starring the excellent Daisy Edgar-Jones, as well as Sebastian Stan in a role sure to make your skin crawl (and braise, broil, or roast). All this, plus a huge rant about the current state of the Academy Awards Ceremony. We just couldn't fit any more on the plate! Enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Happy Monday Goons! The last Monday of our (Fe)bruary Killer Robot month finishes out with a Patreon request: Chopping Mall (1986)! The film was directed by Jim Wynorski and was produced by Roger Corman's wife, Julie Corman. The stars of the show are some of your 80's favorites: we have Night of the Comet's Kelli Maroney, Re-Animator's Barbara Crampton and a cameos from Mary Woronov and everybody's favorite extra, Dick Miller, in addition to Karrie Emerson, Russell Todd, Suzee Slater and John Terlesky. This is definitely a snapshot of America in the 1980's, especially within the shopping mall setting that is all but obsolete these days. Jake also crashes the party as he asks us what is our favorite non-anthropomorphic robot. So join us for a fun, albeit, inappropriate episode and let us know what you think! If you ever have feedback or recommendations on future episodes, please let us know at slasherspod@gmail.com. You can always find us on our social media: Instagram, Twitter, Slasher App: @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast You can find our merch, and links to all our online presence here: linktr.ee/slasherspod Theme song is I wanna Die by Mini Meltdowns. https://open.spotify.com/artist/5ZAk6lUDsaJj8EAhrhzZnh https://minimeltdowns.bandcamp.com/ --- Support this podcast: https://anchor.fm/slasherspod/support

We deep dive into Todd Haynes' Velvet Underground documentary (2021) on AppleTV. Haynes talks to the surviving members of the band and a lot of New York art world and the Warhol Factory scene about this legendary group that blended drone, multimedia, and doo-wop. The first-person accounts are great and you get steeped in the heady New York days of yore.Our guest is music publicist and Velvets fan Daniel Gill, who runs Force Field PR. George makes an argument for the TCCU (Tony Conrad Cinematic Universe) and Daniel plays a very thorough Cast This Doc. No Jonathan Richman impressions were maimed.Daniel Gill runs the PR and management firm Force Field out of the Highland Park neighborhood of Los Angeles. Force Field is best known for launching the careers of many of your present day brunch playlist favorites, such as Sufjan Stevens, St. Vincent, Beach House, Toro Y Moi, Real Estate, Neon Indian, Tennis, Lord Huron, Panda Bear, Woods, Kevin Morby, and many more. They've also handled PR for a slew of music documentaries including Big Star: Nothing Can Hurt Me, ZAPPA, Once Were Brothers, Crock of Gold, Danny Says, Other Music, etc. Gill is also serving as the producer on the newly launched music podcast Discograffiti.Follow Daniel on:Twitter: @forcefieldprFollow us on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ho ho ho, 'mos! Kevin & Chris kick off Homo for the Holidays Month (redux) with the formative proto-slasher, Silent Night, Bloody Night (1972). The 'mos talk a creepy mansion with a troubled history, the iconic Mary Woronov, questionable plotting choices, disturbing phone calls + POV sequences (paging Black Christmas), unique mental-health representation, a late-game exposition dump + an icky reveal, and more. Bonus topics include unfiltered thoughts on House of Gucci, Maid, Venom 2, and Tick, Tick... Boom. RIP to the legendary Stephen Sondheim (1920-2021). Connect with us on Patreon and social media for updates! Patreon: https://www.patreon.com/homosonhauntedhill Instagram: https://www.instagram.com/homosonhauntedhill Facebook: https://www.facebook.com/hohhpodcast Twitter: https://twitter.com/hohhpodcast

Flesh Wound Horror returns with another early review of Severin Film's Black Friday Blu-Ray release of the Mary Woronov and Cleve Hall lovecraftian nunsploitation throwback flick, THE HALFWAY HOUSE from Intervision Picture Corp. https://www.youtube.com/watch?v=488F840EtfA

Zack and Zo find out what it's like to be one of the last teenagers on Earth. Endless shopping? No real responsibilities? Maybe, if it weren't for the mysterious, nefarious, evil genius think tank filled with scientists and the zombies roaming the Los Angeles landscape. Check out this re-cap of this unsung cult classic.www.backlookcinema.comEmail: fanmail@backlookcinema.comTwitter: @backlookcinemaFacebook: The Back Look Cinema Podcast Instagram: backlookcinemapodcastBack Look Cinema Merch at Teespring.comBack Look Cinema Merch at Teepublic.com "Action Breakbeat" by  Zapsplat.com  

All revved up and ready to go! This week, Peaches and Michael are dodging the hall monitors and dancing in the gym as they celebrate 1979's ROCK 'N' ROLL HIGH SCHOOL! In addition to discussing the film's intersection of rock rebellion and teen comedy, our hosts explore the importance of the punk ethos in the cult canon. Joining the conversation is drag legend Heklina, who shares stories of how her love of The Ramones led to a lifetime of transgressive anarchy. Then, award-winning author Michelle Tea stops by to talk about how the film's lead, Riff Randell, is an unquestionable queer icon. From the majesty of Mary Woronov to the draginess of Joey Ramone, this episode has it all! Go!  

Welcome, CULT members to the Criteiron CULT Film Podcast. This month we are celebrating Halloween and to get in the spirit we are doing all horror related films this month. And to kick of the season were watching Eating Raoul ('82) from director Paul Bartel and starring Mary Woronov, Paul Bartel, and Robert Belterman. And to pair the film host Armando is bringing Joe Dante's cult classic The ‘Burbs ('89) starring Tom Hanks, Carrie Fisher, and Bruce Dern. So get spooky with the CULT and join us and listen to the Criterion CULT Film Podcast.

This week we celebrate queen Mary Woronov in a WIP film that really wants to be a horror movie but just can't figure out how. Help a documentary about Woronov get made: https://my.filmindependent.org/MaryWoronovCultQueen Follow this podcast on Instagram, Twitter, Slasher, and Facebook @unsunghorrors. Follow Lance on Twitter, Instagram, and Letterboxd @lschibi Get Unsung Horrors pins and more at Lance's shop: https://lanceschibi.bigcartel.com/ Follow Erica on Letterboxd, Twitter, or Instagram @hexmassacre Logo by Cody Schibi Part of the Prescribed Films Podcast network (www.thepfpn.com)

0:00-Intro and Movie Summary2:00-Movie Discussion1:04:00-Cast and Crew1:11:00-True Crime/Pop Culture1:16:00-Soundtrack/Music1:23:00-TV1:34:00-Rankings and Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

RetroBlasting co-founder and Dreamland podcast co-host Melinda Mock guides us through the red-tinged comet zombie apocalypse of Night of the Comet – a 1984 cult sci-fi comedy horror written and directed by Thom Eberhardt and starring former guests Catherine Mary Stewart and Kelli Maroney, with Robert Beltran, Mary Woronov and Geoffrey Lewis. But did these valley girls inspire many of the resourceful, capable action heroines (in cheerleading outfits) that followed, or is this a Mach-10 misfire? Find out! Follow RetroBlasting on Youtube and listen in to the Dreamland podcast now! Follow us on Twitter, Facebook and Instagram Support us on Patreon to nominate future films and access exclusive bonus content

Joe loves horror movies (be on the lookout for his side project FlyOver State of Scares), but for now, we cover another devil centric horror movie; Ti West's The House of the Devil (2009) - starring Jocelin Donahue, Tom Noonan, Mary Woronov, and Greta Gerwig. We also cover the Disney Summer movie slate, underrated Disney movies, best period piece movies, and slow burns that are worth the wait. "Flyover State Of Film Theme"-Composed by Barry J. Neely @BarryJNeely-Twitter Barry J Neely, composer-Youtube Where to find us. Joe- https://www.youtube.com/channel/UCGI-​... Twitter-@Chendango1 Jusef- Twitter- @yILoveMovies Brian-DVDBunker https://www.youtube.com/watch?v=EUaPY​... Twitter- @Hurstcules Tj- You're here...enjoy! Twitter- @TjDex

What do you do when you see someone crossing the street sporting the perfect pair of blue jeans? You mow them down and take them from the corpse. Durr. This week on The Blind Rage Podcast, Maria Ford (SLUMBER PARTY MASSACRE III, STRIPTEASER) and Alexander Polinksky (“Charles in Charge”) star in PERFECT FIT, an odd brand of dark humor directed by B-movie royalty Donald P. Borchers, and featuring cameos from cult icons Paul Bartel and Mary Woronov! --- Send in a voice message: https://anchor.fm/blindragepod/message

This week Ken welcomes actor and all around great human Catherine Mary Stewart (Night of the Comet, Weekend at Bernies, The Apple) to the show. Ken and Catherine discuss snow, generational genital snow art, TV in the UK, sheep hearing championships on television, ITV, studying dance, growing up in Canada, The Apple, traveling to East Berlin, having older brothers, growing up in academia, dangerous winter sports, traveling the world, TV Guide ads, mis-identifying Roger Ebert, Judy LaMarche, sneaking the soaps, being on soaps, Days of our Lives, Knight Rider, how hard it is to memorize things, The Last Starfighter, being the girl next door, Hollywood Wives, CGI, moving from TV acting to movie acting, watching your work alone, being self conscious, Robert Beltran, Eating Raoul, Mary Woronov, Night of the Comet, star quality, The Beachcombers, indie studios, Canadian Government Film subsidies, Telefilm, Mr. Dressup, The Friendly Giant, The Hardy Boys, going on a date with Parker Stevenson, All in the Family, naivete, singing, foreign films, The Man from Atlantis, wanting to go offline, Larry Holmes boxing, SCTV, Reach for the Top, living in Las Vegas, parental support and pride, dance troupes, the importance of chemistry, the changes in fame, having to have social media, the isolation of remote auditions, reality TV, horses, writing scripts, streaming, silent films, having access to the history of film, women directors, what we miss during COVID, and the benefits of being a loner.

Dan, Pat, and Jerry discuss (among other things) the fun 80's End Of The World B-movie "Night of the Comet" written and directed by Thom Eberhardt, and staring Catherine Mary Stewart, Kelli Maroney, Robert Beltran, and the ever wonderful Mary Woronov. --- Send in a voice message: https://anchor.fm/zombiebeach/message

The sixth episode of our season on the awesome movie year of 1984 features Josh’s personal pick, Thom Eberhardt’s Night of the Comet. Written and directed by Thom Eberhardt and starring Catherine Mary Stewart, Kelli Maroney, Robert Beltran and Mary Woronov, Night of the Comet was a moderate box-office success and has since become a cult classic. The post Night Of The Comet (1984 Josh’s Pick) appeared first on Awesome Movie Year.

In this episode, we review the 1972 holiday slasher film “Silent Night, Bloody Night”. Stars Patrick O’Neal, Mary Woronov, James Patterson, Astrid Heeran and John Carradine. Not the best of slasher flicks, hey you have to watch the bad ones too to know which are the best. Tune in.... if you dare!

Dave and Paul are back and this week their reaching into the actor grab bag for ten of the greatest CHARACTER ACTRESSES ever! Rosanna Arquette, Mary Woronov, Dina Meyer, and more!

We're back! And yes, it's another movie full of gratuitous violence. But it's totally silly and just so much gosh darn fun, gosh darn it! See? I'm trying to keep everything very tame and innocent. Just like those trips to the mall in my youth. Until one of the security robots uses its lasers to make someone's head explode. What do you think that we might be discussing on THIS episode? Well, I guess that the title of the episode says it all, huh? That's right, it's Chopping Mall (1986)! This just happens to be the second featured episode focusing on one of the Lionsgate Blu-ray releases in their Vestron Video Collector's Series. Collect them all! And then listen to the episodes. Because we'll probably end up talking about all of them, eventually. And then from there, well, we talk even more about the Killbots and their killing spree inside the Sherman Oaks Galleria. So, if you like the smell of pepperoni and electrified Dick Miller, this is certainly going to be the kind of episode that would be a wonderful listen while you're making dinner. Enjoy!

On this week’s Criterion Break, Andy and Blake call an audible and change their original plans. While they still do give Paul Bartell’s Eating Raoul (1982; Spine #625) a second chance, they had to forego a rewatch of The Man Who Fell To Earth (1976; Spine #304) because it left the Criterion Channel. In its place, the two watched the first film of The Koker Trilogy, Abbas Kiarostami’s Where Is The Friend’s House (1987; Spine #990). On this episode, Blake also gives us a rundown on some new additions to the channel for the month of May.Andy can be found across social media at:Facebook - Fat Dude Digs FlicksInstagram - FatDudeDigsFlicksTwitter - FatDudeFlicksBlake can be found on:Instagram - blakeg_5150And as a part of:Facebook - Back Lot 605Instagram - BackLot605Twitter - BackLot605Subscribe to this podcast and the Back Lot 605 podcast on Apple Podcasts, Stitcher Radio, or wherever you get your podcasts. Run a search and click on that subscribe button. Please take a second to rate and review the show, while you’re at it!If you’d like to contact us for any recommendations, questions, comments, or concerns, you can email us at FatDudeDigsFlicks@gmail.com. If by some small chance you’d like to donate anything to offset the cost of movie tickets (or streaming costs during this GLOBAL pandemic) and this podcast, be it via a gift card to pay for a digital rental, you can also send that to the aforementioned email. Any recommendation and donation will be mentioned in a future episode! If you can’t spare the dime, no worries: please leave a rating and/or a review, and spread the word about this podcast.

After last week's SHOP triple bill we decided to go with the 1986 Sci-Fi Horror, Chopping Mall. Directed by Jim Wynorski, produced by Julie Corman and starring Kelli Maroney, Tony O'Dell, Russell Todd, (the legendary) Barbara Crampton, Dick Miller, Gerrit Graham, Paul Bartel and Mary Woronov. Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs! "Thank you. Have a nice day"!  

In the 1980s, teen comedies established character tropes and found their future superstars. BETTER OFF DEAD... (1985) catapulted John Cusack to leading man status, even if the film didn’t reach blockbuster heights. This satirical black comedy was an unapologetic, absurdist dive into the teen psyche, which has only gained popularity throughout the years. BETTER OFF DEAD... continues to stand out from other ‘80s movies and leaves us with endless memorable moments. ▶️Synopsis: Devastated after being dumped for the popular high school jock, Lane Meyer can’t find a reason to live. In between multiple suicide attempts, he begins a friendship with a French exchange student who reminds him there is more life to live. ⏩⏩Discussions include: The true story behind the unusually satirical, BETTER OFF DEAD; how a first-time, feature film director/writer got his break; expanding the teen comedy genre, including an atypical leading man and traversing the teen experience; the tone/black humor used within the film; cast discussion, including the well-developed relationships with supporting characters; critical reception, music, animation/claymation and, of course, throwing in our favorite scenes and classic lines from the film.**Starring John Cusack, Diane Franklin, Curtis Armstrong. Directed by Savage Steve Holland.** ▶️**PICKS OF THE WEEK** —Lindsay’s Pick, TERRORVISION (1986): In this oddball sci-fi/horror/comedy, a family’s new TV satellite installation becomes an invitation for a monstrous alien from another world. **Starring Diane Franklin, Mary Woronov, Gerrit Graham, Chad Allen. Directed by Ted Nicolaou.** —Justin’s Pick, ONE CRAZY SUMMER (1986): Bailing on post high school plans, two best friends decide to have a carefree summer, but end up helping a fledging musician’s family estate and, in turn, inspiring future life goals. **Starring John Cusack, Joel Murray, Bobcat Goldthwait, Demi Moore. Directed by Savage Steve Holland.** ▶️MURRAYMOMENT: Billy’s experience living through the 2016 Chicago Cubs’ World Series win, with a little tear-jerking memory thrown in. ▶️FINAL THOUGHTS: Cusack’s unexpected reaction at the premiere of BETTER OFF DEAD..., his most recent feelings on the film, effect on Holland’s career and long-lasting fandom for this inoffensively rare 80s film. ▶️NEXT UP: DPP TWO-YEAR ANNIVERSARY with GOODFELLAS (1990)!

In this episode of the science fiction podcast 'The ACE: Atomic Cinema Experiment,' we discuss the cult classic B movie 'Death Race 2000.' The film is Directed by Paul Bartel and stars David Carradine, Simone Griffeth, Sylvester Stallone, Mary Woronov & Roberta Collins. patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/Mild_Fuzz facebook: https://www.facebook.com/mildfuzznetwork Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.co UK Merch store: https://shop.spreadshirt.co.uk/mild-fuzz-tv/ US Merch store: https://shop.spreadshirt.com/mild-fuzz-tv-us SciFiPodcast #SciFi #ScienceFiction

Speakeasily Vs. The ‘80s is joined by “Cine-Masochist,” musician, and co-founder/producer of the long-running SF club Popscene, DJ Omar Perez. He joins us for one of his favorite violations of decency and taste, Mortuary Academy (1988), proving that he is perhaps more of a “Cine-Sadomasochist.” Is this film simply Paul Bartel and Mary Woronov's love letter to underage necrophilia or is it pure comic genius? You be the Cine-judge!   DJ Omar Perez: https://www.instagram.com/omarpopscene/ https://twitter.com/clubmouthwash   More Speakeasily: speakeasily.tv youtube.com/user/OdessaLil facebook.com/speakeasilyshow instagram.com/audrawolfmann itunes.apple.com/us/podcast/speakeasilys-podcast/id960169254?ls=1 soundcloud.com/user-560743263 tunein.com/podcasts/Comedy-Podcasts/The-Speakeasily-Hour-Minute-Podcast-p1123049 And now on Spotify too!

Next up is a movie I watch every black Friday, Chopping Mall. It’s pretty much...

FANS: Rick Sloane--writer, producer and director of 80s and 90s cult classics--joins CF3 this week to discuss the films that influenced him, casting Mary Woronov in Blood Theater, meeting Roger Corman, and so much more. FILMS: The double feature returns! With Rick Sloane still in the house, we uncover the truth about Hobgoblins (1988). How did it wind up on MST3K? What's the deal with that rake scene? Did Rick almost die while making it? And what would each of us fantasize about if we were blindsided by a pack of vicious hobgoblins? Then comes our arresting review of Vice Academy. Charlie Sheen set visits, Linnea Quigley's agent, the sordid history of USA Up All Night, and the Vinegar Syndrome Blu-ray release are all covered. It's better than a knee to the nuts! FINDS: You're on your own this week. Next time, you won't be so lucky!

After the conversation last week about a film breaking the Top 10 on the DBMDNRL, one film has come along to blow the minds of Nigel and Kaitlyn. TerrorVision is a film that comes once in a lifetime with equal parts of sci-fi B-movie and Weird Science knockoff. This week Nigel and Kaitlyn discuss the merits of growing up with swinging parents, kids with guns, and the nutritional survival benefits of lizard tails. All that and more on this week's episode of Bad Movie Date Night.    TerrorVision Directed by: Ted Nicolaou Starring: Diane Franklin, Mary Woronov, Gerrit Graham, Chad Allen, Jon Gries   Don't forget to subscribe.  Follow us on Facebook and Instagram @JourneyIntoFilm   This has been a production of AJourneyIntoFilm.com

One of the first appearances of Sylvester Stallone and boy it's a doozey. Set in the future where the Death Race is televised and killing innocent civilians gets you points, it's not even that an interesting a concept. Bye bye baby!

In this episode, we discuss the 2009 retro horror film, "The House of the Devil," starring Jocelin Donahue, Tom Noonan and Mary Woronov, and the 1997 sci-fi action flick, "Starship Troopers," starring Casper Van Dien, Denise Richards, and Neil Patrick Harris.I'm Paul Verhoeven, and I approve this podcast. Full disclosure: I'm not Paul Verhoeven.Next episode: Little Evil and The Man Who Killed Hitler and Then The BigfootTwitterFacebookYoutubeiTunesStitcherGoogle PlayPodbeanPlayer.fmVisit us at:https://www.stupendousaurusrex.comContact us at: stupendousaurusrex@gmail.comStock media provided by GojiProduction/Pond5

In this episode, we discuss the 1986 schlock horror sci fi classic, "TerrorVision," starring Gerrit Graham, Mary Woronov and Diane Franklin, and the 2016 dystopian love story, "The Bad Batch," starring Suki Waterhouse and Jason Momoa.We got a lot to say about a couple of films that probably don't merit much discussion. Go figure.Next episode:Shoot 'Em Up and Friday the 13th: A New BeginningI warned you!TwitterFacebookYoutubeiTunesStitcherGoogle PlayVisit us at:https://www.stupendousaurusrex.comContact us at: stupendousaurusrex@gmail.comStock media provided by GojiProduction/Pond5

Rick Sloane returns to the SPLATHOUSE to talk about his new bluray from VINEGAR SYNDROME: BLOOD THEATRE/THE VISITANTS! Stories of Mary Woronov, yeast infections, lighting gels, Joe Dante, and more...SO MUCH MORE! Buy the disc! Consume the content and request MORE from the creator of HOBGOBLINS and VICE ACADEMY! Wings Hauser and Ginger Lynn Allen are waiting in the wings!LIMITED EDITION still available! https://vinegarsyndrome.com/shop/blood-theatre-slipcover/

Tune into the Freaky Fiends of Flesh Wound Radio this Wednesday, June 27th at 9:00pm EST / 6:00pm PST (or anytime shortly after we wrap) for our all Vinegar Syndrome Spectacular. On this episode we break down new Blu-Ray's of Rock Sloane's 1984 slasher Blood Theatre w/ Mary Woronov, and Straw Weisman's corpse loving 1988 classick Grave Robbers. In addition Flesh Wound After Dark returns w/ the sexy 80's tv parody Naughty Network, and Desiree Cousteau headlines Joe Sherman's superhero parody Ms. Magnificent. Don't miss it and be sure to catch our wrestling themed series Squared Circle Society and download us both on itunes, Stitcher, and Spreaker.

Grab your novelty martian headbands, arcade games and SMGs because it's our ninth episode and we are talking about one of our all-time favorites NIGHT OF THE COMET starring Kelli Maroney, Catherine Mary Stewart & Mary Woronov! We talk about befriending geese, production drama and much more. It's a fun one!

Live from Pluton, we're talking about the 1986 sci-fi comedy TerrorVision! This movie rules and we had a lot of fun watching it. Topics include Mary Woronov's acting versatility, The Real Ghostbusters and which Bill And Ted movie is the superior flick.

Hoy Trasnoche no es otro podcast de cine. Es "el otro" podcast de cine. Para los que saben que hay mucho más que los estrenos de la semana. Conducen Santiago Calori y Fiorella Sargenti. En este episodio: polémica por The Disaster Artist, nuestro estreno de la semana. En el portarretratos: Mary Woronov. En el videoclub de Calu: The Battery, de Jeremy Gardner. Y en los mitos de Flor: ¿Al Pacino tomó pala de verdad en Scarface?

Special Guests: Ted Nicolaou, Diane Franklin, Gerrit GrahamGuest Co-Hosts: Josh Hadley, Moe P0rneShocktober 2017 continues with a look at the offbeat horror comedy TerrorVision (1986). Written and directed by Ted Nicolaou, the film centers on the Putterman Family who, while father Stan -- Gerrit Graham -- is installing a new satellite dish and accidentally receive a distant transmission of a horrific hungry monster which proceeds to feast on the family including wife Rachel (Mary Woronov), son Sherman (Chad Allen), grandpa )Bert Remsen), daughter Suzy (Diane Franklin), and her metal head boyfriend O.D. (Jon Gries).Podcasters Moe P0rne (No Budget Nightmares) and Josh Hadley (Lost in the Static) join Mike to discuss this classic of Charles Band's Empire empire.

Teen sex, malls, killer robots and the 80's! Just about everything you'd want in a film about such things. Cheesy and poorly acted at times but that won't stop you from liking the hell out of this movie.

Settle down, See Hear listeners. Class is now in session. Tim, Sticky and Maurice take time out from dissecting frogs, picking fights with the jocks and giving lip to the principal to talk about the Roger Corman produced, Alan Arkush directed 1980 film Rock ‘n’ Roll High School. Is it just another b-grade drive in movie about teen rebellion or is there something more going on here (umm….yes there is)? This is the tale of one girl’s devotion to The Ramones, her determination for them to play a song she’s written, and her fight against the school administration who are repulsed by all things rock and roll. Who will win the battle of the wills between Mary Woronov and PJ Soles. We discuss the tradition of films and TV shows set in schools and the perception of the teacher as inspiration or villain, why the film is an open love letter to music without stylistic division, Corman’s original intentions for the movie (going even earlier than his desire to capitalise on the Saturday Night Fever craze), and how to make sure that mice don’t end up like Spinal Tap drummers. We also agree that it’s just a damn funny film. You can download the show by searching for See Hear podcast on iTunes or download from http://seehear.podbean.com/ If you dig what we do, could you please rate us at iTunes or even better, spread the word that the show exists so more folks can tune in. Please join our friendly Facebook discussion group at http://www.facebook.com/groups/seehearpodcast You can send us emails at seehearpodcast@gmail.com to suggest films you'd like us to discuss, give us your thoughts on what we do or anything else music-film related.

A man inherits a mansion, which once was a mental home. He visits the place and begins to investigate some crimes that happened in old times, scaring the people living in the region.Director: Theodore GershunyWriters: Theodore Gershuny, Jeffrey Konvitz (screenplay),3 more credits »Stars: Patrick O'Neal, James Patterson, Mary Woronov - via IMDB https://archive.org/details/SilentNightBloodyNight

This week Ken welcomes actress Kelli Maroney (Chopping Mall, Night of the Comet) to the show. Ken and Kelli discuss Boston accents, losing your native accent through paying old women to fall asleep, Minnesota, Shakespeare, Ryan's Hope, Manhattan, Soap Opera snobbishness, 50s New York vs. 80s New York, Night of the Comet, being the inspiration for Buffy the Vampire Slayer, Jim Wynorski, being Kimberly, improving with F. Murray Abraham and William H. Macy, impostor syndrome, Family Feud, being a master of quiet suppression, Maria Bamford, Prince, Star Trek, The Brady Bunch, watching old black and white movies with your mom, Hollywood Glamour, Bette Davis, Mary Woronov, Chopping Mall, Barbara Crampton, keeping your personal life personal, Law and Order, marathoning television when you're sick, innovation in low budget movies, ripped from the headlines, cannon fodder, the original Dawn of the Dead's superiority to the remake, After School Specials, Portrait of a Teenage Alcoholic, Scott Baio is Stoned, the convention circuit, YouTube stars, the importance of Unions, being branded as an "80s actress", and the 21st Century's aversion to story development.

Night of the Comet is the third film in our audience choice requests. Fortunately this is a film we really didn't mind doing, grew up with and actually like. All too easy.

Jacuzzi romps, lesbian nurses,evil experiments, a blackmail plot, an undercover investigation and an all-star cast of B-movie nonentities, Hellhole features the glorious gams of Mary Woronov, the champion chin of Robert Z'Dar, the not particularly great Marjoe Gortner and much much more (actually, not that much, truth be told). Unwitting patients at an all-female mental … Continue reading Really Awful Movies: Ep 103 – Hellhole →

We're joined by a host of Rock 'N' Roll High School alumni from director Allan Arkush to cinematographer Dean Cundey to writers Joseph McBride, Russ Dvonch, and Richard Whitley to stars PJ Soles, Dey Young, Clint Howard and Mary Woronov. Our guest co-host, Adam Schartoff, is the co-host of Filmwax Radio.Learn more about your ad choices. Visit megaphone.fm/adchoices

We're joined by a host of Rock 'N' Roll High School alumni from director Allan Arkush to cinematographer Dean Cundey to writers Joseph McBride, Russ Dvonch, and Richard Whitley to stars PJ Soles, Dey Young, Clint Howard and Mary Woronov. Our guest co-host, Adam Schartoff, is the co-host of Filmwax Radio.