Podcasts about Play Misty for Me

We apologize for changing this week's movie, but after realizing that last week's suggestion was literally unavailable outside of owning a physical copy, we decided to switch to something far more available! With that in mind, we hope you enjoy our discussion of Play Misty For Me!   Spookin' On: Jen – You'll Like My Mother (1972) Amy – Ash (2025), Locked (2025)   Next Week's Tape: Ash (2025) Now playing in theaters!   Follow us on Twitter/Instagram (and Jen on TikTok!)  Show: @PodScary (Twitter), @everythingisscarypodcast (Instagram) Jen: @JenSaunderson Kyle: @kyleclarkisrad Amy: @gutterbutterfly (Instagram) Frankie G: @8armedspidey (Instagram) (co-host of The Graveyard Shift and our social media guru)   Get Kyle Clark's I'm a Person: Director's Cut You can go to kyleclarkcomedy.bandcamp.com and pay what you want for the full uncut set from “I'm a Person” which includes 20 mins of unheard material, plus an additional 15 minutes of never released bonus live recordings!   Check out Kyle's album "Absolute Terror" https://smarturl.it/absoluteterror    Send Us Stuff! We have a PO Box!  (It's under Kyle's name but anything you send for Jen and Amy will 100% make it to them unless it's snacks and then the average drops to about 80%-ish. But don't let that deter you!)

Welcome to “Not Couple Goals” where co-hosts Allie Nelson and Tyler McCarthy do a deep dive into a different ridiculous romantic thriller from the vantage point of their long-term relationship. Allie, a TV writer/producer and actress, has an affinity for romantic thrillers, the more salacious the better. Tyler, an entertainment reporter and critic, often finds himself drawn in despite his better judgment. Join them as they explore all the ways it's possible to love too hard… like WAY too hard. In this episode, they throw it back to an old classic from the early 2000s with “Swimfan” starring Erika Christensen, Jesse Bradford and Shiri Appleby. Join them as they do a deep dive (pun intended) into the psychology of Madison Bell and whether she's an apt successor to Glen Close in “Fatal Attraction” or Jessica Walter in “Play Misty For Me.” And, of course, discuss the young horny goblins they were when they first saw this movie back in the day. How would they have handled this stalker? Listen and find out.  Special thanks to Mallory Johns for the introduction music. To see more of our hosts, check out Tyler's writing at USA Insider, SYFY and NBC Insider. Find Allie's work at Parade and Business Insider! And don't forget to follow us on social media — Allie: Instagram, Twitter, YouTube and TikTok Tyler: Twitter Not Couple Goals: Instagram and Twitter --- Send in a voice message: https://podcasters.spotify.com/pod/show/popbreaktv/message

EPISODE 117:: FANDOM IS TERRIFYING!We've all been deep fans of this or that… but when fandom takes it too far?! It's terrifying!HORROR IN THE MOVIESTwo great films we're obsessed fans of: PLAY MISTY FOR ME and PERFECT BLUE!WHATCHA BEEN WATCHIN', BITCH?!Listen in to hear what we've been watchin'... bitch!Are You FanDUMB?Can Matty guess which celeb these groups workship? Listen in to find out!–A proud, independent podcastSupport FRIGAY THE 13TH: www.frigay13.com/supportFollow on Twitter, Instagram, Threads, & TikTok: @FriGay13#horrorpodcasts #lgbtqpodcasts #gaypodcast #queerpodcast #horrorpodcast #horrormovies #horrorfilms #horrorcommunity #horrorjunkie #horrorfanatic #horrorobsessed #getslayed #playmistyforme #perfectblue #fandom

Cam and Drew talk about the 1971 thriller, Play Misty For Me.

Any actor who gets big enough seems to try their hand at directing. Some do it really well, some not so much, but arguably the best to ever do it is the subject of our Direct-ember this year: Clint Eastwood. After spending nearly 2 decades in front of the camera he tried his hand at actually directing and that decision eventually led to him being arguably the greatest Actor/Director of all time. We'll be look at 4 generations of Eastwood films starring with his early era the 1970's. In 1971 Eastwood made his debut as the character Dirty Harry, and as a director with the thriller Play Misty For Me. This isn't the kind of film you would typically associate with Eastwood, but does a great job of showcasing his directorial skills. How exactly? That's what we're here to discuss.

Hot on the heels of our Dirty Harry episode, the Afterthoughts crew brings some fitting titles to Recommend or Refute. Ryan decided to revisit Clint Eastwood's directorial debut with Play Misty For Me (1971), Dixon slowed his heart rate down so he properly attune to Andrei Tarkovsky's sci-fi masterpiece Solaris (1972), and John found another Loose Cannon Cop flick (nowhere near as good as Dirty Harry) in the form of John De Hart's personal opus Champagne and Bullets (1993). It's quite an eclectic set of films to discuss, so we hope you made space on your "do" and "do not" watchlists. 

PLAY MISTY FOR ME (1971) | THE NORTHMAN (2022) LINKS - Website: https://www.returnofthedisc.com/ -Instagram: https://www.instagram.com/returnofthedisc/ -TikTok : https://www.tiktok.com/@returnofthedisc - Spotify: https://open.spotify.com/show/1suNpWBGZHWDBW8bRZ3qe3 -Apple Podcast: https://podcasts.apple.com/us/podcast/polipictures/id1487564839 For more FULL EPISODES: https://www.youtube.com/playlist?list=PLbPWwWv1OQDvX7TBMfee_QS-S3mugB2WF

Chicago's very own programmer and critic John Dickson joins Adam and Mike as the trio look back at the Clint Eastwood thriller two-fer, PLAY MISTY FOR ME (1971) and THE BEGUILED (1971) that opened at the Chicago Theatre on March 8, 1972.

Hosts Josh and Jamie and special guest Will Menaker (of Chapo Trap House) discuss American screen legend Clint Eastwood in assassination thrillers with a double feature of his bizarre ostensible Bond-parody THE EIGER SANCTION (1975) and Wolfgang Petersen's cat-and-mouse dad cable classic IN THE LINE OF FIRE (1993). Next week's episode is a patron-exclusive bonus episode on PLAY MISTY FOR ME (1971) and TALK RADIO (1988), you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-09:15 THE EIGER SANCTION // 09:15-1:02:10 IN THE LINE OF FIRE //1:02:10-2:09:11 Outro // 2:09:11-2:15:18 MERCH: www.teepublic.com/stores/sleazoids?ref_id=17667 WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller

Jessica Walter is the only reason to watch this 1971 psychological thriller. Shop the Store: http://tee.pub/lic/bvHvK3HNFhkTheme Music "A Movie I'd Like to See" by Al Harley. Show Art: Cecily Brown Follow the Show @freshmoviepod YouTube Channel abreathoffreshmovie@gmail.com

Our first episode, in which we discuss Clint Eastwood's directorial debut, the 1971 thriller Play Misty For Me, and Jake debuts a special segment. Topics include: Eastwood's early career, collaborators like Don Siegel and cinematographer Bruce Surtees, the film's gender politics, Jessica Walter, whether Carmel-by-the-Sea and Sausalito are actually the same place,  and for some reason 9/11. Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme

There's a new Manchester Punk Festival download, and we're so excited we could lick a lathe. So... start her spinning, grab that chisel and let's get make some spindles whilst listening to nine songs from Call Me Malcolm, Aerial Salad, The Thrash Blues, Green Eyed Monster, The Dark Shadows, The Crippens, Muck And The Mires, The Downhauls and Knife Club.Manchester Punk Festival, Voice of Jeff, Comedy Suburbs, Tony has your Facebook comments, Facebook crap posts, Lathes?, Get those lathes off my timeline, Sef, window jumping, last week, everything was crap, The Vampire's Assistant, Slim Jim, From the Vaults, Tony's International Gig Guide, this week, mad party, no Izzatwat this week, Play Misty For Me and a reminder of the ways you can listen.Song 1: Call Me Malcolm – I Bet They're Asleep In New YorkSong 2: Aerial Salad – The Same 24 Hours As BeyonceSong 3: The Thrash Blues – Worry In HellSong 4: Green Eyed Monster - AuthoritySong 5: The Dark Shadows – Sour CandySong 6: The Crippens – They Froze DisneySong 7: Muck And The Mires – Beat RevolutionSong 8: The Downhauls – Convenient FriendSong 9: Knife Club – You Can Only Try Your Best

Amazon football theme. School stories. Saul Goodman explains how to get out of jury duty. Play Misty For Me. Crash's kid is scared of church. Choose Your News. Emails. Be sure to subscribe.

This week Jeff will speak to his twin brother's birthday. He will share some incredible stories of how music played an important part of his family's bond. The coffee review is Joe's Donuts and the movie review is Clint Eastwoods film Play Misty For Me. Don't miss this fun, heartwarming, and rousing good time with plenty of music sprinkled in episode of Mary B's 5th Son. Enjoy that hot cup of joe with Jeff this week.-IF YOU LIKE THIS WEEKS EPISODE HELP US GROW THIS PODCAST BY RATING, SUBSCRIBE, AND FOLLOW US ON INSTAGRAM @MARYBS5THSON. FINALLY, PLEASE SHARE THIS PODCAST WITH THOSE YOU LOVE TO HELP US CONTINUE TO CREATE CONTENT FOR YOU TO ENJOY EVERY SUNDAY MORNING OR ANYTIME! -IF YOU WANT TO REACH OUT TO US WE WOULD LOVE TO HEAR FROM YOU! PLEASE EMAIL US AT: marybs5son@gmail.com

Kevin's goofing off this week at his annual Bostonian Birthday Bash, so we reached out to the one and only (hatless) Jackson Stewart (of Beyond the Gates renown!) to fill in while we chat about three killer classics. Up first! It's Sam Peckinpah's classic revisionist western The Wild Bunch, from 1969! A band of outdated outlaws spill sweat and blood in equal parts into the Mexican desert, and boy has it never looked so danged gorgeous. But will grandpa-skeptic Parker Bowman dig these cowboys? Next up! Clint Eastwood stars and directs (for the first time!) with Play Misty For Me (from 1971)! A suspenseful psychosexual 70s thriller set up in the Big Sur region of Central California, some critics (on this podcast) have noted the bizarre haircuts of the leading actors as worth taking notice of. Finally! Of course, it's 1993's Arcade, because Parker's obsession with VR-based content continues, even when it's produced by Full Moon Pictures. All this plus cutting it up with the boys, vintage wallpapers, a podcaster's fatal fate, the return of Nightmare Fede, a vampiric inquiry, sun-bronzed beach boy (not beach bum) bonanzas, Don Siegel sidebars, bad VR, a check-in with the junkmailers, virtual Kevin, your winning numbers, nerd news and even more! Recorded live-to-tape on National Peanut Cluster Day, 2022!! Direct Donloyd HereGot a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION!Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll strap on the VR headset and throw down for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

 DownloadSomeone is watching you, someone is lurking behind you, someone is hiding in your closet!! Welcome to episode 267 of LOTC. This week the crew is stalking each and everyone of YOU with this episode. Stalker movies are the theme and we hope you will enjoy this show as six movies are covered by the guys as well as several recommendations will be heard via voicemails. With several decades being represented we are sure you will find at least one movie you may have never seen. We dedicate this episode to LOTC family member Shannon Barnes who loves this sub genre. Be sure to lock your doors, close your windows, pull the curtains and check under your beds as we take you on a journey through Land Of The Creeps. Movie Reviews :Dave Becker : 2014 CreepDave: 9Greg: 9.5Bill: 10Bill : 1971 Play Misty For MeBill: 8Dave: 8Greg : 1960 Peeping TomGreg: 10Dave: 10Bill: 8.5Dave : 1981 The FanDave: 8Bill: 7Bill : 2012 StaticGreg : 7.5Greg : 1986 The HitcherGreg: 9Dave: 9Bill: 9Victor H .RodriguezInside The Sound Of Fear PodcastThe Sound Of Fear Click Here To PurchaseDigital Version The Sound Of Fear Click Here To PurchaseThe Shining Girl's Book by : Lauren BeukesOther Authors to follow per Vicious VictorStephanie M WytovichT. KingfisherCV HuntShirley JacksonJames Tiptree Jr.LOTC Links :Land Of The Creeps InstagramGregaMortisFacebookTwitterLand Of The Creeps Group PageLand Of The Creeps Fan PageYoutubeInstagramEmailLetterboxdHaddonfield HatchetTwitterLand Of The Creeps TwitterDr. ShockDVD Infatuation TwitterDVD Infatuation WebsiteFacebookUniversal Monster CastWe Deal In LeadHorror Movie PodcastYouTube ChannelBill Van Veghel LinkFacebookLetterboxdPhantom Galaxy PodcastLOTC Hotline Number1-804-569-56821-804-569-LOTCLOTC Intro is provided by Andy Ussery, Below are links to his social mediaEmail:FacebookTwitterOutro music provided by Greg Whitaker Below is Greg's Twitter accountTwitterFacebook

So with Cuffing Season officially on the rise, I'd figured I'd go back to a classic that I actually reviewed during my first month of starting this podcast... At least something to warm up the occasion before jumping into new flicks with proper premises involved. And no diss to Play Misty For Me, but THIS is the one right here. It's just that simple. I'm very opinionated during this, as usual, so I need both the fellas and the ladies to strap in tight for my views on why Dan Gallagher should've kept it in his pants, and why Alex Forest should've maybe refrained from wanting to take it completely off of him at some point. Enjoy, people.

This week, Eric and Josh discuss: Discount candy, Red Vines vs Twizzlers, the successful Non-Participation Just-Sit-And-Watch Rocky Horror screenings, Trolls, Mayfair job interviews, Greg Sestero, Jeff Nichols, a new puppy, and more! They also mention the movies screening from Friday November 5th - Thursday November 11th, 2021: The Card Counter, Passing, Harold And Maude, and Play Misty For Me!

In this Halloween weekend episode of Film at Fifty, Courtney Howard of Variety joins Brian for a discussion of the 1971 thriller PLAY MISTY FOR ME, the directorial debut of Clint Eastwood, starring Eastwood and Jessica Walter!PLAY MISTY FOR ME is available on Amazon Prime: https://amzn.to/3BWwDW9Follow the podcast at filmatfifty.com and @filmatfifty on social media, and please leave a five-star review on Apple Podcasts or wherever you listen to your podcasts. You can also email Film at Fifty at fiftyyearsagoinfilm@gmail.com!

We celebrate the 50th anniversaries of "The Last Picture Show," "Play Misty For Me" and "The French Connection." Follow Screen Time on Instagram, Twitter and Facebook to stay up to date.

Recorded on Saturday October 2nd 2021 Alana has a new nickname, We talk about Country music, the Clint eastwood films "Play Misty For Me" and "Pale Rider"and more.

Oh yeah this guy just keeps getting better and better and by this guy I mean Adrian Lozano. hello this episode features my thoughts on Clint Eastwood and features the trailers for Grand Torino play Misty for me the Batman and also the Dune trailer. I don't know why I threw the dune trailer in here leave me alone I'm busy and by that I mean I need money. as always this is a comedy podcast however I really do need money. I get paid when people listen to the podcast so if you could share this that would be awesome thank you so much also I don't get paid very much so if you want to donate that's also very very bad ass of you here some time code 00:00 intro 00:30 "252" "the drink" 03:28 cry Macho 06:26 oh yeah 07:13 haunted shave 08:33 shopping with a stranger 12:12 Misty 14:35 Play Misty For Me trailer 17:17 the Batman movie trailer 19:45 cassette tapes 21:36 Dune trailer 32:51 goodbye. https://mobile.twitter.com/lozanoshow https://youtube.com/channel/UCP7B7zl9vg-XrOvqHIdz6gw http://www.redbubble.com/people/amlozano9 ☆smoking CBD https://www.spreaker.com/user/14993630 ☆reading comics https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9kNDkwYWNjL3BvZGNhc3QvcnNz?ep=14 ☆movie trailers https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy8zNWZlMzc4L3BvZGNhc3QvcnNz?ep=14 ☆directors https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy82NWQ3NmY4MC9wb2RjYXN0L3Jzcw?ep=14 ☆ --- Send in a voice message: https://anchor.fm/adrian-lozano/message Support this podcast: https://anchor.fm/adrian-lozano/support

This time, Dan picks his four films, none of which have anything to do with Tim Allen. (EVERY FEATURE FILM DISCUSSED CONTAINS SPOILERS) TIMESTAMPS! Intro (0:00:00 - 1:30:26) "Watchu-Been-Watchin?" (1:30:27 - 1:46:17) "10 Sexiest Drug Movies" List (1:46:18 - 2:12:47) MAKE WAY FOR TOMORROW (2:12:48 - 3:07:58) PLAY MISTY FOR ME (3:07:59 - 3:51:02) IVANS XTC. (3:51:03 - 4:33:05) METROPOLIS 2001 (4:33:06 - 5:27:29) Outro & Next Episode Reveal (5:27:30 - End)

It's the first week of Julyme and Punishment! This month I'm only watching crime movies which I'm hoping has a broader appeal than a month of westerns! This week's movies: No Contry for Old Men (2007) No Sudden Move (2021) The Tomorrow War (2021) Boyz n the Hood (1991) Magnum Force (1973) The Enforcer (1976) Play Misty For Me (1971) Black Coal, Thin Ice (2014)

A movie about a one night stand that becomes a stalker for life. Kyle becomes a bit too clingy. Dave wants to call things off. The Machine wasn't programmed to believe in love.Read the article Kael Kael Bang Bang here: https://cinephiliabeyond.org/kael-kael-bang-bang-the-pauline-kael-clint-eastwood-secret-wars/You can follow us on Letterboxd to see the entire list of movies we've talked about: https://letterboxd.com/kdvstm/Watch the trailer for Play Misty For Me here: https://youtu.be/6Y9J7QjN1ggOur sponsors this week are:  ATB: The Future Of podcast - https://www.atb.com/company/insights/the-future-of-podcast/ - Hosted by ATB's Chief Economist Todd Hirsch, The Future Of connects with leaders who share their unique insight to help you navigate into the future. Park Power - https://parkpower.ca - your friendly, local utilities provider in Alberta. Offering Internet, Electricity, and Natural Gas with low rates, awesome service, and profit-sharing with local charities. Send feedback to kyleanddavevsthemachine@gmail.comKyle and Dave vs The Machine is a proud member of The Alberta Podcast Network: Locally grown. Community supported. Here's their link again: https://www.albertapodcastnetwork.comKeep up to date with Kyle and Dave vs The Machine by following its social media channels: Twitter: https://twitter.com/kdvstmInstagram: https://www.instagram.com/kdvstm/YouTube: https://www.youtube.com/channel/UCEZKUfH0IOp-lH5OQdIpvLwPatreon: https://www.patreon.com/kdvstmThis week the Machine printed out: 01010100 01101000 01101001 01110011 00100000 01101001 01110011 00100000 01110111 01101000 01111001 00100000 01111001 01101111 01110101 00100000 01100100 01101111 01101110 00100111 01110100 00100000 01110000 01100101 01101111 01110000 01101100 01100101 00100000 01110111 01101000 01101111 00100000 01110000 01110010 01101001 01101101 01100001 01110010 01101001 01101100 01111001 00100000 01110111 01101111 01110010 01101011 00100000 01101001 01101110 00100000 01100001 01110101 01100100 01101001 01101111 00101110 ★ Support this podcast on Patreon ★

This Bonus Episode is our final installment of our That's Insane series. We cover the 1971 film Play Misty For Me as a study of Boarderline Personality Disorder and a tribute to one of my favorite actresses the Late Great Jessica Walter. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/barry-marino-openshud/support

Scott and Ben celebrate the career of Jessica Walter with this look back at the 1971 directorial debut of Clint Eastwood. Join us for a look at the incredibly influential, Play Misty For Me. Highlights include: • Whose house is it anyway? • Hide the joint! • That’s no way to use a knife • God, you’re dumb • Peggy Seeger? Uh, yikes • Fuck James Cameron • Fuck Fatal Attraction • Bruce Surtees!! • Donald Siegel • Cry Bastion!!! • Best call letters ever

RuPaul, Play Misty For Me, Cindy The Knight Stalker, next week's movie is Beautiful Thing. Email us at 2QueensWhat@gmail.com --- 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/john-burns1/message

"I was drowning in the ocean. I called to you and you just stood there." Play Misty For Me (1971) directed by Clint Eastwood and starring Jessica Walter, Clint Eastwood, Donna Mills, James McEachin and Clarice Taylor. Next Time: Fried Green Tomatoes (1991)

Jessica Walter is a legend, but we are woefully uneducated in her back catalog. So we're talking Arrested Dev, Archer, and Play Misty For Me! The post Episode 332: Jessica Walter Appreciation Episode! appeared first on So...I'm Watching This Show.

Welcome to our final Fright School Special Topics: Stephen King episode! We start off by saying goodbye to PLAY MISTY FOR ME, ARRESTED DEVELOPMENT, and ARCHER star Jessica Walter. Her acerbic characters have filled the quotable quotes sections of a generation or two of Queer brains and we raise a martini glass (or five...) in her honor. May she rest in peace. Next we chat Drag Race because it was a train wreck this week. Joshua and Joe struggle with vicarious embarrassment for this week's sashayer awayer. We decided to end our Stephen King discussion with CREEPSHOW! It's not as deep as some of the other work we've discussed, but there's a lot of colorful pictures! Happy Joe! Sometimes you just have to take a breather with a fun, silly horror anthology. We also discuss some of our other favorite Stephen King movies that we watched while preparing for our JERSEY GHOULS March Madness episodes. Finally, we wrap up with a discussion of the overall legacy of the work of Stephen King. FOLLOW US! Facebook Twitter Instagram LinkTree JERSEY GHOULS MARCH MADNESS: Episode 1: Episode 129: March Madness 2021! The 32 Bracket - Part 1 Episode 2: Episode 130: March Madness 2021! The 32 Bracket - Part 2 Episode3: Episode 131: March Madness 2021! The Remaining Brackets! Recommended Reading: Original trailer CREEPSHOW (1982) EXTRA CREDIT: WE HAVE ALL NEW TEES AND MERCH AVAILABLE! Fright School Recommended Texts: The Monster Show: A Cultural History of Horror by David J. Skal Men, Women, and Chain Saws: Gender in the Modern Horror Film by Carol J. Clover Horror Noire: A History of Black Horror by Robin R Means Coleman Projected Fears by Kendall R. Phillips The Horror Genre: From Beelzebub to Blair Witch by Paul Wells Support FRIGHT SCHOOL by donating to their Tip Jar: https://tips.pinecast.com/jar/fright-school Find out more at https://fright-school.pinecast.co This podcast is powered by Pinecast.

On this episode, we’re joined remotely by up and coming filmmaker / musician Aydan Schlaffman to talk about Clint Eastwood’s directorial debut - 1971’s Play Misty For Me. And though we are beset by ~tEcHnIcAl DiFfIcUlTiEs~ we manage to talk about: How COOL Clint wants us to think he is, How Jessica Walters is Getting Into Knives, Jim Carrey, jazz and we wonder: Are lumberjacks known to be especially horny?

On this episode, we are continuing our series on 1970's movies with Clint Eastwood's directorial debut PLAY MISTY FOR ME.  Please send any and all feedback to anotherlookpod@gmail.com.  Please check us out on Facebook, and rate/review/subscribe where ever you get your podcasts.

Last Week Mac and I looked at "Funny Games" and in this mini, Quinn and I talk vintage home invasion movies, horror movies that subvert tropes and good fourth wall breakers. Also Clint Eastwood, Bill Hader's impression of Clint Eastwood, comedy, Scorsese and of course, muppets!Next week we are back on our bullshit (pretty sure I am not using that phrase correctly), when Mac and I look at the 2008 Swedish film "Let the Right One In" and the 2010 American remake, "Let Me In".Get in touch! IG: @worldofhorrorpodcast, Gmail: worldofhorror96@gmail.comWe love you. Don't go into the basement!Bill Hader's Clint EastwoodBill Hader's Clint Eastwood Part IIBill Hader's Clint Eastwood Part IIIOwlKitty Parody of American Psycho Support the show (https://www.buymeacoffee.com/xafupi)

Shanon and Mark sit down to discuss Clint Eastwood's directorial debut, Play Misty For Me, this episode.

S2 E4 PLAY MISTY FOR OUR FATHERS1971's PLAY MISTY FOR ME is the first of Clint's 8000 films he directed so dissecting it is  a landmark for our podcast. In it, Clint plays DJ Lank'n $quinty and gets in over his head with obsessive fan, and future Bluth, Jessica Walter. Then in 2006's FLAGS OF OUR FATHERS, we learn why objective masterpiece Letters From Iwo Jima (covered in S2 E3) was rushed into theaters in late 2006 for Oscar eligibility, when Flags was originally seen as the surefire Oscar Bait film earlier the same year with the same director. Flags has a great pedigree of bestseller, screenwriters, producers and director. Why did it fall flat on the sticky floors of American multiplexes and not billow majestically in the wind? We find out and are joined by an honest-to-god DJ, Patrick, who also runs a record store and refuses to play Misty for us. PLAY MISTY FOR ME: 00:03:33FLAGS OF OUR FATHERS: 00:31:20

作品情報 恐怖のメロディ (Original title: PLAY MISTY FOR ME) 1971年　アメリカ 監督　クリント・イーストウッド 出演　クリント・イーストウッド、ジェシカ・ウォルター、ドナ・ミルズ、他 予告 https://youtu.be/TEHx9OxmkVE 本編 Amazon primeビデオ https://amzn.to/3jooIYF YouTube https://youtu.be/5eX2FGqJX4g 夜のゆいろくボイスメッセージはこちらです 番組でご紹介するかも✨ https://anchor.fm/night-yuiroku/message SNSやってます 上にある程、更新頻度が高いです Twitter http://bit.ly/2o8otFN FB http://bit.ly/2DsHx9v Instagram http://bit.ly/37Zy2ga いただいたご支援はポッドキャスト配信に利用いたします Amazonゆいまるのほしい物リスト http://bit.ly/2AVEUf Ofuse https://ofuse.me/ofuse/yuimaru マシュマロ https://marshmallow-qa.com/yuimaru #夜のゆいろく#ゆいろく #ポッドキャスト --- Send in a voice message: https://anchor.fm/night-yuiroku/message

Before Glenn Close in Fatal Attraction, before Sharon Stone in Basic Instinct, there was...Jessica Walter in Play Misty For Me! In 1971, Clint Eastwood made his directorial debut with this early entry into the erotic thriller genre. While Alfred Hitchcock had hinted at the genre with films like Psycho and Marnie, and Noir films had gifted us the Femme Fatale archetype, Play Misty For Me is unique in that it feels more like later, more modern erotic thrillers of the late 80s and early 90s. Listen in as we discuss Jessica Walter's amazing portrayal of Evelyn, Eastwood's directorial style, and the not-so-perfect gender politics of this sub-genre.To watch more erotic thriller content - as well as tons of other great horror titles - subscribe to Fear: The Home of Horror on YouTube - https://www.youtube.com/fearthehomeofhorrorAnd follow us on @KillCountPod on Twitter and Instagram for updates about upcoming episodes!https://www.instagram.com/killcountpod/https://twitter.com/KillCountPodFear Presents: Kill Count is hosted by Mike Muncer, creator and host of The Evolution of Horror Podcast, Alexandra Penelope, and Dan Iacono. Editing by Joe Bond & Charlie GraceArtwork by Ugne DereskeviciuteSocial By Steph WattsAnd Special thanks to acast! See acast.com/privacy for privacy and opt-out information.

The Man With No Name turned 90 this week! And to honor the C-Man's illustrious career, Nico and Adam decide which of his directorial efforts is the best. Will it be Play Misty For Me (21:46), the Outlaw Josey Wales (36:00), Unforgiven (49:30), Mystic River (53:40) or Million Dollar Baby (1:08:47)? For More TMT Shenanigans: toomanythoughtsmedia.com Twitter: @funnynicotweets, @someadamhall, @TMT_Media E-mail: toomanythoughtsmedia@gmail.com Subscribe and Rate on Apple Podcasts!

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on “Short Shorts” by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I’ve also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I’ve used two main books on the British side of things:  Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and talks about the problems between the musicians’ unions. This three-CD set provides a great overview of Otis’ forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. “First-wave rockabilly is *so* January through August 1956, we’re into late 1958 and everything’s prototype soul now, granddad!” But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that’s definitely the case for Johnny Otis. While he didn’t have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote “Lonely, Lonely Nights” for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We’re going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It’s still seen as that by some people, but it’s also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it’s a word that is considered acceptable and correct for white people to use when talking about people who identify that way — which, to be clear, not all Americans of Mexican descent do, by any means — but I’m very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when “Lonely Lonely Nights” came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, “Lonely, Lonely Nights”] But it turned out shortly afterwards that Herrera wasn’t exactly what he seemed. Police came to Otis’ door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera’s career — and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family — his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller’s Day Off. Katz’s comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of “Sixteen Tons”, making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, “Sixteen Tons”] Even though Katz’s music was about as far from Otis’ as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis’ career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She’d been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington’s record “Harbor Lights”: [Excerpt: Dinah Washington, “Harbor Lights”] When she’d proved she could sing that, Robey signed her, hoping that he’d have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope — “I’m Gonna Play the Honky Tonks” went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, “I’m Gonna Play the Honky Tonks”] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace’s “My Song”, which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn’t do anything much commercially: [Excerpt: Marie Adams, “My Song” Like many of Peacock’s artists who weren’t selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn’t, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace’s death, “In Memory”: [Excerpt: Marie Adams, “In Memory”] But that did so poorly that it’s never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis — who always had an ear for great singing — kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I’m fat myself and absolutely fat-positive. Fat isn’t a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I’ve seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams’* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren’t singing, and they remained with Otis’ show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was “Ma! He’s Making Eyes At Me”, a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, “Ma! She’s Making Eyes at Me”] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams’ pronunciation of “mama”) than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: “Ma, He’s Making Eyes At Me”] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I’ve not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians’ Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble’s band wasn’t, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he’d had to employ British musicians, and when Lonnie Donegan had toured the US on the back of “Rock Island Line”‘s success, he was backed by Johnny Burnette and the Rock and Roll Trio — Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton’s band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I’m sure you can see the basic idea. The union was making sure that Armstrong wasn’t taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis’ manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis’ band. They came back to the US, and cut a follow-up to “Ma, He’s Making Eyes at Me”, with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, “Bye Bye Baby”] That’s an example of what Johnny Otis meant when he said later that he didn’t like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on “Ma! He’s Making Eyes At Me” — it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, “What Do You Want To Make Those Eyes At Me For?”] Sadly, it sank without a trace — at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] We’ll be hearing more from Ford’s co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat’s Whisker, where they were popular enough that the audience were packed in like sardines — the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn’t dance properly, and so a new dance developed among the customers, and spread — a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released “Six-Five Hand Jive” in March 1958: [Excerpt: Don Lang and His Frantic Five, “Six-Five Hand Jive”] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he’d just had a big hit — and namechecking those other dances, like the Walk and the Stroll — could lead to a hit followup to “Ma He’s Making Eyes At Me”. The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing “Hambone”, the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley’s song “Bo Didlley”. Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm — though he would always claim, for the rest of his life, that he’d heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of “Willie and the Hand Jive” in 1959: [Excerpt: Cliff Richard and the Shadows, “Willie and the Hand Jive”] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous — or infamous — Shadows Walk had developed. But while “Willie and the Hand Jive” didn’t have any success in the UK, in the US it became Otis’ only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the “hand jive” was a reference to masturbation — even though on Otis’ TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether “Willie and the Hand Jive” had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like “Willie Did The Cha-Cha”: [Excerpt: Johnny Otis, “Willie Did The Cha-Cha”] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made — as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family — while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we’ll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn’t so much social integration, which he believed impossible in the short term due to white racism, as economic equality — he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I’ll quote from the book here: “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness — Otis gives over thirty pages of the book to the voices of black witnesses of the riots — talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they’d been shooting tin cans. Some is, more than fifty years later, out of date or “of its time”, but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis’ main occupation, he hadn’t stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don “Sugarcane” Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like “Holiday in Berlin”: [Excerpt: The Mothers of Invention, “Holiday in Berlin, Full Blown”] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn’t like it at all. Given what I know of Estrada that’s a good thing. Otis’ teenage son Shuggie also played with Zappa, playing bass on “Son of Mr. Green Genes” from Zappa’s Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. “Cold Shot” by the New Johnny Otis Show featured a core band of just three people — Otis himself on piano and drums, Delmar “Mighty Mouth” Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father’s band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since “Willie and the Hand Jive”, more than a decade earlier, “Country Girl”: [Excerpt: The Johnny Otis Show, “Country Girl”] Around the same time, that trio also recorded another album, called “For Adults Only”, under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won’t be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour — Otis wanted to preserve bits of black folklore. Songs like “The Signifying Monkey” had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they’d always stripped out the sexual insults that make up much of the piece’s appeal. Otis would in later years laugh that he’d received accusations of obscenity for “Roll With Me Henry” and for “Willie and the Hand Jive”, but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. “Cold Shot” caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis’ later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie “Cleanhead” Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, “Good Rocking Tonight”] That performance was released as a live album, and Clint Eastwood featured footage of that show — the band performing “Willie and the Hand Jive” — in his classic film Play Misty For Me. It was probably the greatest example of Otis’ belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible — Marie Adams, for example, rejoined the band in 1972 — with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church — but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on “Short Shorts” by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I’ve also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I’ve used two main books on the British side of things:  Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and talks about the problems between the musicians’ unions. This three-CD set provides a great overview of Otis’ forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. “First-wave rockabilly is *so* January through August 1956, we’re into late 1958 and everything’s prototype soul now, granddad!” But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that’s definitely the case for Johnny Otis. While he didn’t have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote “Lonely, Lonely Nights” for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We’re going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It’s still seen as that by some people, but it’s also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it’s a word that is considered acceptable and correct for white people to use when talking about people who identify that way — which, to be clear, not all Americans of Mexican descent do, by any means — but I’m very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when “Lonely Lonely Nights” came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, “Lonely, Lonely Nights”] But it turned out shortly afterwards that Herrera wasn’t exactly what he seemed. Police came to Otis’ door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera’s career — and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family — his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller’s Day Off. Katz’s comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of “Sixteen Tons”, making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, “Sixteen Tons”] Even though Katz’s music was about as far from Otis’ as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis’ career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She’d been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington’s record “Harbor Lights”: [Excerpt: Dinah Washington, “Harbor Lights”] When she’d proved she could sing that, Robey signed her, hoping that he’d have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope — “I’m Gonna Play the Honky Tonks” went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, “I’m Gonna Play the Honky Tonks”] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace’s “My Song”, which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn’t do anything much commercially: [Excerpt: Marie Adams, “My Song” Like many of Peacock’s artists who weren’t selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn’t, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace’s death, “In Memory”: [Excerpt: Marie Adams, “In Memory”] But that did so poorly that it’s never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis — who always had an ear for great singing — kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I’m fat myself and absolutely fat-positive. Fat isn’t a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I’ve seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams’* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren’t singing, and they remained with Otis’ show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was “Ma! He’s Making Eyes At Me”, a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, “Ma! She’s Making Eyes at Me”] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams’ pronunciation of “mama”) than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: “Ma, He’s Making Eyes At Me”] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I’ve not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians’ Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble’s band wasn’t, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he’d had to employ British musicians, and when Lonnie Donegan had toured the US on the back of “Rock Island Line”‘s success, he was backed by Johnny Burnette and the Rock and Roll Trio — Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton’s band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I’m sure you can see the basic idea. The union was making sure that Armstrong wasn’t taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis’ manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis’ band. They came back to the US, and cut a follow-up to “Ma, He’s Making Eyes at Me”, with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, “Bye Bye Baby”] That’s an example of what Johnny Otis meant when he said later that he didn’t like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on “Ma! He’s Making Eyes At Me” — it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, “What Do You Want To Make Those Eyes At Me For?”] Sadly, it sank without a trace — at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] We’ll be hearing more from Ford’s co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat’s Whisker, where they were popular enough that the audience were packed in like sardines — the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn’t dance properly, and so a new dance developed among the customers, and spread — a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released “Six-Five Hand Jive” in March 1958: [Excerpt: Don Lang and His Frantic Five, “Six-Five Hand Jive”] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he’d just had a big hit — and namechecking those other dances, like the Walk and the Stroll — could lead to a hit followup to “Ma He’s Making Eyes At Me”. The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing “Hambone”, the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley’s song “Bo Didlley”. Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm — though he would always claim, for the rest of his life, that he’d heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of “Willie and the Hand Jive” in 1959: [Excerpt: Cliff Richard and the Shadows, “Willie and the Hand Jive”] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous — or infamous — Shadows Walk had developed. But while “Willie and the Hand Jive” didn’t have any success in the UK, in the US it became Otis’ only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the “hand jive” was a reference to masturbation — even though on Otis’ TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether “Willie and the Hand Jive” had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like “Willie Did The Cha-Cha”: [Excerpt: Johnny Otis, “Willie Did The Cha-Cha”] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made — as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family — while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we’ll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn’t so much social integration, which he believed impossible in the short term due to white racism, as economic equality — he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I’ll quote from the book here: “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness — Otis gives over thirty pages of the book to the voices of black witnesses of the riots — talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they’d been shooting tin cans. Some is, more than fifty years later, out of date or “of its time”, but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis’ main occupation, he hadn’t stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don “Sugarcane” Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like “Holiday in Berlin”: [Excerpt: The Mothers of Invention, “Holiday in Berlin, Full Blown”] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn’t like it at all. Given what I know of Estrada that’s a good thing. Otis’ teenage son Shuggie also played with Zappa, playing bass on “Son of Mr. Green Genes” from Zappa’s Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. “Cold Shot” by the New Johnny Otis Show featured a core band of just three people — Otis himself on piano and drums, Delmar “Mighty Mouth” Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father’s band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since “Willie and the Hand Jive”, more than a decade earlier, “Country Girl”: [Excerpt: The Johnny Otis Show, “Country Girl”] Around the same time, that trio also recorded another album, called “For Adults Only”, under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won’t be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour — Otis wanted to preserve bits of black folklore. Songs like “The Signifying Monkey” had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they’d always stripped out the sexual insults that make up much of the piece’s appeal. Otis would in later years laugh that he’d received accusations of obscenity for “Roll With Me Henry” and for “Willie and the Hand Jive”, but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. “Cold Shot” caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis’ later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie “Cleanhead” Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, “Good Rocking Tonight”] That performance was released as a live album, and Clint Eastwood featured footage of that show — the band performing “Willie and the Hand Jive” — in his classic film Play Misty For Me. It was probably the greatest example of Otis’ belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible — Marie Adams, for example, rejoined the band in 1972 — with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church — but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on "Short Shorts" by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  ----more----   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I've also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I've used two main books on the British side of things:  Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg's Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I've read on music at all, and talks about the problems between the musicians' unions. This three-CD set provides a great overview of Otis' forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, "Willie and the Hand Jive"] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. "First-wave rockabilly is *so* January through August 1956, we're into late 1958 and everything's prototype soul now, granddad!" But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that's definitely the case for Johnny Otis. While he didn't have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote "Lonely, Lonely Nights" for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We're going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It's still seen as that by some people, but it's also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it's a word that is considered acceptable and correct for white people to use when talking about people who identify that way -- which, to be clear, not all Americans of Mexican descent do, by any means -- but I'm very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when "Lonely Lonely Nights" came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, "Lonely, Lonely Nights"] But it turned out shortly afterwards that Herrera wasn't exactly what he seemed. Police came to Otis' door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera's career -- and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family -- his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller's Day Off. Katz's comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of "Sixteen Tons", making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, "Sixteen Tons"] Even though Katz's music was about as far from Otis' as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis' career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She'd been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington's record "Harbor Lights": [Excerpt: Dinah Washington, "Harbor Lights"] When she'd proved she could sing that, Robey signed her, hoping that he'd have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope -- "I'm Gonna Play the Honky Tonks" went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, "I'm Gonna Play the Honky Tonks"] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace's "My Song", which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn't do anything much commercially: [Excerpt: Marie Adams, "My Song" Like many of Peacock's artists who weren't selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn't, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace's death, "In Memory": [Excerpt: Marie Adams, "In Memory"] But that did so poorly that it's never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis -- who always had an ear for great singing -- kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I'm fat myself and absolutely fat-positive. Fat isn't a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I've seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams'* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren't singing, and they remained with Otis' show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was "Ma! He's Making Eyes At Me", a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, "Ma! She's Making Eyes at Me"] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams' pronunciation of "mama") than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: "Ma, He's Making Eyes At Me"] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I've not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians' Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble's band wasn't, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he'd had to employ British musicians, and when Lonnie Donegan had toured the US on the back of "Rock Island Line"'s success, he was backed by Johnny Burnette and the Rock and Roll Trio -- Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton's band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I'm sure you can see the basic idea. The union was making sure that Armstrong wasn't taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis' manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis' band. They came back to the US, and cut a follow-up to "Ma, He's Making Eyes at Me", with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, "Bye Bye Baby"] That's an example of what Johnny Otis meant when he said later that he didn't like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on "Ma! He's Making Eyes At Me" -- it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, "What Do You Want To Make Those Eyes At Me For?"] Sadly, it sank without a trace -- at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, "What Do You Want To Make Those Eyes At Me For?"] We'll be hearing more from Ford's co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat's Whisker, where they were popular enough that the audience were packed in like sardines -- the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn't dance properly, and so a new dance developed among the customers, and spread -- a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released "Six-Five Hand Jive" in March 1958: [Excerpt: Don Lang and His Frantic Five, "Six-Five Hand Jive"] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he'd just had a big hit -- and namechecking those other dances, like the Walk and the Stroll -- could lead to a hit followup to "Ma He's Making Eyes At Me". The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing "Hambone", the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley's song "Bo Didlley". Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm -- though he would always claim, for the rest of his life, that he'd heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of "Willie and the Hand Jive" in 1959: [Excerpt: Cliff Richard and the Shadows, "Willie and the Hand Jive"] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous -- or infamous -- Shadows Walk had developed. But while "Willie and the Hand Jive" didn't have any success in the UK, in the US it became Otis' only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the "hand jive" was a reference to masturbation -- even though on Otis' TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether "Willie and the Hand Jive" had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like "Willie Did The Cha-Cha": [Excerpt: Johnny Otis, "Willie Did The Cha-Cha"] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made -- as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family -- while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we'll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn't so much social integration, which he believed impossible in the short term due to white racism, as economic equality -- he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I'll quote from the book here: "A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference". Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness -- Otis gives over thirty pages of the book to the voices of black witnesses of the riots -- talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they'd been shooting tin cans. Some is, more than fifty years later, out of date or "of its time", but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis' main occupation, he hadn't stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don "Sugarcane" Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like "Holiday in Berlin": [Excerpt: The Mothers of Invention, "Holiday in Berlin, Full Blown"] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn't like it at all. Given what I know of Estrada that's a good thing. Otis' teenage son Shuggie also played with Zappa, playing bass on "Son of Mr. Green Genes" from Zappa's Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. "Cold Shot" by the New Johnny Otis Show featured a core band of just three people -- Otis himself on piano and drums, Delmar "Mighty Mouth" Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father's band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since "Willie and the Hand Jive", more than a decade earlier, "Country Girl": [Excerpt: The Johnny Otis Show, "Country Girl"] Around the same time, that trio also recorded another album, called "For Adults Only", under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won't be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour -- Otis wanted to preserve bits of black folklore. Songs like "The Signifying Monkey" had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they'd always stripped out the sexual insults that make up much of the piece's appeal. Otis would in later years laugh that he'd received accusations of obscenity for "Roll With Me Henry" and for "Willie and the Hand Jive", but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. "Cold Shot" caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis' later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie "Cleanhead" Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, "Good Rocking Tonight"] That performance was released as a live album, and Clint Eastwood featured footage of that show -- the band performing "Willie and the Hand Jive" -- in his classic film Play Misty For Me. It was probably the greatest example of Otis' belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible -- Marie Adams, for example, rejoined the band in 1972 -- with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church -- but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

Erin and Paul review two films about stalkers (and their stalkees): Clint Eastwood's 1971 directorial debut PLAY MISTY FOR ME; and Ben Stiller's 1996 dark comedy THE CABLE GUY. Plus: our quick takes on HARRIET, JUDY, THE TWO POPES, and SONIC THE HEDGEHOG.

Estee Lauder's Azuree (1969) + Clint Eastwood's Play Misty For Me (1971) and Don Siegel's Dirty Harry (1971) To gain access to the full catalog of TPN content please support us at https://www.patreon.com/perfumenationalist  

Mystery/thriller month continues with Brian DePalma's 1981 masterpiece BLOW OUT, starring everyone's favorite Sweat Hog Vinnie Barbarino (aka John Travolta).  Barbarino plays sound effects man Jack Terry, witness to a political assassination. Barbarino is joined by a stellar cast including Nancy Allen (Robocop, Carrie), John Lithgow (3rd Rock From The Sun), and Dennis Franz (NYPD Blue). This criminally overlooked film combines elements of Hitchcock and the Italian genre giallo (slasher/psychological horror/crime fiction) and may just be Barbarino's greatest on screen performance.  Rear Window... Play Misty For Me... ...and now Blow Out.  Pour yourself a cup of coffee, put your feet up and get ready to howl at the moon. It's time for the LATE NIGHT FRIGHT! 

January is mystery/thriller month on the Late Night Fright! Join us for a look back at Clint Eastwood's 1971 directorial debut PLAY MISTY FOR ME. Eastwood stars as a Carmel disc jockey who has a one night stand with an obsessed fan. The fan is expertly played by Jessica Walter and the film has a Hitchcock/slasher vibe. Pour yourself a cup of coffee, put your feet up and get ready to howl at the moon...it's time for the LATE NIGHT FRIGHT! 

Roberta Flack was one of those artists that the label couldn't quite pigeonhole, which meant that they couldn't find a way to make her accessible to listeners. As a result, her first two albums got some positive press, but the sales weren't especially great. It wasn't until after her second album came out that a track on the first album caught the attention of a first-time movie director by the name of Clint Eastwood. He called Flack at home and asked if he could use the song in his film, a psychological horror film about a disc jockey called Play Misty For Me. It took a little bit of convincing (about two thousand dollars' worth), and the song made it into the film. When Play Misty For Me turned into a hit, Atlantic Records finally saw the light and released a slightly shorter version of the song on a single, and it became the first of several big hits for Flack over the next few years. What most people don't realize is that Flack's recording was a cover of a song written and recorded in 1957, and covered rather faithfully several times after that. But once it hit for her, the covers began to sound more like Flack's version. And while the song finally becoming a hit made its writer a ton of money, the truth is, he's never really liked anyone else's recording other than the one his then-girlfriend made. Incidentally, here's the link to the Flaming Lips/Amanda Palmer video that I discuss during the show. It's definitely Not Safe For Work. You have been warned. For you independent types who don't use Google Podcasts or some other podcatcher software, here's the show for your listening/downloading pleasure: Click here for a transcript of this episode.

This week is an affair to remember, no really, you may never forget this pairing. It's Clint Eastwood's "Play Misty For Me" followed by "Fatal Attraction." The gang obsesses over the iconic performances, and take a stab at some big time drama. We'll see you freaks there.

Brian and Shelly discuss home invasion movies including Us, Play Misty For Me and The Collector

We have looked at Clint Eastwood as Actor/Director in the past in the hilariously bad The Rookie, but we thought we’d give him another chance by looking at his first work as Director in Play Misty For Me, a tense, psychological, stalker thriller where he plays a poetry reading jazz DJ on the receiving end … Continue reading "249: Play Misty For Me Movie Review [1971]"

We have looked at Clint Eastwood as Actor/Director in the past in the hilariously bad The Rookie, but we thought we’d give him another chance by looking at his first work as Director in Play Misty For Me, a tense, psychological, stalker thriller where he plays a poetry reading jazz DJ on the receiving end … Continue reading "249: Play Misty For Me Movie Review [1971]"

This week on Dazzy and Butcher's watch list were 1971 thriller "Play Misty For Me" and 1981's legendary "Clash Of The Titans." Plus classic British sitcoms "Men Behaving Badly" and "Bread," as well as modern online shows "Black Summer," "Into The Badlands," "Rillington Place" and "Designated Survivor." Also getting a mention are "The Good Son," "Tin Star," 2008's "The Incredible Hulk" plus who was the best Superman?

Godzilla level patron Ryan M. teaches us that hell hath no fury like a number one fan, with Play Misty for Me and Misery! Sources: Play Misty For Me (1971) "Play Misty For Me (1971)", TCM   Misery (1990) "Stephen King, The Art of Fiction No. 189" by Christopher Lehmann-Haupt and Nathaniel Rich, The Paris Review "Inside James Caan and Kathy Bates' Misery reunion for EW" by Keith Staskiewicz, Entertainment Weekly Four Screenplays with Essays by William Goldman, pg. 387, 388, 390 "Rob Reiner Takes on Misery" by Patrick Goldstein, The Los Angeles Times "James Caan Enjoying His Misery" by Nikki Finke, The Los Angeles Times "Misery Loves Company! Kathy Bates, James Caan reunite to discuss 1990 film" by Chris Serico, Today "The Gruesome Inside Story of Misery's Terrifying Ankle-Bashing Scene" by Gwynne Watkins, Yahoo Entertainment "I Never Was an Ingenue" by David Sacks, The New York Times      

After two weeks in the trenches, Manny escapes the front lines of academia to the relative safety of the Ring Room. He is de-briefed over cocktails. Topics include textbook fever,fresh talent, campus fashion trends, a towel, 1970's TV detectives, making a new friend, the Geraniums' triumphant return, a senatorial encounter, stadium justice, the Stalker File, Play Misty For Me, desperate measures, Amy Winehouse, Intervention, blood test results, and much more. Subscribe, review, and rate on Apple Podcasts. https://www.instagram.com/troubledmenpodcast/ https://www.facebook.com/troubledmenpodcast

After two weeks in the trenches, Manny escapes the front lines of academia to the relative safety of the Ring Room. He is de-briefed over cocktails. Topics include textbook fever,fresh talent, campus fashion trends, a towel, 1970's TV detectives, making a new friend, the Geraniums' triumphant return, a senatorial encounter, stadium justice, the Stalker File, Play Misty For Me, desperate measures, Amy Winehouse, Intervention, blood test results, and much more. Subscribe, review, and rate on Apple Podcasts. https://www.instagram.com/troubledmenpodcast/ https://www.facebook.com/troubledmenpodcast

Summary:   "I remembered it better." This week we decide it's time to re-watch Single White Female and try to figure out exactly what 'psychological erotic thriller' means. Also discussed: summer vacations, racist classifieds in the '90s and Play Misty For Me.    Show notes:   The Ourense thermal baths: Hot Springs in Spain   Single White Female trailer   Single White Female (novel)   Play Misty For Me (1971 movie)    Recommendations:   Andrea: Allie, Night Shade (music)    Lisa: Somebody Feed Phil (Netflix documentary)   Music credits:   "Good Times" by Podington Bear Courtesy of Free Music Archive CC BY-NC 3.0   Theme song "Pyro Flow" by Kevin Macleod From Incompetch CC BY 3.0 Intro bed:"OLPC" by Marco Raaphorst Courtesy of Free Music Archive CC BY-SA 3.0 NL Pop This! Links: Pop This! on TumblrPop This! on iTunes (please consider reviewing and rating us!) Pop This! on Stitcher (please consider reviewing and rating us!) Pop This! on Google PlayPop This! on TuneIn radioPop This! on TwitterPop This! on Instagram Logo design by Samantha Smith Pop This! is two women talking about pop culture. Lisa Christiansen is a broadcaster, journalist and longtime metal head. Andrea Warner is a music critic, author and former horoscopes columnist. Press play and come hang out with your two new best friends. Pop This! podcast is produced by Andrea Gin and recorded at the Vancouver Public Library's wonderful Inspiration Lab.

Play Misty for Me #2 Fabrizio Cassol ft. Bird - Clint Eastwood (1987) Aujourd’hui dans Play Misty For Me, des histoires de Sax. Fabrizio Cassol tourne autour de Charlie Parker. Le saxophoniste issu de la scène belge, père, fils et frère d’Akamoon, belgo mondialo réputé, Fabrizio Cassol est l’invité qui nous invite. Il a vu Bird, puis nous l’avons vu. Cet homme à sa place qui inspire à trouver la sienne. Sobrement, autour d’une eau minérale, et sous une photo de Cédric Gerbehaye qui nous regarde en biais depuis la cheminée. Fabrizio Cassol adans son canapé toute une heure durant délivre commentaires, anecdotes, musiques, émotions et pensées avec un sens affiné du sacré ». Infos: http://www.playmistyforme.be/fabriziocassol/ http://www.playmistyprod.be/ https://www.facebook.com/playmistyradio/

Play Misty for Me #2 Fabrizio Cassol ft. Bird - Clint Eastwood (1987)Aujourd'hui dans Play Misty For Me, des histoires de Sax. Fabrizio Cassol tourne autour de Charlie Parker. Le saxophoniste issu de la scène belge, père, fils et frère d'Akamoon, belgo mondialo réputé, Fabrizio Cassol est l'invité qui nous invite. Il a vu Bird, puis nous l'avons vu. Cet homme à sa place qui inspire à trouver la sienne. Sobrement, autour d'une eau minérale, et sous une photo de Cédric Gerbehaye qui nous regarde en biais depuis la cheminée. Fabrizio Cassol adans son canapé toute une heure durant délivre commentaires, anecdotes, musiques, émotions et pensées avec un sens affiné du sacré ».Infos: http://www.playmistyforme.be/fabriziocassol/ http://www.playmistyprod.be/ https://www.facebook.com/playmistyradio/

« Steve Houben cite le poète et lutte avec la nostalgie. « Confort et crime », a dit la source en son rocher. Que vive les scories , les graillons et les ratés … et le cassoulet de maman. Steve Houben est le musicien invité de Play Misty For Me. Saxophoniste de renom, notre homme découvre, tout comme nous, ce film qui fut une avant garde, une prophétie pas encore réalisée : The Connection de Shirley Clarke. La dame nous plonge pour l'éternité dans la résistance contre-culturelle des années 60 et new-yorkaise.Steve Houben a vu The Connection : c'est Play Misty For Me»Infos:http://www.playmistyforme.be/steve-houben/http://www.playmistyprod.be/https://www.facebook.com/playmistyradio/

« Steve Houben cite le poète et lutte avec la nostalgie. « Confort et crime », a dit la source en son rocher. Que vive les scories , les graillons et les ratés … et le cassoulet de maman. Steve Houben est le musicien invité de Play Misty For Me. Saxophoniste de renom, notre homme découvre, tout comme nous, ce film qui fut une avant garde, une prophétie pas encore réalisée : The Connection de Shirley Clarke. La dame nous plonge pour l’éternité dans la résistance contre-culturelle des années 60 et new-yorkaise. Steve Houben a vu The Connection : c’est Play Misty For Me» Infos: http://www.playmistyforme.be/steve-houben/ http://www.playmistyprod.be/ https://www.facebook.com/playmistyradio/

« Steve Houben cite le poète et lutte avec la nostalgie. « Confort et crime », a dit la source en son rocher. Que vive les scories , les graillons et les ratés … et le cassoulet de maman. Steve Houben est le musicien invité de Play Misty For Me. Saxophoniste de renom, notre homme découvre, tout comme nous, ce film qui fut une avant garde, une prophétie pas encore réalisée : The Connection de Shirley Clarke. La dame nous plonge pour l'éternité dans la résistance contre-culturelle des années 60 et new-yorkaise.Steve Houben a vu The Connection : c'est Play Misty For Me»

« Steve Houben cite le poète et lutte avec la nostalgie. « Confort et crime », a dit la source en son rocher. Que vive les scories , les graillons et les ratés … et le cassoulet de maman. Steve Houben est le musicien invité de Play Misty For Me. Saxophoniste de renom, notre homme découvre, tout comme nous, ce film qui fut une avant garde, une prophétie pas encore réalisée : The Connection de Shirley Clarke. La dame nous plonge pour l’éternité dans la résistance contre-culturelle des années 60 et new-yorkaise. Steve Houben a vu The Connection : c’est Play Misty For Me»

This time around, two films from the 1970s. We start with Ivan Dixon's 1973 movie about a black militant who joins the CIA, The Spook Who Sat By The Door, then we move on to Clint Eastwood's directorial debut, Play Misty For Me starring Eastwood, Jessica Walter and Donna Mills.    Please support the podcast via Patreon.

It's our annual Warped Tour Extravaganza with special guest xTrevbotx from Dead Air Hardcore Radio! We kick off the show talking about the first week of classes and discuss the Clint Eastwood classic (question mark) PLAY MISTY FOR ME, becuase it apparently has something to do with radio? Trevor talks to us about this year's Warped Tour show, and we get into the line-ups, featuring a great mix of up-and-comers and classic Warped favorites, as well as cool trivia and more! Did Trevor and Airhorn Elijah just become best friends?! Professor Trevbot talks about the history between My Chemical Romance and KGRG, and somehow it includes Wild Dog too? It's also the return of Today in Geek History, featuring a bewb-tastic double feature and some of Mike's favorite horror movies, plus we play a round of Slumber Party questions! For more info about this year's Vans Warped Tour, check out our post here: http://www.kgrg.com/2017/03/25/win-tickets-to-warped-tour/ Want to be a broadcaster on KGRG? Enroll in Green River College and be a part of the Broadcast Journalism program to learn how to do what we do live on the air! More info about classes here: www.kgrg.com/broadcast-journali…een-river-college/ Like, Share, Rate, and Review The Monday Project wherever you find it. We appreciate the feedback! Want to exchange #PodernFamily promo spots? How about iTunes reviews/ratings? If you review us, we'll review you AND read it on the air. E-Mail MMAD@KGRG.com for more information! [18 | 87]

That’s a reference to both a film starring Clint Eastwood and Jessica Walter and the NO ENCORE featured album review this week which, incidentally, kinda-sorta divides the room as Dave, Colm and Craig reconvene to make sense of all the music that’s fit to chat about. Also on the show – Elaine Mai drops by to […] La entrada NO ENCORE #054 | Play Misty For Me se publicó primero en Headstuff.

Romantic obsessions in horror movies (or, suspense-thrillers) is the topic of this captivating episode of “Boys and Ghouls”.  Listen in, as Kat and Marshall have a heart-to-heart about a few of the best movies to show what can happen when one person in the couple isn’t at a place in their own life to enter into a committed relationship, and the other is a genuinely crazy person with more knives than sense.   Together, they explore their feelings about the very creepy “The Collector”, featuring a young Terrance Stamp, and “Play Misty For Me”, Clint Eastwood’s directorial debut.   Going further, the duo takes a look at the consequences of 80’s infidelity in “Fatal Attraction”,  and the lovesick Gen X psychos of “The Crush” and “Fear”.  Then, finally, they explore being clingy in the the early age of the internet, with “Swimfan”.   If you have a heart beating in your chest (or, one in a jar on your desk) you’ll swoon for this desirable episode of wooing and wounding.   XOXOXOXO

« Nos deux héros jouent de la batterie dans des formations jazz. Xavier Rogé est notamment l’un des batteurs du célèbre Ibrahim Maalouf en dehors de ses nombreux projets comme son retour dans Aka Moon. L’autre Frank Sinatra alias Frankie Machine joue le rôle d’un batteur qui d’ailleurs se drogue plus qu’il ne joue. « L’homme au bras d’or » dans les yeux de Xavier Rogé se fait entendre par sa bouche dans Play Misty For Me ».

« Nos deux héros jouent de la batterie dans des formations jazz. Xavier Rogé est notamment l'un des batteurs du célèbre Ibrahim Maalouf en dehors de ses nombreux projets comme son retour dans Aka Moon. L'autre Frank Sinatra alias Frankie Machine joue le rôle d'un batteur qui d'ailleurs se drogue plus qu'il ne joue. « L'homme au bras d'or » dans les yeux de Xavier Rogé se fait entendre par sa bouche dans Play Misty For Me ».

Clint Eastwood nous raconte l’histoire, inspirée de faits réels, d’un pilote sauvant ses passagers d‘un crash et amené à se justifier dans un second temps face à une machine bureaucratique qui met en doute ses choix. Un tour de force technique, scénaristique et une vision rare de la ville de New York et de ses ouvriers, qui rappelle que chez Clint Eastwood la lecture politique n’est jamais très loin.Avec Thomas Rozec (@thomrozec), David Honnorat (@ImTheRookie), Rafik Djoumi (@RDjoumi), Stéphane Moïssakis et Julien Dupuy (@juldup)RÉFÉRENCES CITÉES DANS L’ÉMISSIONAmerican Sniper (Clint Eastwood, 2014), Impitoyable (Unforgiven, Clint Eastwood, 1992), Jugé coupable (True Crime, Clint Eastwood, 1999), Au-delà (Hereafter, Clint Eastwood, 2010), Une nouvelle chance (Trouble with the Curve, Clint Eastwood, 2012) et Le Stratège (Moneyball, Bennett Miller, 2011), L’inspecteur Harry (Dirty Harry, Don Siegel, 1971), Un monde parfait (A perfect world, Clint Eastwood, 1993)COUPS DE COEURRafik Djoumi : le film Les Proies de Don Siegel (1971) où Clint Eastwood est au somment de sa carrière d’acteur et qui, prenant à rebours ce qu’on sait de ses convictions personnelles conservatrices, réussit à livrer une performance pertinente et progressiste sur le féminisme.Stéphane Moïssakis : le premier film d’Eastwood en tant que réalisateur Un frisson dans la nuit (Play Misty For Me, 1971) et dans lequel il joue également, qui a initié l’idée du film Liaison fatale (Adrian Lyne, 1987)David Honnorat : le grand classique, Seul les anges ont des ailes avec Kary Grant (Howard Hawks, 1939) un film très héroïque sur les pionniers de l’aviation postaleJulien Dupuy : Firefox, l’arme absolue (Clint Eastwood, 1982) où le réalisateur montrait déjà un intérêt pour la technologie cinématographiqueCRÉDITSEnregistré le 24 novembre 2016 à l’Antenne Paris (10, rue la Vacquerie 11ème). Production : Joël Ronez. Moyens techniques : Binge Audio / L’antenne Paris. Réalisation : Jules Krot. Chargée de production et d’édition : Elsa Neves. Générique : "Soupir Articulé", Abstrackt Keal Agram (Tanguy Destable et Lionel Pierres). NoCiné est une production du réseau Binge Audio www.binge.audio.POUR ASSISTER AUX ENREGISTREMENTSProchain enregistrement en public le vendredi 16 décembre, à L'antenne Paris. Inscrivez-vous sur notre page bingeaudio.eventbrite.com See acast.com/privacy for privacy and opt-out information.

Hey, there film fans! Today we have a first timer for you at least in terms of directing. This week we’re reviewing the directorial debut of the great Clint Eastwood. We’re talking about Play Misty For Me, the 1971 thriller starring Eastwood himself along with the incomparable Jessica Walter. In this episode, we discuss the […] The post Play Misty For Me appeared first on Cult Film in Review.

Aujourd’hui dans Play Misty For Me, des histoires de Sax. Fabrizio Cassol tourne autour de Charlie Parker. Le saxophoniste issu de la scène belge, père, fils et frère d’Akamoon, belgo mondialo réputé, Fabrizio Cassol est l’invité qui nous invite. Il a vu Bird, puis nous l’avons vu. Cet homme à sa place qui inspire à trouver la sienne. Sobrement, autour d’une eau minérale, et sous une photo de Cédric Gerbehaye qui nous regarde en biais depuis la cheminée. Fabrizio Cassol, dans son canapé toute une heure durant délivre commentaires, anecdotes, musiques, émotions et pensées avec un sens affiné du sacré. www.playmistyforme.be

Aujourd'hui dans Play Misty For Me, des histoires de Sax.Fabrizio Cassol tourne autour de Charlie Parker. Le saxophoniste issu de la scène belge, père, fils et frère d'Akamoon, belgo mondialo réputé, Fabrizio Cassol est l'invité qui nous invite.Il a vu Bird, puis nous l'avons vu. Cet homme à sa place qui inspire à trouver la sienne. Sobrement, autour d'une eau minérale, et sous une photo de Cédric Gerbehaye qui nous regarde en biais depuis la cheminée. Fabrizio Cassol, dans son canapé toute une heure durant délivre commentaires, anecdotes, musiques, émotions et pensées avec un sens affiné du sacré.www.playmistyforme.be

On l'a rencontré au mythique Sunset Sunside à la rue des Lombards dans le 1er arrondissement de Paris. Dans le ventre de Paris, dans ce jazz club où les plus grands noms se sont succédés, Henri Texier raconte que 50 ans ont passé depuis qu'il a vu Shadows. Le film de Cassavetes, coup d'essai du maître, tourné en 59 dépeint un New York bohème qui déborde de jeunesse, décomplexée, aux idées larges sur les minorités. Henri Texier vs Shadows, c'est sur Play Misty For Me.

On l'a rencontré au mythique Sunset Sunside à la rue des Lombards dans le 1er arrondissement de Paris. Dans le ventre de Paris, dans ce jazz club où les plus grands noms se sont succédés, Henri Texier raconte que 50 ans ont passé depuis qu'il a vu Shadows. Le film de Cassavetes, coup d'essai du maître, tourné en 59 dépeint un New York bohème qui déborde de jeunesse, décomplexée, aux idées larges sur les minorités. Henri Texier vs Shadows, c'est sur Play Misty For Me.

To kick off our Hallowe'en-themed fright fest, this week's episode looks at THE BABADOOK (2014) and conveying traumatic experiences — and Sam gets lessons in horror cinema! Films recommended this week: THE OTHERS (2001) CABIN IN THE WOODS (2012) PLAY MISTY FOR ME (1971) LA MAISON ENSORCELEE 'THE WITCH HOUSE', or 'THE HAUNTED HOTEL'(1907) LE LOCATAIRE DIABOLIQUE example of Georges Méliès short (1909)

Thank you for dropping in here on my podcast. I really enjoy your company. I'm sitting here in my big, comfortable, black leather poppa chair in my living room trying to figure out how to explain why a guy wants to become a disc jockey, because I have to tell you about a wonderful thing that happened to me. Clint Eastwood understood that guys want to become disc jockeys mainly to get girls. That's why he loved starring in and directing "Play Misty For Me" all those years ago. If you're too young to remember, Jessica Walter was the young lovely, purring on the phone… "Dave, please play Misty for me." Every time the request line rings (it doesn't actually ring, it lights up), every disc jockey I've ever known gets a quick vision of a scantily clad young lovely, slowly flexing her long, tapered legs and licking her lips, just waiting to breathe her request into his ear. There is no other reason for a young guy to want to become a disc jockey. Until you get to the big time, the money stinks. Especially for a late night disc jockey. And the amazing thing is that often the vision of the lady involved is reasonably accurate. Not always, but more often than you might think.

Thank you for dropping in here on my podcast. I really enjoy your company. I'm sitting here in my big, comfortable, black leather poppa chair in my living room trying to figure out how to explain why a guy wants to become a disc jockey, because I have to tell you about a wonderful thing that happened to me. Clint Eastwood understood that guys want to become disc jockeys mainly to get girls. That's why he loved starring in and directing "Play Misty For Me" all those years ago. If you're too young to remember, Jessica Walter was the young lovely, purring on the phone… "Dave, please play Misty for me." Every time the request line rings (it doesn't actually ring, it lights up), every disc jockey I've ever known gets a quick vision of a scantily clad young lovely, slowly flexing her long, tapered legs and licking her lips, just waiting to breathe her request into his ear. There is no other reason for a young guy to want to become a disc jockey. Until you get to the big time, the money stinks. Especially for a late night disc jockey. And the amazing thing is that often the vision of the lady involved is reasonably accurate. Not always, but more often than you might think.

In this week's episode, Simon and Keith go ahead and make your day by talking about Clint Eastwood. Known for his roles as the MAN WITH NO NAME and DIRTY HARRY, Clint Eastwood made the jump from actor to director (stating SERGIO LEONE and DON SIEGAL as his mentors) and has gone on to make some really great films. It was a hard job, but we were able to find our picks in the end. The films under discussion are PLAY MISTY FOR ME, THE OUTLAW JOSEY WALES, SUDDEN IMPACT and THE ROOKIE. Movie Heaven Movie Hell is a show where filmmakers Simon Aitken (BLOOD + ROSES, POST-ITS, MODERN LOVE) and Keith Eyles (FEAR VIEW, DRIVEN INSANE, CROSSED LINES) go through the A-Z of directors. Simon and Keith talk about their favourite and least favourite film from that director's body of work. Like our Facebook Fanpage at https://www.facebook.com/MovieHeavenMovieHell You can follow Movie Heaven Movie Hell on Twitter at @MovieHeavenHell You can find Simon Aitken's work at http://www.independentrunnings.com You can find Keith Eyles' work at https://www.youtube.com/channel/UCQ4up3c883irE6oA2Vk0T7w

James McEachin is a guest we're honored to have for Veteran's Day.Because even though this acclaimed actor has appeared in over 150 television programs & motion pictures alongside Clint Eastwood, John Wayne, Bette Davis, and Henry Fonda--he lists his military service as his proudest achievement.And his story of service is truly unique. Severely wounded in Korea, he'll tell the story of receiving a Purple Heart and Silver Star some fifty years later. And, he'll tell how that story influenced his incredible new film project, The Purple Heart.He even shares a few readings from the screenplay for the film. One listen, and there'll be no doubt Mr. James McEachin has major acting skills. His appearances include Hawaii Five-O, The Rockford Files, Mannix, All In The Family, Dragnet, Adam-12, Tenafly, Play Misty For Me, Sudden Impact, and those are just a very few. (And we'll also discuss his record producing career, including working with a young Otis Redding.)We'll talk about the distinguished military service and acting career of James McEachin on this very special Veteran's Day episode.

A fine oo-de-lally to you, friends, as Robin Hood and Little John would say. Yes, those two scoundrels and some of their friends are at the center of this week's new Mousterpiece Cinema, which is all about the 1973 Disney animated film Robin Hood. Josh, in the past, hasn't made any bones about the fact that he's not too hot on this adventure, but Gabe and return guest Alexander Huls both have nostalgic love for this movie, even if they don't have nostalgic love for the song "Love," which is also from this movie. (In fact, Gabe chose to compare that scene to, of all things, Play Misty For Me.) Has Josh softened on the film or is he put off by a potential laziness in the storytelling and animation? Or have Gabe and Alex hardened a bit? And how early does Alex's pet peeve of whistling get brought up? Listen to the show to find out!

After two weeks in the trenches, Manny escapes the front lines of academia to the relative safety of the Ring Room. He is de-briefed over cocktails. Topics include textbook fever, fresh talent, campus fashion trends, a towel, 1970's TV detectives, making a new friend, the Geraniums' triumphant return, a senatorial encounter, stadium justice, the Stalker File, Play Misty For Me, desperate measures, Amy Winehouse, Intervention, blood test results, and much more. Subscribe, review, and rate on Apple Podcasts.