Podcast appearances and mentions of michael jackson thriller

Tea Dance is a dance house music podcast. Please check out this great session. Artist names and song titles are in order of play...MICHAEL JACKSON-THRILLER, PURPLE DISCO MACHINE-SHE CAN'T LOVE YOU, EMPIRE OF THE SUN-WE ARE THE PEOPLE, MINISTRY OF FUNK-GYPSY LOVER, RITA LEE-MANIA DE VOCE, BAZZO RUTHEL-MILAGRO, MICHAEL JACKSON-OFF THE WALL, THOMAZ KRAUZE-FUNKY THING, SUGAR HILL-FEELING FOR YOU, STEVIE WONDER-I WISH, SERGE FUNK-MOVE ON UP, MARINA LIMA-MARESIA, BEE GEE'S-STAYIN' ALIVE, BOB MUSELLA-BABY HOT STUFF, DAFT PUNK-GET LUCKY, CAZUZA-BETE BALANCO, CHAKA KHAN-AIN'T NOBODY, CASSIE ELLER-MALANDRAGEM, ICY SASAKI-PURO EXTASE, JORGE BEN JOR-CHOVE CHUVA, DEPECHE MODE-ENJOY THE SILENCE. End. Thanks for listening from Ken Steele.

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A genius, a superstar - and maybe a paedophile. The complex Michael Jackson is the subject of a big-ticket musical fresh from Broadway, now playing in Australia. Find out more about The Front podcast here. You can read about this story and more on The Australian's website or on The Australian’s app. This episode of The Front is presented by Claire Harvey, produced by Kristen Amiet and edited by Tiffany Dimmack. Our team includes Lia Tsamoglou, Joshua Burton, Stephanie Coombes and Jasper Leak, who composed our music.See omnystudio.com/listener for privacy information.

While we enjoy/endure an unexpected break in new episodes, Spearsy decided to listen again to Episode 49 - Michael Jackson's Thriller. It's one of our favorite episodes and features co-hosts Sean Daly and Cathy Wos. We'll be back soon with two new shows.  Our Sponsors The 2025 lineup of The 80s Cruise features Squeeze, Adam Ant, Christopher Cross, Sheila E, Men at Work, Andy Bell of Erasure, Warrant, FireHouse, Dokken, Information Society, Kurtis Blow, Honeymoon Suite, Faster Pussycat, T'Pau, Tiffany, Naked Eyes and Musical Youth. Tribute bands include Sunset Boulevard, Trial by Fire and The Reflexx. Listen to this week's show for a special promo code that will give first-time cruisers $200 in cabin credit. For more information, go to www.the80scruise.com. Our podcast is listener-supported via Patreon. Members get special swag and invitations to patron-only Zoom happy hours with the hosts of the podcast. Find out more at our official Patreon page. The Stuck in the '80s podcast is hosted by creator Steve Spears and Brad Williams. Find out more about the show, celebrating its 19th year in 2024, at sit80s.com.

In this episode of Screens in Focus, hosts Diana and Renee dive into the world of music videos, discussing their evolution from the early days of MTV in the 80s to the modern era. They explore iconic videos from different decades, including favorites like Michael Jackson's Thriller, Duran Duran's Hungry Like the Wolf, and Madonna's Like a Prayer. The discussion covers the cultural impact of music videos, their influence on fashion, and the way music consumption has changed with technology. The hosts also share their top three music videos and invite listeners to share their all-time favorites. 00:00 Introduction to Screens in Focus 01:11 First Music Video Memories 02:47 MTV's Impact on Music Culture 04:30 Game-Changing Music Videos of the 80s 07:41 Fun and Controversial Music Videos 20:02 Transition to 90s and 2000s Music Videos 30:32 Bruno Mars Collaborations 31:51 Iconic Music Videos: Beyonce and Britney Spears 32:58 Fashion Influences from Music Videos 34:54 Top Three Music Videos 37:07 All-Time Favorite Music Video 43:03 TV and Movie Recommendations 52:14 Podcast Wrap-Up and Farewell   MTV's first 100 Vidoes aired Aug 1, 1981 https://www.beaconjournal.com/story/entertainment/2021/07/28/mtv-first-100-videos-aug-1-1981/8080884002/ Michael Jackson - Thriller https://www.youtube.com/watch?v=sOnqjkJTMaA Queen - Bohemian Rhapsody https://www.youtube.com/watch?v=fJ9rUzIMcZQ  Queen - I Want To Break Free https://www.youtube.com/watch?v=f4Mc-NYPHaQ Madonna - Papa Don't Preach https://www.youtube.com/watch?v=G333Is7VPOg Van Halen - Hot For Teacher https://www.youtube.com/watch?v=6M4_Ommfvv0 Duran Duran - Hungry Like The Wolf https://www.youtube.com/watch?v=oJL-lCzEXgI   Renee Hansen:  https://linktr.ee/renee.hansen  https://reneehansen.journoportfolio.com Follow and subscribe to Screens in Focus. Website: www.screensinfocus.com Email: screensinfocus@gmail.com  X https://x.com/screensinfocus Instagram: https://www.instagram.com/screensinfocuspodcast/ Facebook: https://www.facebook.com/screensinfocus  Feedback and TV/Movie Recommendations:    Google voice (669) 223-8542‬  Free background music from JewelBeat.com: www.jewelbeat.com  

Convertido en estrella de la música pop tras su disco Off the Wall, Michael Jackson preparó una secuela que pasaría a la historia. Además de ser el disco más vendido de todos los tiempos, Thriller consiguió mezclar el pop, el rhythm and blues y el hard rock, subió la vara en la producción de los videoclips y convirtió a Jackson en el artista más exitoso de su época.

Salma Hayek külön kasszán él milliárdos férjétől Igényesférfi.hu     2024-11-05 06:10:05     Film Interjú Luxus Salma Hayek Salma Hayek Pinault nemrég egy interjúban beszélt arról, hogy ő és férje, François-Henri Pinault, a Kering luxuskonglomerátum milliárdos vezérigazgatója szigorúan elhatárolják a pénzügyeiket. Elhunyt a világ legtöbbet eladott zenei albumának producere Tudás.hu     2024-11-04 17:38:02     Film Los Angeles Chicago Michael Jackson Elhunyt 91 éves korában Los Angeles-i otthonában Quincy Jones, akinek óriási zenei öröksége Michael Jackson Thriller albumának produceri munkáitól a díjnyertes film- és televíziós zenék komponálásán át a Frank Sinatrával, Ray Charlesszal és több száz további előadóművésszel való közös munkát ölel fel. 1933-ban, Chicagóban született, 13 éves korától Csak önismereti munkával lehet valakiből igazán jó vezető Könyves Magazin     2024-11-04 17:28:38     Könyv Önfejlesztés A Margó és a Bridge Budapest Üzleti Könyvreggelijén Faludi Viktória pszichológussal és Szilágyi Gábor üzletemberrel beszélgettünk arról, miért szükséges az önismeret a mentális jólléthez nemcsak a magánéletben, hanem az üzleti életben is, illetve hogy mit tehetünk ennek érdekében. Hallgasd meg! RTL: új főműsoridő, új korcsoport és minden eddiginél több új formátum és visszatérő sikerműsor érkezik Márkamonitor     2024-11-05 05:06:07     Film Valóságshow RTL Klub Piacvezetőként érkezett az Rtl Magyarország a Big Picture konferenciára – mondta Kolosi Péter (nyitó képünkön), aki bemutatta be az Rtl jövő évi tartalmi terveit. A 2025-ös év számos újítást hoz: új célcsoport, megváltozott főműsoridő, új sajátgyártású fikciós sorozatokkal, gameshow premierekkel, a legnépszerűbb showműsorokkal, reality-kkel és Magy Disney+: Egyre jobban rákaptak a nézők az új sikersorozatra, az utolsó előtti rész 4,6 milliós nézettséget ért el egyetlen nap alatt Mafab     2024-11-05 08:15:03     Film Disney A Mindvégig Agatha utolsó előtti epizódja az első napon 4,6 millió megtekintést ért el a Disney+-on, ami közel 10%-kal múlta felül a 7. epizód nézettségét. Tényleg készülhet egy Emily Londonban spin-off? in.hu     2024-11-04 18:11:04     Film Párkapcsolat Olaszország London Róma Az Emily Párizsban idén nyáron tért vissza a képernyőkre, a negyedik évad pedig vadonatúj karaktereket, szerelmi háromszögeket és még egy meglepetésszerű római költözést is hozott.És mivel az ötödik évad hivatalosan is zöld utat kapott, a világ már készül a folytatásra, amely az előrejelzések szerint 2025-ben kerül adásba.A sorozat ötödik évadáról Két befejezéssel mutatja be új Turandot-előadását az Operaház kultura.hu     2024-11-04 17:42:01     Színpad Magyar Állami Operaház Sümegi Eszter és Rálik Szilvia, valamint László Boldizsár és Yusif Eyvazov főszereplésével, a színpadra tíz év után visszatérő Gulyás Dénes közreműködésével viszi színre Barta Dóra Puccini Turandotját a Magyar Állami Operaházban. Ismerd meg Halloween legikonikusabb figuráját NLC     2024-11-04 18:06:45     Film Halloween A halloween a filmrajongók számára nem csak egy ijesztő, beöltözős ünnepet jelent. Hanem a filmet is, ami útjára indított egy ikonikus figurát. Pass Andrea is pályázik a Kolibri Színház vezetésére: „Úgy éreztem, nem futamodhatok meg a feladat elől” Színház.online     2024-11-04 21:49:20     Színpad Győr Színház Pass Andrea ifjúsági és felnőtteknek szóló színdarabok sorát jegyzi szerzőként és/vagy rendezőként. Kisgyerekeknek azonban most rendezett először: a Dömdödömöt a győri Vaskakas Bábszínházban. A friss hír pedig az, hogy megpályázta a Kolibri Színház igazgatói posztját. Turbuly Lilla kérdezte a Kútszélistílus.hu oldalon. Már a millenniálok is aggódnak az öregedés miatt, hála az irreális szépségideáloknak marie claire     2024-11-04 20:05:41     Film Demi Moore Az öregedéstől való félelem nem csak az idősebb korosztályt aggasztja, már a millenniálok is rettegnek tőle. Erre utal Demi Moore legújabb filmje, A szer is. Kern András: "Félve nem lehet játszani" Story     2024-11-05 04:00:19     Bulvár Idősek otthona Kern András A népszerű színész hamarosan filmben remekel. A Ma este gyilkolunk egy idősek otthonában játszódó krimi-vígjáték, amelyben az egyik bentlakót alakítja. Ennek apropóján mesélt a Best Podcastban a kezdetekről, a felmenőiről, a félelmeiről. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Salma Hayek külön kasszán él milliárdos férjétől Igényesférfi.hu     2024-11-05 06:10:05     Film Interjú Luxus Salma Hayek Salma Hayek Pinault nemrég egy interjúban beszélt arról, hogy ő és férje, François-Henri Pinault, a Kering luxuskonglomerátum milliárdos vezérigazgatója szigorúan elhatárolják a pénzügyeiket. Elhunyt a világ legtöbbet eladott zenei albumának producere Tudás.hu     2024-11-04 17:38:02     Film Los Angeles Chicago Michael Jackson Elhunyt 91 éves korában Los Angeles-i otthonában Quincy Jones, akinek óriási zenei öröksége Michael Jackson Thriller albumának produceri munkáitól a díjnyertes film- és televíziós zenék komponálásán át a Frank Sinatrával, Ray Charlesszal és több száz további előadóművésszel való közös munkát ölel fel. 1933-ban, Chicagóban született, 13 éves korától Csak önismereti munkával lehet valakiből igazán jó vezető Könyves Magazin     2024-11-04 17:28:38     Könyv Önfejlesztés A Margó és a Bridge Budapest Üzleti Könyvreggelijén Faludi Viktória pszichológussal és Szilágyi Gábor üzletemberrel beszélgettünk arról, miért szükséges az önismeret a mentális jólléthez nemcsak a magánéletben, hanem az üzleti életben is, illetve hogy mit tehetünk ennek érdekében. Hallgasd meg! RTL: új főműsoridő, új korcsoport és minden eddiginél több új formátum és visszatérő sikerműsor érkezik Márkamonitor     2024-11-05 05:06:07     Film Valóságshow RTL Klub Piacvezetőként érkezett az Rtl Magyarország a Big Picture konferenciára – mondta Kolosi Péter (nyitó képünkön), aki bemutatta be az Rtl jövő évi tartalmi terveit. A 2025-ös év számos újítást hoz: új célcsoport, megváltozott főműsoridő, új sajátgyártású fikciós sorozatokkal, gameshow premierekkel, a legnépszerűbb showműsorokkal, reality-kkel és Magy Disney+: Egyre jobban rákaptak a nézők az új sikersorozatra, az utolsó előtti rész 4,6 milliós nézettséget ért el egyetlen nap alatt Mafab     2024-11-05 08:15:03     Film Disney A Mindvégig Agatha utolsó előtti epizódja az első napon 4,6 millió megtekintést ért el a Disney+-on, ami közel 10%-kal múlta felül a 7. epizód nézettségét. Tényleg készülhet egy Emily Londonban spin-off? in.hu     2024-11-04 18:11:04     Film Párkapcsolat Olaszország London Róma Az Emily Párizsban idén nyáron tért vissza a képernyőkre, a negyedik évad pedig vadonatúj karaktereket, szerelmi háromszögeket és még egy meglepetésszerű római költözést is hozott.És mivel az ötödik évad hivatalosan is zöld utat kapott, a világ már készül a folytatásra, amely az előrejelzések szerint 2025-ben kerül adásba.A sorozat ötödik évadáról Két befejezéssel mutatja be új Turandot-előadását az Operaház kultura.hu     2024-11-04 17:42:01     Színpad Magyar Állami Operaház Sümegi Eszter és Rálik Szilvia, valamint László Boldizsár és Yusif Eyvazov főszereplésével, a színpadra tíz év után visszatérő Gulyás Dénes közreműködésével viszi színre Barta Dóra Puccini Turandotját a Magyar Állami Operaházban. Ismerd meg Halloween legikonikusabb figuráját NLC     2024-11-04 18:06:45     Film Halloween A halloween a filmrajongók számára nem csak egy ijesztő, beöltözős ünnepet jelent. Hanem a filmet is, ami útjára indított egy ikonikus figurát. Pass Andrea is pályázik a Kolibri Színház vezetésére: „Úgy éreztem, nem futamodhatok meg a feladat elől” Színház.online     2024-11-04 21:49:20     Színpad Győr Színház Pass Andrea ifjúsági és felnőtteknek szóló színdarabok sorát jegyzi szerzőként és/vagy rendezőként. Kisgyerekeknek azonban most rendezett először: a Dömdödömöt a győri Vaskakas Bábszínházban. A friss hír pedig az, hogy megpályázta a Kolibri Színház igazgatói posztját. Turbuly Lilla kérdezte a Kútszélistílus.hu oldalon. Már a millenniálok is aggódnak az öregedés miatt, hála az irreális szépségideáloknak marie claire     2024-11-04 20:05:41     Film Demi Moore Az öregedéstől való félelem nem csak az idősebb korosztályt aggasztja, már a millenniálok is rettegnek tőle. Erre utal Demi Moore legújabb filmje, A szer is. Kern András: "Félve nem lehet játszani" Story     2024-11-05 04:00:19     Bulvár Idősek otthona Kern András A népszerű színész hamarosan filmben remekel. A Ma este gyilkolunk egy idősek otthonában játszódó krimi-vígjáték, amelyben az egyik bentlakót alakítja. Ennek apropóján mesélt a Best Podcastban a kezdetekről, a felmenőiről, a félelmeiről. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Les classiques du jour : - The Cure "Lullaby" - Alice Cooper "Feed My Frankenstein" Les nouveautés du jour : - Tom Gregory "Wreck" - Tears for Fears "Say Goodbye To Mum And Dad" - Bastille "Drawbridge & The Baroness" Le journal de la musique : - The Last Dinner Party annule la fin de sa tournée - Les pieds de Lily Allen lui rapportent plus d'argent que sa musique - La chanson posthume de Liam Payne est finalement reportée - 3 films d'horreurs avec des rockeurs à regarder pour Halloween La cover : Annie Lennox reprend "I Put A Spell On You" de Screamin' Jay Hawkins Le live du jour : Michael Jackson "Thriller" (live at Wembley Stadium July 16, 1988)

Scot Project Full Spectrum Remix of Michael Jackson - Thriller What can i say, this Remix is a melting pot of styles i like and i tried to bring them together as smooth as possible. A Hard Disco Schranz Drum n Bass Style Remix! The full Spectrum Mix is a 8.40 min journey and i promise, not one boring Moment in this one. But for those who cant or dont want to play 8min tracks, i´ve added a Short 3.46 min Cut. But some parts of the extended mix are cut out. There is also an alternative version with a slow down break. FREE DOWNLOAD ON MY BANDCAMP https://scotproject.bandcamp.com/album/michael-jackson-thriller-scot-project-full-spectrum-remix

Thriller Michael Jackson

Our most controversial episode ever! Just covering the man alone could span into another 80 episodes. So, let's (mostly) focus on the song and video. Then we recount our exciting Total Tubular concert experience! :01: Worst Podcast Intro Ever :08: Sequencing :13: Monologue :20: Theme :22: Synths & Sounds :29: Vocals :32: Commercial Break :35: Video :42: Disclaimer :45: Totally Turbular "Festival" Review 1:01: Longest Outro Ever 1:07: "Electric Nostalgia" (Theme to 80 of the 80s)   They will possess you.   Featured Links: -Hot Street -Vincent Price Monologue -Price on Alice Cooper's Nightmare -Starlight -Synths -Frog -Original Multitracks w/Chris Liepe -DonorSee: The Humanitarian Crowdfunding Platform -"Electric Nostalgia" (Theme to 80 of the '80s) -AK-47's Theme -The Ultimate ‘80s Halloween Song YouTube Playlist: bit.ly/spooky80s (or Spotify version) You feel the cold hand. We want to hear from you! 80ofthe80s@gmail.com

This week we're joined by filmmaker Tilman Singer! He's the writer/director of Luz and his latest film Cuckoo is currently in theaters. We talk about working with Hunter Schafer and Dan Stevens and then find out why Michael Jackson's Thriller terrified him (And Terry) growing up.Follow Mary Beth, Terry and the Podcast on Twitter. We also have a Letterboxd HQ account, so follow us there, too! We're also on Bluesky with the same usernames. Support us on Patreon!If you want to support our podcast, please please take a moment to go rate us on Spotify and give us a rating and review on iTunes. It really helps us out with the algorithms. We also have a YouTube channel! Ask us for our Discord server!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hey friends! Welcome to Girls' Night! ​ I'm so excited about today's episode. Today we're talking with my new friend, Joanna Gott. ​ Joanna is a first time single mom through international adoption and the Content Director for Emily Lex Studios — Emily Lex is an amazing watercolor artist, author, and her childhood best friend! ​ And today, Joanna is sharing all about her story and what the adoption journey looked like for her! ​ I wanted to have this conversation because I know there're so many women — both single and married — in our community who are interested in adoption, but aren't sure where to begin. You might be asking questions like, “Is it harder to adopt a child as a single parent?” or “How much does adoption cost and are there any ways to find support?” Joanna is going to help us through all of this! ​ Before we dive in, I want to let you know that we ran into a few technical issues when starting the episode, so her introduction and part of the first question is missing. Because of that, Joanna was so gracious to give us a little recap of her introduction and some context for her background and story. ​ So, as I mentioned, Joanna is a mom and the Content Director for Emily Lex Studios. Her fun fact is that she knows the entire dance to Michael Jackson's Thriller video and she once won first place in a Michael Jackson Thriller dance contest. Incredible. Right!? ​ After this, I asked her the first “How She Does It” question, which was this – ​ "Here on the show, we're talking about what I like to call… The Everything Era — ​ this weird, wonderful, and wildly difficult span of years between our late 20s and early 40s during which we make the most biographically significant decisions of our lives ​ (Career, marriage, motherhood, and more!) —all at the same time—and in front of an audience, no less. It's a LOT. There's so much pressure, specifically on women, for our lives to look a certain way, and by a certain time. ​ So, to start, can you tell us what this has looked like for you? What are some of the biggest “supposed tos” you wrestled with during your Everything Era?" ​ Here was Joanna's answer: ​ “The biggest challenge for me in this era was that I was at a point in my life when things should be getting "settled" and it all kind of fell apart. My marriage of 10 years ended, my career came to a screeching halt, I was not actively pursuing a relationship with God, and suddenly this "life plan" I thought I had just didn't exist. So in my mid to late thirties I made the decision to start all over. I sold everything I owned (my house, car, all my furniture) and moved to Waco, TX where I did not know a single soul and started a brand new job. It was terrifying and hard to let go of how I imagined my life would look, but it was also such a beautiful season of growth and refinement.” ​ Okay, more on that in the episode! Joanna is the best and her story truly embodies what it looks like to create a life you love on your own terms. ​ Again, our conversation will start a little abruptly, but you'll catch on really fast! ​ Alright, let's dive in! Learn more about your ad choices. Visit megaphone.fm/adchoices

She was Michael Jackson's love interest in the Thriller video. This is a must listen. Hear her story, THERE'S A LOT YOU DIDN'T KNOW!!!

The guys plus a special guest explore the sounds of "Thriller" - the best selling album of all time. Topics of discussion include vocal stylings, bass lines, and the separation between art and artist.

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Nőnapi adás. ///////////////////////////////////////////////////////////////////////Órabeállítás, avagy az adás előtti bemelegítés. A Gong Bao (Kung Pao) csirke.A No, woman, no cry feliratozva.Annak örömére, hogy Tibivel végre facebook barátok lettünk, itt van két Pálfi György film is, a Nem vagyok a barátod, és a Nem leszek a barátod.Rosie a koncerten, és Rosiemarie Garcia a valóságban.Így énekel Olivia Newton John AC/DC-t.A képek és az adás, amik megörökítik a német megszállás szobrainak elkészültét.Az euronews összeállítása arról, hogy mit bontanak a Magyar Rádió épületei közül.A Lányok, fiúk előadás színlapja, és részlet a nyílt főpróbából.Orbán kalapban a szabadkai Zsinagóga megnyitóján.Áder hugi.Michael Jackson Thriller - indiai változat.///////////////////////////////////////////////////////////////////////Borítókép: Lovas RoziAdászene: AC/DC///////////////////////////////////////////////////////////////////////Support the showHa támogatnád a gombapresszót, akkor a Donably oldalunkon megteheted. Így tegyenek, akik nem szeretnének Barion tárcát regisztrálni hozzá: 1. Kattints erre: donably.com/gombapresszo 2. Regisztrálj vagy jelentkezz be a Donablyra. 3. Válaszd ki a neked megfelelő összeget (lapozható jobbra!). 4. Kattints a "fizetés barionnal" gombra. 5. Válassz, hogy bankkártyával, Google Pay-jel vagy Barionnal fizetsz. ////////A gombapresszó Twitter csatornája.Az élő adások helyszine, az MR4 csatorna. és itt egy kereső hozzá.Adászene listák: 2019 / 2020 / 2021 / 2022 / 2023Küldhetsz nekünk levelet is.

Episode 3.  Jenn Collins presents Michael Jackson Thriller and Andrew Augustyn presents David Bowie - The Rise and Fall of Ziggy Stardust.   Please fill out the listening form when you listen.  It really helps!!  you can find it here: http Discogs is here: https://www.discogs.com You can join us and interact with us: https://forms.gle/oJu7DVwAE3m5SvXL6 In the "I've Got That On Vinyl" Facebook Group: https://www.facebook.com/groups/684186180585840 On Twitter: @IGTOVPodcast On Instagram: https://www.instagram.com/igtovpodcast/ Or email us anytime at IGTOVpod@gmail.com Intro and Outtro music by MIshka Shubaly: http://www.mishkashubaly.com

Join us on a thrilling journey as we unravel the genius of the King of Pop, Michael Jackson, and his iconic Thriller album. We promise, this is not your typical album review, but an immersive exploration of the groundbreaking 1982 release, its memorable hits, and the masterminds behind them. From discussing how the legendary Paul McCartney influenced this masterpiece to revealing our personal narratives of discovering MJ's music, we delve into every fascinating facet of Thriller. This episode shines a light on the musicians who added their unique flavor to these classics, unpacking the funky rhythms, keyboard and synth solos, and guitar licks that form the album's soul. We also address the controversies surrounding Jackson and their effects on his music, plus the emotional love triangle in "The Girl is Mine". Plus, we have a special segment that spotlights the vital role of sound effects in creating an unforgettable music experience. Whether you're a die-hard MJ admirer or a newcomer, we assure you, you'll walk away with a newfound appreciation for Thriller.Support the show

What's the role of a music video today? In the 1980s, music videos flipped the industry thanks to MTV. Videos helped artists like Michael Jackson and Madonna become cultural icons. Record labels spent millions on music videos to promote their CD sales. Everyone was winning.Music videos don't hold the same power today in the streaming era. The budgets are smaller, but they still get made. To break it all down, I was joined by MIDiA Research analyst Tati Cirisano. Here's what we covered:0:52 What is the role of a music video today?2:15 MTV's role in music videos7:46 Comparisons to TikTok11:27 Music video budgets peaked in mid-90s14:30 Napster changed everything17:27 Music videos as career launchpads18:50 YouTube revitalizes music videos25:44 Range of video budgets 31:04 Big dollars going to documentaries and short films32:53 Rise of lyric videos41:42Does YouTube have a music video formula?44:09Measuring ROI of music videos in 2023Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Tati Cirisano, @tatianacirisanoThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Tati Cirisano: There's an argument to be made that MTV like almost invented the music video or almost like made music videos a thing because having that audience there and having that like cultural impact is what led to bigger budgets for music videos so I almost feel like MTV gets credit for like kind of inventing the music video. [00:00:19] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:47] Dan Runcie Guest Intro: This episode is all about music videos and what their value prop is in the industry today. Back in the MTV era, the role of a music video was clear. This was your four minute opportunity to sell the hell out of your artist and for your label to promote its artist. Yet fans bought into the lifestyle, the identity, the persona of this person, and get them to go to Sam Goody, go to Tower Records and buy the albums.It was a marketing channel and it was a marketing channel that the record labels were continuing to put money into, and as the effectiveness continued to grow, they put more and more. Into that and that budget exploded. By the time we got to the mid to late 90s, we saw music video budgets hitting millions of dollars, and artists were doing out of this world things in these videos.But we slowly started to see those budgets slash. Went at the introduction of Napster and the CD era started to decline and the money was no longer flowing the way that it once was. But we started to see music videos take a new turn in the YouTube era. And now in the TikTok era, what is the ROI of a music video?What role do they serve in today's industry? And to break it down, we're enjoying by Tati Cirisano, an analyst at MIDia Research. He's been on the podcast a bunch of times, and this topic was right up her alley. So we talked a bit about that and more. Hope you enjoy this episode. Here's our breakdown on the role of music videos in today's industry.[00:02:16] Dan Runcie: All right. Today we are going to take a trip down memory lane to the wonderful World of Music videos, how this art form has evolved over the years. And I'm joined by Tati Cirisano from MIDiA Research, Tati welcome. [00:02:28] Tati Cirisano: Thank you. Good to beback once again. [00:02:31] Dan Runcie: Yeah, definitely. Can I start with a story? You mind if I start with a story with this one?  So, a couple weeks ago I was catching up with, CEO from one of the major record labels. This is someone that if you're probably listening to this household, if you're probably listening to this podcast, you probably know, and they run a label that is also a household name, and they were telling me about a conversation they had with an artist who is also a household name and how this artist wanted to have a million dollar plus seven plus figure, multi-million dollar music video budget because they wanted to make this big splash with what they were doing. And the CEO was like, no, I'm not giving you that. Like, what do you think this is? And for context, this is a artist who hasn't had a big hit since George Bush's first term. Let me say that roughly, just to give some context here. So,So it's been some time, but I also was a bit surprised because this is someone who seemed like they were up with the times in tech, and I remember asking the label exec, I was like, what's the deal? I thought this artist was with this. You see the movies they're making here, there, and this, that, and the third.And he was like, Hey. You would be surprised sometimes the egos get the best of these people and this is what they want. And that was a big inspiration for this conversation because I know you and I have talked about things like Spotify versus YouTube. YouTube, of course, having such a big focus in music videos and it's role.But that's what made me think it would be a great time to take a trip down memory lane and just revisit music videos themselves and. Going back to 1981, I feel like we could start music videos well before that. That obviously was there, but I think that was the origin place for a lot of what became known as the Modern Music Video and MTV itself.What's your take on how impactful MTV was? Because there was definitely a big shift of any music videos we saw before and any music videos we saw after.[00:04:36] Tati Cirisano: Yeah, I mean, you're right that like we could start this even further. Back in history, there were artists like the Beatles were making music films in like the 60s. David Bowie did the same but there wasn't really a place to showcase them the way that MTV, like, the one that MTV created. So I feel like it's not just that really iconic, amazing music videos, like those of, like Michael Jackson and, others made MTV a thing.I feel like there's an argument to be made that MTV like almost invented the music video or almost like made music videos a thing because having that audience there and having that like cultural impact is what led to bigger budgets for music videos and labels kind of focusing on this as an art form and a promotional piece.And that also led to more interesting creative videos. So I almost feel like MTV gets credit for like kind of inventing the video, the music video. [00:05:30] Dan Runcie: And inventing the video as a distinct art form that can live on its own in distinction from the music itself, because you mentioned The Beatles, you mentioned some of those other artists from that time. Music videos almost felt more like a utility. They were a commodity. Let's put the camera up while you're recording the tune, and maybe we'll add in some things.Maybe they'll add in some B-roll. And that's what it very much existed as for years. But then MTV takes it and makes it this unique thing. And we saw from the early days, whether it was Duran Duran, David Bowie, Michael Jackson, Madonna, they were some of the early people that really made it their own thing.And you saw more of those movies and that's where MTV being able to capture the eyeballs there, the growth of cable as well, and them becoming one of the more popular channels there. You see this platform having this type of impact, you invest more dollars into it, and this becomes a much stronger marketing channel, which then commanded and justified them putting more and more money over time into these videos.[00:06:35] Tati Cirisano: Yeah, and speaking of Madonna, I think it also made music a lot more visual where music videos kind of opened this pathway for artists to become not just music icons, but kind of like style and fashion and cultural icons. there's so many videos that. Are just kind of like etched into everyone's brains and so many iconic outfits like people still dress up as, Britney Spears and the Baby One More Time Video and like all these other iconic ones. I think it, started making music more of a visual thing. And in turn, that also helped drive fandom around artists. Cuz if there's one thing I've learned in all the studying of, fandom that I've done and how it develops, it's pretty much always about context.It's always maybe listening to a song makes you a fan or doesn't make you a fan. It makes you a listener of the artist. But it's only once you know more about, who they are and like what their style is and what their aesthetic is and all these other things that you become a true fan. I think a lot of fandom was formed by sitting around the TV with friends and like watching a video for the first time on MTV.It was just a more captivating way to get to know an artist and have that context around them. [00:07:47] Dan Runcie: It's a big point, and that's something I definitely related with too. Growing up in that era, you were able to see and interact with those artists. If I had just heard these artists on the radio, it would've been a very different relationship. But I know that for a lot of people, that's how they gravitated to music.That's how they captured this, and that wasn't the way that it, I grew up for me, whether it was watching them on MTV, watching them on BET, That was the experience, and especially as things started to take off in the CD era, we saw more artists having success with it. We also started to see more pushback as well.I think it was around the early 90s, even the late eighties, this was around the time MTV was really kicking into gear. And the sales and numbers, everything was just up and to the right from a growth perspective. But we started to hear more critiques, some of the more traditionalists in the music industry started to say things like, these music videos are turning artists into one trick ponies.It's no longer about the music anymore. It's about making, Music video. And that's clearly resonating with some of the critiques. We now hear about TikTok as well. But it makes me think about the patterns that music often follows and when there is a new art form that does allow some type of growth, there's critiques, but those critiques also do stem from bit of this.If you can't beat 'em, join 'em. And we've seen this time and time again where a lot of those artists that had. Had critiques about MTV, whether it was Mariah Carey in the very early days, or even groups like REM, they would go on to make some of the most iconic music videos from the 90s as well.And I think we've seen the same with whether it's streaming or TikTok music videos was one of the things that I remember as having a bit of that cyclical pattern.[00:09:32] Tati Cirisano: Yeah, and there's so many trends in music videos that I feel like now we're play, we're seeing play out on TikTok or have already seen like there was sort of the dance, video craze of like, single ladies and crank that and PSY with Gangnam style.There were all these music videos that were about getting everyone to do a dance. And that was the way, that was like the promotional thing of if you got people to do that, then they would do it at the club when the song came on, they would do it in public. It would sort of become this bigger moment. And then that was kind of the first phase of TikTok when it started to rise in the 2020 when in early 2020 was like all dance videos.and even. I remember there were some videos that people, I know we haven't gotten to YouTube yet, but when YouTube came into the equation, people were uploading their own versions of videos and now that's like a pretty common thing. But yeah, it's interesting how all this stuff is cyclical and I think like video to the stuff about, the criticisms and like being one trick ponies and that kind of thing.I think that video has kind of, with music, always been about creating a cultural moment, aside from it just being another art form that I think artists delight in taking part in. Cause it's just another way to be creative. But I think it's, it's, about creating a cultural moment and creating a cultural moment in this day and age has morphed into this concept of virality, but it's always been about the same thing.Like viral in the 90s was, people wanting to be Britney Spears in that music video I was just talking about, and it kind of like being, this thing everyone was talking about for months. The same thing is happening now on TikTok. It's just happening faster. so yeah, I think that a lot of this stuff is cyclical and those criticisms, the point is that it's a promotional tool, so of course it's gonna lead to kind of like flash in the pan moments.So, Yeah, I have complicated feelings about those criticisms, I guess.[00:11:28] Dan Runcie: Yeah, I do too. I understand and I think that what we saw in the next decade, especially with some of those artists that came around and ended up leaning in, said a lot about where it is. And not every artist needed to do the MTV thing. Not every artist needed to lean into it all the way. Granted, I do think that most artists had music videos to an extent, but there was clearly a wave of where things were going.And right around the mid to late 90s, We saw the peak, at least from a budget perspective, of how much money was being put into music videos. And when you're talking about creating moments and in the pre-internet era, there wasn't necessarily as much virality, but the thing that got people locked in was how visually stunning or something that you've seen that's never been seen before.It's almost this bigger was better era. And then we get to points where in the mid 90s, Both Madonna and Michael and Janet Jackson are having music videos that aren't just one or 2 million. That screen music video was rumored to be around five to 7 million depending on the source you look at, in 1995 dollars, and that's that black and white video.They're shape shifting and all this stuff. And we continued to see this over the next couple of years. Of course, hype Williams and everything that he did from music videos was always unique, is always futuristic and with all of the elements that he had there. But it took a lot of money to make those music videos the same way with NSYNC and all those no strings attached music videos.Those were multimillion dollar music videos too. And it brings me back to even the things that they would spend money on. I'm thinking about, Busta Rhymes and Janet Jackson, they had that once. It's gonna be a music video where you have the silver liquid that's like coming over. Both of them and Busta Rhymes took guitar lessons.Apparently that's what MTV's making the video thing had said in its, little popup that comes to the music video. But all of those things [00:13:24] Tati Cirisano: I missed those popups. [00:13:26] Dan Runcie: I know it was such a fun era, right? It was. It was such a, I guess a lot of that's been now disrupted by what we see on YouTube, which I know we'll get into in a minute, but that was such a moment.I think it spoke to, why people were willing to put in money at the time with just where things were with the era that was the marketing channel. Music videos were seen purely as an expense to be able to sell more CDs the same way that touring at the time was seen as an opportunity to try and sell more CDs.And the artists that sold the most often got the biggest budgets. And at the time, bigger was all often seen as better, especially when it came to the contemporary Pop X and that whole ecosystem of music, video culture, and everything around it made that take off the way it did.[00:14:13] Tati Cirisano: no, absolutely. I think the promotional power was worth it at the time. and like you said, you could justify spending that much on a music video if you were gonna make it back in CD sales if you were one of these superstars. So it made a lot of sense at the time. And then came master.[00:14:31] Dan Runcie: Yeah, that changed everything because and there was a fair amount of overlap there just with the way things were because so much of the industry was still focused where it was, I look at even the music video economy where there was a cyclical nature where because of the demand, The programs themselves or the channels themselves started launching programs dedicated to showcasing music videos, whether it was 106 and Park or TRL.They had different shows throughout the day, but all of them were some unique flavor of just trying to show you more music videos. And that's what was cool about it. You were able to have this whole ecosystem there, but then as you mentioned, Napster comes in, changes everything. The dollars are no longer flowing, and it.Is harder to justify spending millions of dollars on a music video if you can't confirm that that artist is gonna be able to do that. I think in a lot of ways, the peak was, we talked about them before in sync, Britney Spears, Nsync being able to sell, I think it was nearly 3 million units of an album the first week that it comes out.Like people skipping school in order to go buy, no strings attached. That just didn't happen any more to that level. I mean, we eventually saw examples like Adele and even this Taylor Swift album, but it wasn't the same way that it was then, and it shifted everything and I think it eventually Led to lower budgets.We still saw a lot of creativity. I still remember watching tons of music videos, especially in the mid to, especially in the mid two thousands. But it was definitely a different vibe cuz it was this pre and post Napster, but pre YouTube era where the budgets were still somewhat strong, but it wasn't quite what it was before.[00:16:13] Tati Cirisano: and there was this whole ecosystem before that, like, it's, kind of stunning me to remember how many different roles there were. Like music directors I feel like got a lot more shine because there were the VMAs and all these kind of things dedicated to them. But then there were the VJs of the time.and there were kind of like the. dancers and the other like characters in these videos, which kickstarted a lot of actors and actresses careers. Just being in these music videos, there was this idea of like the video vixen, which is a term I absolutely cringe to the n degree at, but like that was a role, like there was such an ecosystem around it. You're totally right and then it really so much since then. [00:16:54] Dan Runcie: When you think of the term video vixen, who's the first person that comes to mind?[00:16:58] Tati Cirisano: I think of people like Eva Mendez in the Miami video with Will Smith, I think of Scarlet Johansen. which one was she in? It was like some, [00:17:09] Dan Runcie: Justin Timberlake, what goes around comes around.[00:17:11] Tati Cirisano: Yeah, there were so many, I don't know. Alicia Silverstone I know was in a couple of music videos. Kim Kardashian was in Fallout boy, thanks for the Memories, which was a bit later and like she was already famous. But like that remembering that blows my mind. Like there were just so many of these examples. I don't know. [00:17:27] Dan Runcie: Yeah, there's a few that comes to mind. I think about someone like Vida Guerrera, like she was always in a bunch of them. Even male video vixen's too. I'm thinking [00:17:37] Tati Cirisano: Yeah. [00:17:38] Dan Runcie: Beckford and, Toni Braxton's Unbreak my heart, in that one. And then Tyrese and, what music video is that was that angel of mine with Monica.So you definitely had 'em back and forth. Even the artists themselves sometimes ended up being vixens and other ones. Terrence Howard was in a bunch of 'em. But I think that this too, it talks about just how music was a launchpad, right? You mentioned the VJs earlier. So many of these VJs started as those types of personalities, but then they went on to go do other things.I mean, Carson Daley is a media personality now doing his own thing. He got his roots in TRL. I feel like, aJ from 106 and Park still does media things suspense. Terrence Jay definitely does as well. So you see those, but you also saw it on the music video side too, where directors like Spike Jones is now doing, you know, Hollywood movies. Look at the Daniels, they directed turn down for what? the little John's music video, and then they just directed and won an Oscar for Best Picture and best Director with everything everywhere, all at once. So music continues to be a launchpad in [00:18:45] Tati Cirisano: What a pivot. Turn Down for What to Everything Everywhere All At Once.[00:18:50] Dan Runcie: Yeah, never would've guessed that one, never would've guessed that one. And I think with that, we should probably start now talking about the YouTube era because things took another turn here. You mentioned a little bit of this earlier where user-generated videos started to take off, but I think the success of YouTube started to tell people that, Hey, The things that are going viral and getting attention.It isn't just using the most amount of money possible to see outta this world stuff. As cool as it was to see Hype Williams creating action figures of Missy Elliot running around in space, we don't necessarily need to see that much out of this world to do it. It can be Soulja boy doing his type of dance and then having all this other user generated content on Crank that Batman, crank, that Spider-Man, crank that whoever, and we saw that time and time again.So I think YouTube, and this was before any of the licensing deals came. The fact that crank that blew up became the number one single in the country stuck out in a way. And I think that led to another evolution of what people were willing to spend money on and how they thought about the promotion of music videos as well.[00:19:59] Tati Cirisano: Totally like remember the okay go music video with the treadmills. Like remember how cool we all thought that was? I mean, I'll speak for myself, but like it's like funny to think about now. That was such a big deal. That they made this like really low budget video, just kind of like running around on treadmills.And I think that's the other thing that's interesting about YouTube is, so pre MTV, there was like not really any place to showcase music videos. Then there was this channel for it, but it was really limited to the major label signed artists. And then you got to YouTube where there wasn't any gatekeeping around music videos anymore.Anything could be uploaded and anything could be played. And there was just less of that gatekeeping. But then the flip side of that is it also means that it's a lot harder to stand out. And so YouTube has, kind of made any one of those videos a bit less impactful for that reason. Over time, I think, and that gets back to like the fragmentation that, you know, I love to talk about.[00:20:57] Dan Runcie: It's fascinating because I think that each time something goes viral or each time something breaks out on YouTube, You do get a lot of copycat behavior. You see a moment where things are happening. It isn't always rational, but that's kind of the beauty of it. And then you go on to something else. I was looking at things talking about the 10 year anniversary of Harlem Shake, of that whole video wave where people were doing all those crazy dances.The music then stops, and then a couple years later we saw Black Beatles and that saw reach a whole nother level because of the freeze challenge thing that people were doing. And that was a whole nother culture with it because again, we started to see less flashiness of them trying to do particular things.But once the licensing came, music videos then became revenue generating tools. On their own and it was no longer necessarily just about trying to have a song get retired on the charts, whether it was on a 106 and Park and TRL there became the subculture of how can we get this music video to hit this?Number of streams or this hit this number of views. And I know we start to see this now more where most of the services are publicly sharing how many streams and views their songs and music videos have. But I feel like we started to see this on YouTube first, and a lot of the chatter that you would once see started to live in the comments section.And you started to see these subcultures of fans that would gravitate and connect to songs in that way. And I felt like that was something that was unique.[00:22:29] Tati Cirisano: Yeah, and there were a lot music videos, over the past, like five years, over the past 10 years, like the single ladies video and like Childish Gambino with this is America. And even like more recently, like the Kendrick Lamar video with like the AI generated faces, I forget which song that [00:22:46] Dan Runcie: Oh yeah, the hard part five.[00:22:47] Tati Cirisano: Yes. But you're totally right that rather than the go, the virality of a music video. Just being about driving streams. they also, those videos also became revenue generated themselves. So going viral on YouTube, having a video that everybody was gonna be anxious to watch, was a big deal for that.And there, I feel like there were kind of less so today, but like pre TikTok in like 2016 to like 2020. It kind of feels like there was a bit of a mini revival of like, Music videos being this bigger promotional tool, like, do you remember all the promotion around the Thank you Next video for Ariana Grande?That was nuts, like, we were all waiting weeks for that video to come out and there was so much, conversation about it and so many clips and so many interviews in the press and I feel like there was kind of a moment before TikTok came around when music videos were once again, kind of this really big promotional tool and way to kind of break through the noise and generate revenue.[00:23:47] Dan Runcie: With Thank you, next. That was the one where they spoofed mean girls, right?[00:23:51] Tati Cirisano: Yeah, and like a bunch of other of those types of movies, like there was like a clueless scene in it. I feel like there [00:23:57] Dan Runcie: Oh yeah, yeah. [00:23:57] Tati Cirisano: I feel like there were a bunch, maybe I'm remembering it wrong, but I think they, they did that with like a bunch of different, like 90s and two thousands movies. And there were so many cameos. There were so many cameos. [00:24:08] Dan Runcie: Oh yeah, that's right. It did. It did. And I think a few of those music videos, you mentioned Salish Gambino as well. He's clearly someone that I think is calculated and knows what he's doing from a communication perspective, but with that video, it wasn't even necessarily about how much money was spent on this or something. It was more so here's this timely thing and there was a shock value that was linked to it, and I know that music videos have always had a bit of, have always had shock value, especially since the MTV area era think specifically about an artist like Madonna and then even Britney later on that leaned into this.But we started to see artists lean, lean into it even more from a. political standpoint, making statements and trying to say things that they wouldn't otherwise have said. And even thinking about artists like Joyner Lucas who had someone that was wearing a Make America Great again hat in their music video to then show that as some type of hypothetical conversation of what it could be like to talk to people that may think differently.I may be misremembering parts of the music video, but we started to see more of that integrate where. That then stems from how flexible this art form can be. You can have a music video like wp, which I do think was one of the more recent, you know, TikTok era music videos that created a moment. You could have them have these standalone things as well. [00:25:29] Tati Cirisano: Mm-hmm. That's exactly what I mean with how music videos give you so much more context like it's just another way for the artist to tell their story and express themselves. It's just another avenue for that, and there's so many different ways to do that. It is such a flexible art form. [00:25:44] Dan Runcie: Yeah, definitely. I have a few stats here that I think would be helpful just for some context setting. As we mentioned earlier, we talked about music video budgets in the late 90s and even the early two thousands where, top artists getting million dollars plus for their music video wasn't uncommon.But here, let me share some numbers. Cardi B had shared some self-reported public numbers of things she spent on music videos just over the years. This was from two years ago, so I'm sure she's done stuff then. But Bodak Yellow, that was the music videos that they had done. That one in Dubai, that was $15,000.Granted, she was much smaller at the time. People likely weren't charging her as much, but she did that for just $15,000 and then, Bar Cardi, that was $150,000. The money music video, which did look like a pretty elaborate and not cheap music video. That was 400,000, please Me. The one that she did with Bruno Mars, that was 900,000 and then WAP was a million dollars.But those are two artists coming together, and that was also another expensive looking music video with a bunch of cameos as well. So even WAP, something that I would consider on the highest degree. Of what, major record label might be willing to spend. Even that was just a million dollars or compared to how much more they were willing to spend a couple decades before.[00:27:02] Tati Cirisano: Yeah, yeah, I mean that, that kind of doesn't surprise me. Like I feel like the ROI for music videos has just gone down a lot and it just doesn't make sense to spend much more than that on a music video. Like you can still make a splash, it can still be, a good promotional tool. And a way to, generate more revenue, but they don't tend to last as long as they used to, and it's just really hard to get people's attention on one thing these days.I think short form is also being prioritized or that's kind of the sense that I'm getting and yeah, it doesn't totally surprise me, does it? What do you think about those numbers? [00:27:44] Dan Runcie: It doesn't surprise me either because of where so much music is consumed and how things go viral. But it is a bit interesting when I think about music videos as a visual art form and what tracks and what resonates compared to other forms of entertainment where I do feel like we've continued to see bigger and bigger com, bigger and better, at least from the money that's put into these productions for major film studios, for instance, what they're putting into superhero films, what they put into Fast and Furious films, or even what James Cameron had put into Avatar. Spending 300 million, not even on the marketing, just on the budget for these movies isn't even unheard of now. So there's clearly an attraction of doing that, even if it is one of these tent pole franchise movies, even for some of the things that have gone straight to video.But that didn't necessarily happen in the same way in music videos. It started to pull. We obviously know that the industry was hit harder than others, so it pulled back. But even as the industry continued to grow, and I think, I mean, I know now the numbers unadjusted for inflation have the highest, at least revenue on the recorded side.Bigger hasn't necessarily translated to better in that perspective. Even if you look at video games, the graphics, all the things that are stunning are the things that we continue to see. And granted in, video games, we've seen a few outliers, like when Nintendo, we blew up. Clearly that wasn't a graphics thing, but they were tapping into something that Xbox and PlayStation weren't at the time.But in music videos, the bigger, better graphics of artists doing crazy things just didn't resonate in the same way, the only music video I can think of is, Ed Sheeran, what's that music video he did? I think he's kind of floating around and stuff and moving. I think it's bad habits. But one of those, I think that's probably the most recent one, but even that one I don't think is like that expensive of a music video, but we just haven't seen better.I'm thinking back to in the 90s. Yeah, I mentioned the Hype Williams music videos or even, you know, Backstreet Boys like moving around in space and larger than life. We just haven't seen that translate in that same way in music videos. [00:29:51] Tati Cirisano: Yeah. Well the other thing that you just that just made me think of when you mentioned film is how do I put this? Like album promo cycles these days are so much less premeditated, right? It's more about putting songs out and seeing how people react, and then deciding which ones to push forward as a single, then deciding what to put music, video resources behind.So I think that the other difference with music versus something like film and TV is things are just getting decided on the fly. Like a song goes viral and then you're like, okay, now we're gonna make a video for this song, but you wouldn't decide that until you saw how the songs were performing. So I think that that's a big, big factor in it as well. But we've also seen some good, like low but lower budget music videos. Like I loved the Ice Spice Pink Panther for boys a Liar. And it was literally just them like hanging out on a fire escape. And I was like, this is perfect. So I think we've also seen like some good lower budget ones come out of this as well.But yeah, definitely doesn't feel like the same, you know, spending all this money on like these crazy graphics and like whatever it is, has as much of an impact or is, as worth it as it might be in film. [00:31:04] Dan Runcie: I feel like we've seen a few outliers here or there in music. Kanye West's music videos, especially in that, let's say 2007 to 2015, 16 range, it seemed like there was still a good amount of money that was being put into those. And even some of the extended ones that, that short form video, the short form film version of Runaway, still felt like a pretty expensive music video.And I'm pretty sure Hype Williams directed that. But I also wonder is. Is the definition of what we consider music video, and the expansion of that. Also shifting what people are putting money into and how it's categorized. And by that I'm talking about some of these documentaries that have come out and what bucket we put those in.I look at something like when Taylor Swift had recorded those pond sessions after the folklore evermore albums had come out. She essentially did an entire visual album of her at this pond or wherever. She wasn't that like Cottage and Sells and sold that to Disney, and then Disney then streams and puts that out and it's an hour or two hours or however long it is.Beyonce is recording her Coachella performance and then sells that to Netflix, and then Netflix puts that out. And you're essentially watching an alternate version of a Beyonce music video that is just over this two hour or two hour 15 minutes, however long it is. But when I think about that, I think about these visual albums and just how so many of them have spanned in, had different forms and ways they've gone about it. Is that where some of these more expensive projects are going? Is that where some of the more expensive dollars are going when looking at video as it relates to music, as opposed to just this music video bucket that we may have put it in?[00:32:53] Tati Cirisano: I think so, and I think I would also put in that category like the more. Like the short films that our music videos. And that's something that artists have been doing forever. But I mean, like, I don't know, like the Taylor Swift All Too Well video and even like, I feel like the SZA Kill Bill video was like longer than the song and like had, a lot of artists are starting to add more of a story and create more of like a short film. And I think part of that is a way to like just stand out from all the other music videos and actually grab people's attention because you are really telling a story, you're taking it to the next level. And even having parts where like the song isn't even playing, and I think you're probably right, that more of the budget that used to go to music videos, Is now going more sparingly to a few of those types of projects for the bigger artists. Whereas, l ike for what was traditionally a music video is now becoming lyric videos or sort of like these animated videos that I've seen come up that are so much cheaper to produce and often also involve AI generation, which is, an area that I feel like we haven't really touched on in all of the discourse about AI and music is like AI for music videos.And maybe that will end up lowering the cost to making these really fantastic crazy concepts that we used to see that used to cost 7 million. And now, well you can click a button. So I don't know, maybe we'll see like a reversal of what, of everything we're talking about, of like music videos kind of shrinking and instead becoming bigger. But yeah, I think you're right.[00:34:28] Dan Runcie: The point that you mentioned about music videos and just the storytelling, adding in the short film piece of it. I don't know if he was the first, but Michael Jackson Thriller is the one that comes to mind there, just with how that became this extended film. But again, not everyone was getting that much budgeter opportunity to do that in that way.Michael Jackson had built up the track record in order to make that happen, and then as you see, we continue to see that now with Taylor and others. I'm glad you mentioned the piece around lyric videos and AI, because lyric videos have long been the low-hanging fruit. Of YouTube, especially for artists.Yes, it's great to have your own music video, but sometimes people don't want that. They just wanna be able to have it there playing and Sure from a purely practical perspective, you could tell yourself. They can go listen to that and Spotify or they can just go listen to the audio version. That's what they want, but not necessarily.There are creative and unique things that you can do with music videos. It doesn't always have to be the text scrolling across the same way it would on a karaoke screen or something like that. Artists have had unique ways to go about it, and AI music videos isn't even necessarily something I necessarily thought of, but what's holding it back? You look at the same way that the images went viral of the Pope in, you know, wearing the bomber jacket or whatever it was. The same thing can happen with the music video. And when I'm thinking about this, I'm thinking again about like how we started this conversation around where some of the critiques are that people have had with music videos when they first came out. Some of the critiques, we hear now about this more user generated era of music, videos and content as well. The path and the journey. It seems that once music gets too derivative in some ways, two things happen. One, it expands and grows the pie for the overall industry, which is good because we wanna be able to see the impact in music.We wanna be able to see it grow. That's always gonna naturally attract detractors that wanna see the thing in the pure form, but nothing stopping them from seeing the thing in the pure form. But we do wanna be able to see the growth in evolution there. And AI is the next version of this where, what is the core piece that you have, whether it's the artist and the music that the rights holders have the control and ownership of, but whether it's music, video, or just other ways to do it, what are the ways that that can be unlocked? And if that can be done in a great way, that's where the potential comes.That's where you unlock all of the opportunity in the industry. And who knows, like you said, it doesn't even need to be as expensive as it was, but you're giving people the opportunity to do something unique. [00:37:06] Tati Cirisano: Yeah, and speaking of the SZA one, I don't know if this is something that she planned or if it's just something she's encouraged, but there's a whole culture on TikTok of fans making their own SZA music videos. Not copying the ones that have already been created, but making their own. And she'll repost them and comments on them and like talk about the ones that are her favorites. And that whole thing is really fascinating to me. And it even like brings me back to the lyric videos because the whole reason that the music industry started to realize, oh, we should release these music videos, was because fans were already making them and it was just revenue that the industry wasn't, and eyeballs that the industry wasn't capturing.So lyric videos were just a way to kind of formalize that, and I think we're seeing that in so many ways on TikTok with sped up songs that fans uploaded and then record labels formalized. So I don't really know where I'm going with this with music videos, but I feel like there's a connection there of like, How, video could potentially enter more of that. I mean, music videos could potentially enter more of that, UGC space. But the other thing I wanted to bring up before I forget, is that I did grab some stats from our research at MIDia about, both of those things. So just for context here. 59% of global consumers use YouTube to watch music videos weekly. And then we had another question where we asked how do you engage with music artists beyond listening to their music? And 35% of consumers said they watch lyric videos. and that's from our Q4 22 consumer survey and our Q1 23 respectively. So, both arepretty high. [00:38:41] Dan Runcie: Yeah, I would say so. I wonder for some artists, the numbers that they've had for the music videos and lyric videos are probably closer than they think, right? And sometimes a lot of it just depends on what you're in the mood for. Sometimes, there's just so many more opportunities to have a passive thing in the background, and sometimes I've done it myself without even thinking, I think what is the user experience that then causes me to go to a lyric video, even when I know the music video is there. And most of the time it's when I wanna have the thing in the background. Maybe I'll go to it, but I don't necessarily wanna stare at the screen for the next few minutes and it makes perfect sense and there's so many more use cases for that.So I wouldn't be surprised if for certain artists, they both serve a purpose, but they might actually be making more from the respective lyric song. And I think when you just think about it overall, the Lyric song does enable you to have your entire album up on the streaming services guy, I guess you could technically have a few versions where I've seen some artists have the music video, they have the lyric video, and then they just have the still with the cover art of the album there.So you have three different options and that could all be, revenue that goes back to the artist and the rights solar.[00:39:53] Tati Cirisano: Mm-hmm. There's also this interesting idea of like how all these things kind of play together. Like going back to the episode that we did on, that was about YouTube and, kind of contrasting these short form video platforms and how YouTube's whole pitch is that they're able to unite long form and short form so that, you know, there isn't that gap where people watch a TikTok video about, and then they don't actually go in and learn more about the artists. So, I don't know. I think there's something interesting there with YouTube being the main place where people watch music videos. The only, like the main place, I won't say the only. And also having the short form video platform. So I think that is a really strong proposition to be able to kind of marry the two. [00:40:35] Dan Runcie: Here's a question for you similar to that I actually don't know the answer to this myself, but thinking about how like audio and music itself, we see how music has adapted over time based on the mode and the medium that it is, whether it's CDs and streaming. And then we see the impact of TikTok and everything else.And music videos we've seen similar where we knew what a an MTV era music video looked like, especially if it was a music video that's trying to be on TRL. There's almost a certain formula that you saw to it. And we also see now what a TikTok video can look like where you see the types of dances and you see the way that the music video is made almost in a way to make it easily be replicated, whether it's a Drake, Lizzo, Doja Cat, Cardi B, plenty people have done this.Do you think this exists as well with YouTube? Was there a certain type of music video that stands out to you, is Yes. This is a YouTube music video. This is a music video that personifies the YouTube era of music videos.[00:41:38] Tati Cirisano: I love that question. that's a really good question.[00:41:42] Dan Runcie: As I'm thinking about it, there's one person that did come to mind. NBA Young Boy is a person that I do think speaks to the YouTube era of music videos because he approaches this the same way that. Someone like Mr. Beast approaches videos. There is a formula there, he has his hook, he has the things.There is a bit of the storytelling dynamic of what he is trying to do, or the challenge that they're trying to overcome, and then they do the thing. But it's definitely told in this way that has the hook and the elements that you naturally see. In YouTube and the way that the font for the name of the music video scrolls up, that is very much the formula.How quick it is for the beat to start. All those types of things, I think speak a lot to the YouTube era.[00:42:27] Tati Cirisano: Yeah, I also think, I'm thinking of artists who have sort of played into meme culture with their videos, like Drake has kind of done that. Remember how meme'd the Hotline Bling video was like. Even like the video for, what's that song you have with Justin Bieber? Pop Star was like, kind of playing into like the stereotypes about them in a way.Like I think artists like them who have sort of played into internet culture in their videos are maybe part of that YouTube era. Charli XCX, the boys video felt very YouTube, Yeah, I would say things like that. And then also videos that invited user participation, like the dance video craze, where it was kind of intended to get you to make your own version.And that was kind of like the early TikTok was being YouTube. So, yeah, that's a great question. [00:43:22] Dan Runcie: Yeah, and I think we saw some of this with Instagram as well, because I think about Drake in my Feelings. That was another one where there was clearly a Instagramable place where he's saying, please repeat this, because TikTok really wasn't blowing up the way that it was then, but he clearly made this video leading into that.And if anything, I think that the video came after we saw the viral instagram clips of, what was that guy? Shaggy that was doing the dances for that music video and then Danny Le as well. So there were a few people that had done that.[00:43:55] Tati Cirisano: Yeah, no, the correlation is so fascinating. I could do a whole nother podcast on how Drake lyrics invented Instagram captions, but we'll save that.[00:44:09] Dan Runcie: And no, we will definitely table that one. And I think as. Yeah. No. I have a few thoughts on that one, but as I think about this, I feel like a good way to, to close this one out is thinking about the ROI of these videos. And there's a number of ways to look at it, but with the way that a video is now, what do you think the best way is to measure the ROI?Because of course there's the hard dollars that the video could generate, the impact, but what's your take on that? [00:44:36] Tati Cirisano: Yeah, that's a good question. I mean, aside from the things like, aside from the things that are just like hard views and streams, I think it's also about cultural impact, which is kind of impossible to measure. it's about UGC, like how many videos was. I don't know, how many people kind of created their own version or did the dance in the music video, wherever it is.I guess that kind of depends on the video, but I think there's like some element of like creations related to the video that are part of it. and then did anyone dress up for Halloween as that music video? That's the biggest measure of cultural impact.[00:45:18] Dan Runcie: Like Lil Nas X dressing up as Ice Spice [00:45:21] Tati Cirisano: Yes. Yes. And I'm sure there were people that dressed up as Drake in the hotline bling video. the scene that that came out. So, look at Halloween costume sales, all you label executives. No, I don't know it's a really hard question to answer, but I think it's, mix of those and it's increasingly about, how fans are kind of like recreating their own versions of things. [00:45:42] Dan Runcie: Because there's a clear need to, water creates something that creates shock value, but you can't do those moments automatically cuz sometimes randomly it's gun just being gunna and then, Rihanna dresses up like him for her Halloween costume in like multiple settings and stuff, and it's like, oh, okay.I guess this is a thing. Like I don't think he knew that he was putting a fit out there, but you can't always guarantee that that's what's gonna come out, right? You have artists like Da Baby that I think have always tried to do stunty things to get cloud out there, but I don't know if, I've never necessarily seen people try to dress up like him for Halloween in that way.But that's a good one, and I think at first I was like thinking you're saying it in jest, but it's a hundred percent true. Like how are you able to capture zeitgeist? And I think that checking Instagram tags especially, or hashtags or just trending topics Twitter can tell you. Yeah. definitely. [00:46:36] Tati Cirisano: Well, many gift uses did you get of a clip from the music video?[00:46:41] Dan Runcie: Exactly. Or are people creating gifts of you in some type of way? [00:46:45] Tati Cirisano: Exactly. [00:46:46] Dan Runcie: Definitely. Well, Tati, this was fun. We have a couple of topics that I know we'll dig into eventually on this, but before we let you go, what are some things that you're digging into? What should the travel listeners stay looking out for?[00:46:59] Tati Cirisano: Yeah, that's a good question, let me think. So many things. I mean, we have a new report at MIDia that'll be out next month, for clients that's about live music consumers. We did a big survey, with bands in town asking people about their attitudes towards ticket prices and all sorts of things like that. So if you're listening and you're client of ours, look out for that. If you're not and you're interested in it, feel free to reach out. but yeah, that's the thing that I'm working on a lot right now and very excited about. [00:47:27] Dan Runcie: Nice. All right. We'll stay looking out for that. Thank you. [00:47:31] Tati Cirisano: Awesome. Thanks Dan.[00:47:32] Dan Runcie Outro: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend. Post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how travel continues to grow and continues to reach the right people. While you're at it, if you use Apple Podcast, Go ahead.Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.

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On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Version longue et sans commentaire. 40 ans !! Spécial guest : Melvil !! Ps: je suis à la bourre dans mon programme...pour cause de changement(s) pro... Samedi c'est rediff... pardon!

For VIdeo Edition, Please Click and Subscribe Here: https://www.youtube.com/live/nNbSlgXEf20?feature=share John Anderson is a filmmaker born in Columbus, Ohio on January 12, 1954. John Anderson is the son of J. Milo Anderson, a hospital administrator, and Helen (nee Casterton) Anderson, a registered nurse. Due to his father's career as a hospital administrator, John moved around a lot as a child, living for a time in Ohio, then New York, California and Pennsylvania. John attended Northwestern University in Evanston, Illinois where he received a B.S. in Radio/TV/Film in 1976. While at Northwestern Anderson produced and hosted a weekly radio program on WNUR entitled "Rough Cut", comprised of live recordings Anderson made in Chicago-area folk, blues and rock clubs. John's 1974 recording of Steve Goodman was released commercially by Red Pajamas Records in 2013. Upon graduation from Northwestern, Anderson worked as an editor at Chicago post-production facilities Telemation and Post Effects, and in 1985 while at Post Effects edited The Super Bowl Shuffle (1985), the second-highest selling music video ever to that date behind Michael Jackson's Michael Jackson: Thriller (1983). His satiric rock band The Cleaning Ladys achieved national attention with its music videos "Creatures From Outer Space" and "She Won't French Kiss", the latter winning an International Monitor Award over a field including Dire Straits, Don Henley and Yes. Anderson went on to work as a documentary editor at Bill Kurtis's Kurtis Productions and IPA. Then in 1995, Anderson with three partners opened the Chicago post-production company 'Superior Street Inc. [us]'. It was while at Superior Street in   

The crew unite for the first meet-up of the year with a special Valentines-Day inspired episode. Topics range from memories of the ringtone era, sexy songs we grew up with but had no right singing, and our favorite albums that put us in the mood (you know what mood) ;) Want to hear the songs we talk about on the show?  Follow our Nexxt Spin playlist on Spotify & Apple Music-TOPICS & TIMESTAMPS-The Records: (00:30:10) Adrian: Drake - Scorpion, Weeknd - Thursday, Solange - Saint HeronToni: Syd - Barrington Levy - Here I Come, Tame Impala - Currents, Rhye - WomanFreddie: Usher - Confessions, Tyrese - Tyrese, The Dream - Love/HateYaya: Cultura Profetica - La Dulzura, Tito Rodriguez - Salsa y Tropical, Aailyah - One in A MillionBadr: Anita Baker - Rapture, Michael Jackson - Thriller, Marvin Gaye - Midnight Love & The Sexual Healing SessionsThe Backspins (our fav songs of the month): (00:41:14)Yaya: Lil Yachty - PrettyFreddie: Kashif - I Just Got To Have YouToni: Rebecca Black - Look At YouAdrian: GeoThroery - Yur Luv - Club Flirt MixxxBadr: DAI Crew - Blow UpGET IN TOUCH WITH US

Llegamos al programa final del 2022 y para cerrar con broche de oro regresaremos a un disco histórico que acaba de cumplir 40 años de su lanzamiento: Thriller de Michael Jackson. Ricardo Portman nos cuenta su historia. Programa dedicado a la memoria de Bruce Swedien (1934/2020) el genio detrás del sonido de Thriller. Escucharemos Billie Jean (demo), Wanna Be Startin’ Somethin’, Baby Be Mine, The Girl Is Mine, Thriller, Beat It, Billie Jean, Human Nature, P.Y.T. (Pretty Young Thing) y The Lady In My Life + Bonus tracks (demos de Beat It y Got the Hots). Espacio patrocinado por Salva Martínez, Bruno M., Andrés M. Martín y varios mecenas anónimos… ¡GRACIAS! Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

En 1983 MTV, un canal de televisión por cable que había debutado poco tiempo antes difundiendo video clips de música, se consideraba un medio rockero que rotaba a Van Halen, Journey y Mötley Crüe pero no pasaba a artistas negros. Thriller de Michael Jackson era el disco más vendido y sus canciones, "Billie Jean" y "Beat it", habían alcanzado el puesto número 1 en Billboard. Aún así MTV se resistía a difundir sus videos. Esta es la historia de como la presión de la discográfica Sony y el talento y la billetera de Jackson dieron vuelta la historia: "Thriller" se convertiría en un éxito sin precedentes! Con Gustavo Olmedo

In late November of 1982 Michael Jackson released his sixth studio album. Seven singles and worldwide sales of seventy million copies later, the record has cemented itself as a cultural phenom. Lets talk Michael Jackson, Thriller!

40 ans !! On change un peu les règles de l'émission en regardant les références "a posteriori".Happy Birthday MJ !

The JBP kicks things off with a hip-hop debate that pits Ish & Ice vs. Joe & Parks. The guys then talk about what they do when refurnishing their homes and what areas they struggle with (20:50). In recent news, the AMA's canceled Chris Brown's Michael Jackson Thriller tribute (36:20), Meek Mill reveals he didn't know how much money he made off of “Going Bad” with Drake despite his label saying the song made $24 million (1:03:57). Latto had 130 unreleased songs leak (1:22:30), Part of the Show returns (1:41:25), + MORE! Become a Patron of The Joe Budden Podcast for additional bonus episodes and visual content for all things JBP.: Tap in here www.patreon.com/JoeBudden   Sleeper Picks: Joe | Samaria - “Stuck” Ice | Gucci Mane - “Letter To Takeoff” Parks | Ab-Soul - “Hollandaise” Ish | SABRI - “Broken Promises”

We're back for episode 86, Playa isn't feeling great, we talk twitter, star trek, dark chocolate, Michael Jackson Thriller 40, Donald Trump is back, what will Rupert Murdoch do about it, we now have 8 billion people in the world and as usual - recommendations & what we learned this week! Email us at superchuckamania@gmail.com with your thoughts/comments

In celebration of its 40th anniversary, Aaron takes a deep dive into Michael Jackson's iconic 1982 masterpiece.  Marked explicit for discussion of mature themes.

BONUS EPISODE – In honor of spooky season, enjoy this ghoulish bonus episode which goes inside a hauntingly unique event, the Thriller Parade & Halloween Festival in Lexington, KY.

Happy Halloween! Michael Jackson had been a huge success since childhood, but Thriller made him the King of Pop. Heading into the studio with Quincy Jones, Michael knew the pressure was on as they attempted to make an album containing 100% singles. The team discuss key modulations, the pressures (and steps) of the mixing process, and the surprising connection between "Human Nature" and Toto's "Africa". Listen to our episode companion playlist (compilation of the songs we referenced on this episode) here: https://open.spotify.com/playlist/0mddqAS4Zu3I3NTF255yfC?si=99a03765681443c8 (https://open.spotify.com/playlist/0mddqAS4Zu3I3NTF255yfC?si=99a03765681443c8) Listen to Thriller here: https://open.spotify.com/album/2ANVost0y2y52ema1E9xAZ?si=XREdPjQAQvKFVPoVjR02hA (https://open.spotify.com/album/2ANVost0y2y52ema1E9xAZ?si=XREdPjQAQvKFVPoVjR02hA) Email us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.com Intro music courtesy of https://open.spotify.com/artist/6iUot3X4FwzuZVHMQ4xh4P?si=TOpyXme9QU-Hf71jjj7_DQ&dl_branch=1 (The Beverly Crushers) Outro music courtesy of https://open.spotify.com/artist/4ehOaXsBSc6eMO2fnveJU2?si=UrpyPkbrQh2AB9wQBLVbOg&dl_branch=1 (MEGA) Follow us on instagram https://www.instagram.com/thechopunlimited/ (@thechopunlimited) NEW: We have Merch!https://www.amazon.com/1001-Album-Complaints-Premium-T-Shirt/dp/B09J36918F/ref=sr_1_38?qid=1652737355&refinements=p_4%3AThe+Chop+Unlimited&s=apparel&sr=1-38 ( T-Shirt #1) |https://my.captivate.fm/3FT/ref=sr_1_40?qid=1653253944&refinements=p_4%3AThe+Chop+Unlimited&s=apparel&sr=1-40 ( T-Shirt #2) Next week's album: Paul Simon - Hearts and Bones

Happy Halloween and dia de los Muertos --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/j-w54/message Support this podcast: https://anchor.fm/j-w54/support

We're capping off our Spooktober with the icon himself – Michael Jackson. This week, Evan and Amanda discuss the super mega hit that was never actually meant for Halloween: “Thriller.” Listen to learn about this history behind MJ's most successful album ever and why this album broke the racial barrier and stands the test of time. Follow us on Instagram and Twitter @worstpodonmars Send us an email! worstpodonmars@gmail.com

In this edition of The Best of Fives, Chris and Luke list their top 5 favorite moments from the Michael Jackson “Thriller” video.

Elvis Presley was just 18 years old when he recorded his first hit record for Sun Records, and 18 short months later he was a national phenomenon. In the space between he finished the recordings for this self-titled debut album which purposely leaves off his hit singles. The boys discuss early slap back effects, bad guitar solos, and the pointlessness of trying to cover Little Richard. Listen to our episode companion playlist (compilation of the songs we referenced on this episode) here: https://open.spotify.com/playlist/4mbuclGdRKInu9vZAfckpv?si=c04a0f0e48d14e59 (https://open.spotify.com/playlist/4mbuclGdRKInu9vZAfckpv?si=c04a0f0e48d14e59) Listen to Elvis Presley here: https://open.spotify.com/album/7GXP5OhYyPVLmcVfO9Iqin?si=xWNepWIVTv2ix19Q7EqDEQ (https://open.spotify.com/album/7GXP5OhYyPVLmcVfO9Iqin?si=xWNepWIVTv2ix19Q7EqDEQ) Email us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.com Intro music courtesy of https://open.spotify.com/artist/6iUot3X4FwzuZVHMQ4xh4P?si=TOpyXme9QU-Hf71jjj7_DQ&dl_branch=1 (The Beverly Crushers) Outro music courtesy of https://open.spotify.com/artist/4ehOaXsBSc6eMO2fnveJU2?si=UrpyPkbrQh2AB9wQBLVbOg&dl_branch=1 (MEGA) Follow us on instagram https://www.instagram.com/thechopunlimited/ (@thechopunlimited) NEW: We have Merch!https://www.amazon.com/1001-Album-Complaints-Premium-T-Shirt/dp/B09J36918F/ref=sr_1_38?qid=1652737355&refinements=p_4%3AThe+Chop+Unlimited&s=apparel&sr=1-38 ( T-Shirt #1) |https://my.captivate.fm/3FT/ref=sr_1_40?qid=1653253944&refinements=p_4%3AThe+Chop+Unlimited&s=apparel&sr=1-40 ( T-Shirt #2) Next week's album: Michael Jackson - Thriller

The biggest-selling album of all time is getting the 33/24 treatment, just in time for Halloween! Michael Jackson's "Thriller" broke records, crossed boundaries, and expanded the concept of music videos-all from one album!Billie Jean/Do It Again mix on YouTubeFollow us: Instagram Facebook Watch us on YouTube!

# Michael Jackson Thriller album # one of the greatest albums ever # 7 hits,the most album sales ever# one of the greatest artists ever # Michael Jackson and Quincy Jones Co produced # classic songs and vocals # versatile album # 40 years old # impactful --- Support this podcast: https://anchor.fm/mr-maxxx/support

”Glory be to all “OwlHeads” - we gather here today to continue our investigations of “Pagey's” songwriting career. We start the show with a demo I wrote with Billy Burnette who had just joined Fleetwood Mac in the 90s… this very rare demo was aimed squarely at the Fleetwood Mac aesthetic; California here we come! I'll spin an early demo I wrote with Bernie Taupin around the time I wrote “We Built This City” and “These Dreams” with him. Although it's a technically-challenged vintage home recording, I love this obscure Taupin/Page track. It definitely has a Tears For Fears thing about it… I was writing songs around the Michael Jackson “Thriller” period, when ghouls and ghosts and zombies were all the rage (when were Zombies NOT the rage ???). I'll spin a demo Melissa Manchester recorded that I penned with Jon Lind called “Night Creatures”, on which I display my “Ghostbusters “

Marissa chats with Britney S. Lewis about her surreal zombie romance - THE UNDEAD TRUTH OF US - as well as working with underlying metaphors in your fiction, and how your themes might change and expand as you explore the deeper meanings of your story; balancing poetic prose and surreal descriptions with authentic dialogue and characters; writing heart-wrenching scenes that have the power to make your readers cry; thoughts on that age-old advice of "write what you know"; challenges and considerations of developing a unique romance (such as, when the love interest is sometimes a zombie…); the undeniable truth that persistence in necessary when it comes to the dream of being published; and bonus: our adventures in learning the Michael Jackson Thriller dance! (#lifegoals)Books discussed in this episode can be purchased from your local independent bookstore or buy them online from the Happy Writer bookshop.org store (that benefits indie bookstores) at  https://bookshop.org/shop/marissameyer

Discussing 100 albums of the 1980s selected from https://besteveralbums.com. The show starts at (2:06). Cleaning the Stacks segment starts at (7:31). This Day in Music History segment starts at (12:12). Josh's Movie Corner segment starts at (24:37). This episode covers the following albums: The Descendents - Milo Goes to College (31:24), Roxy Music - Avalon (57:43), and Michael Jackson - Thriller (1:28:11). --- Send in a voice message: https://anchor.fm/combingthestacks/message

今日選曲：Michael Jackson〈Thriller〉（2003 Edit）

本集一樣來閒聊，和各位聊聊最近莫名被炎上的台南殭屍展，順便遠端來和少年兄好朋友，#民俗亂彈 #溫宗翰 ，聽聽他的民俗觀點，竟然在某層面上與0涼糖一點點

Hannah @theoutfitrepeater is on a mission to encourage other fashion lovers to not only shop thrift, but to shop from their own closets!! She also shares with Get Thrifty listeners some of her amazing thrifted finds from her favorite decades, including Swatch watches, Trapper Keepers, a Michael Jackson Thriller jacket, and Billy Joel albums on cassette tapes!! Tune in here!

Ian and Andy talking about MJ's 6th album that came out in 1982. 7 songs were #1 one hits on the Billboard charts. But does that make it great? Listen to hear what we think! Playlist Spotify Amazon Other Links Thriller (album) Wiki Page Top 10 singles on Billboard The Jacksons: An American Dream The Civil Wars cover of Billie Jean James Hill cover of Billie Jean NEXT WEEK: Biffy Clyro - TRNSMT, Glasgow, Scotland 2017 --- Support this podcast: https://anchor.fm/thegreatestmusicpodcast/support