American film director, producer, and actor
Once upon a midnight dreary... we celebrated Edgar Allan Poe by ranking Roger Corman's Poe cycle! Daniel is joined by independent writer/director Ansel Faraj to discuss Corman's eight Poe adaptions and rank them along the way. Email the show at firstname.lastname@example.org to let us know your ranking! Hollinsworth Productions Ansel Faraj on IMDB Cobwebs on Twitter: @cobwebspod Daniel on Twitter: @eplerdaniel Daniel on Letterboxd: @Dan_Epler Ansel on Instagram: @ahfdvds www.cobwebspodcast.com
My guest this week is comedian Reuben Wolf! Watch Reuben's special on YouTube (google Reuben Wolf YouTube). What is Reuben's problem with Plastic Man? Has everybody taken a comic book class except for Brett? What's the deal with Spawn? What happens when the creator of a property leaves? What happened to Spawn when Todd McFarlane left? Who is Brett's favorite Spider-Man artist? What happened when Steve Ditko left Spider-Man? How did Spawn's art style change? What did Brett and Reuben think of Roger Corman's Fantastic Four? Who would win in a fight, Martian Manhunter or Hannibal Lecter? Why wouldn't Reuben want to write for Saturday Night Live? What does Brett think of the Snyder Cut? How about the Joss Whedon Justice League? Why hasn't Brett seen Steel? What is the highest Tomatometer score for a comic book movie? When did our era of comic book movies start - 2000 or 2008? What helped comic book movies get good? Reading list: JLA - Tower of Babel; Spider-Man; Spawn Collection, Vol. 1; Superman Vs. Muhammed Ali; Batman Vs. The Hulk; Spider-Man Vs. Superman Recorded 9-17-22 via Zencastr
What's more believable, that Robert Vaughn is a caveman or that he is a teenager? Joseph Schultz joins Derek this week on the podcast to discuss 1958's Teenage Cave Man (dir. Roger Corman). Plus Kenny's Look at Famous Monsters of Filmland, Mark Matzke's Beta Capsule review, and some Listener Feedback! Voicemail: (360) 524-2484 Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeMonsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Monster Kid Radio Amazon Wishlist - Monster Kid Radio on TeePublic - Next time on Monster Kid Radio: Stay tuned! All original content of Monster Kid Radio by is licensed under a .
Hey, y'all! Politicians are sometimes in movies and, when we need a break, we watch them.For this episode of Gadfly Movie Night we are discussing Deathstalker and the Warriors from Hell starring former US Ambassador to Denmark and 2022 Pennsylvania Senate candidate Carla Sands.We've also brought in a couple of guests to help us out: editor of this very podcast Brianna Valentine and indigenous playwright Dillon Chitto.
Sean tries to rack up as many points as he can mowing down pedestrians in the Death Race 2000 (1975), a satiric, dystopian futuristic racing movie produced by Roger Corman and directed by Paul Bartel (so you can be sure Mary Woronov is in the cast). Sylvester Stallone also co-stars as a team of racers who try to beat top scorer Frankenstein (David Carradine) in a trans-continental death race. Listen as we careen off the road into sidebars about bare-assed acting scenes, propaganda clones, Looney Tunes, and the practicality of "wetting it down" down on this week's exciting episode! Hosted on Acast. See acast.com/privacy for more information.
She's a regular participant in the Monster Kid Movie Club on Twitch, and this week, Pamela the Kaijuqueeeen joins the podcast. Plus Kenny's Look at Famous Monsters of Filmland and Mark Matzke's Beta Capsule review! Voicemail: (360) 524-2484 Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeMonsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Mothman Festival - Monster Kid Radio Amazon Wishlist - Creatures Con - John Stanley - Monster Kid Radio on TeePublic - Next time on Monster Kid Radio: Teenage Caveman (dir. Roger Corman) with Joseph Schultz All original content of Monster Kid Radio by is licensed under a . Lava lamp?
Welcome back to Morgan Hasn't Seen with Jeannine Brice & Morgan Robinson!! Moving from meta slashers to delightfully campy musicals for this week's Horror Comedy as Morgan checks a rather notable movie musical off his list; he and Jeannine are here this week talking a movie adapted from a stage musical that was adapted from a Roger Corman movie in the early 1960s, Frank Oz's LITTLE SHOP OF HORRORS (1986) starring Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin and the one and only Audrey II!! Our Youtube Channel for Monday Madness on video, Watchalongs, Live Discussions & more: https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow Donate: https://www.buymeacoffee.com/ItsAWonderful1 Join our Patreon: https://www.patreon.com/ItsAWonderful1 IT'S A WONDERFUL PODCAST STORE: https://its-a-wonderful-podcast.creator-spring.com/ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: https://twitter.com/ItsAWonderful1 Morgan: https://twitter.com/Th3PurpleDon Jeannine: https://twitter.com/JeannineDaBean Keep being wonderful!! --- Send in a voice message: https://anchor.fm/itsawonderfulpodcast/message Support this podcast: https://anchor.fm/itsawonderfulpodcast/support
On this special Freakshow "Sideshow" episode, we flashback to 2015 when our pal Roger Corman sat down with Charlie for an on-camera conversation about their mutually crazy careers, an encounter that was released on DVD and streaming as KINGS OF CULT, presented here now in audio format for the first time. It's a fun, informative precursor to Roger's recent appearance on the Freakshow and hey, we ALL need more Roger Corman in our lives, don't we?
On this Tuesday edition of Drive-In Double Feature Podcast, Nathan and Ryan talk about the 1979 Roger Corman produced, Lady in Red. https://twitter.com/didfpod https://www.patreon.com/driveindoublefeaturepodcast and email us at: email@example.com
Is it your dream to direct on an LED stage (like The Mandalorian)? How do you choose between LED wall and green screen? How do you know what to prep before you go to set? How do you decide the shots you can lose to save money on VFX later? What about using the tech for your driving scenes so you don't have to take it to the streets? Can all of this help you shoot your low budget sci-fi or make it harder? Let's talk VFX tech and what you need to know before you get to set. Filmmaker Marco Ragozzino shares his experience working in VFX and how you can make your film happen, even if you don't have a big budget. More importantly, he'll share what you need to know to be hired to direct these VFX shows. Those questions and more will be answered on this episode of The Working Director. Hosted by Director/Producer Jenn Page. To join our private FB group for directors, or to learn about The Working Director accelerator that helps emerging filmmakers become working directors faster, visit TheWorkingDirector.Pro. Marco Ragozzino Bitten by the filmmaking bug at an early age, Marco Ragozzino grew up making all kinds of weird and imaginative short films using whatever tools were available at the time - VHS cameras, scale models, and classmates willing to lend a hand. From there, Marco went on to study film & animation at the School of Visual Arts in New York City, eventually relocating to Los Angeles upon graduation. His interest in creating wild and whimsical worlds, in addition to needing a regular paycheck, led him down the path of Visual Effects production. He has produced visual effects for sequences in films and TV shows such as Ready Player One, Men in Black: International, IT: Chapter 2, the Mandalorian and the upcoming "Aquaman and the Lost Kingdom" (Warner / DC) and Slumberland (Netflix). His filmmaking heroes include DIY mavericks such as Roger Corman, Lloyd Kaufman, and George Lucas. Links: Website: marcovisionstudios.com IG: @marcovisionstudios --- Send in a voice message: https://anchor.fm/theworkingdirector/message
Happy Monday Goons and welcome to our first official Back To School episode of Slashers Podcast during spooky season September! Today Ade, Doug, Mikey and Jason go head-to-head to discuss the titular driller killer, phallic nightmare that is Slumber Party Massacre, both old and remake! Listen as we discuss the surprisingly feminist themes of 1982's Roger Corman's Slumber Party Massacre. The film was written by Rita Mae Brown and directed by Amy Holden Jones - both women! However, some may view it as exploitative, so find out why we don't see it as just that. Syfy Channel's 2021 remake of the same name plays on that exploitative trope, as it switches gears and shows off the boys' bodies this time, but still preserves the dark humor and turns the franchise on its head. All in all, we find it a solid remake/reboot, so listen in to find out why. What are your thoughts on this one? Does Slumber Party Massacre from 1982 still hold up for you today? Do you think the remake is garbage? Let us know in the comments!!! If you ever have feedback or recommendations on future episodes, please let us know at firstname.lastname@example.org. You can always find us on our social media: Instagram, Twitter, Slasher App: @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast You can find our merch, and links to all our online presence here: linktr.ee/slasherspod Theme song is I wanna Die by Mini Meltdowns. https://open.spotify.com/artist/5ZAk6lUDsaJj8EAhrhzZnh ; https://minimeltdowns.bandcamp.com/ --- Support this podcast: https://anchor.fm/slasherspod/support
In 1994 we got Fantastic Four. No, not the unrealsed Roger Corman film, the animated series! Based on Marvel's comic book series of the same name, Fantastic Four is the third animated series featuring Marvel's first family. Luke and Nathan stretch their viewing muscles to revist the 26 episodes of the series which is visible right now on Disney+. When Reed Richards, Sue and Johnny Storm and pilot Ben Grimm take a premature space flight on a new shuttle, they find themselves massively bombarded with cosmic radiation. Barely managing to re-enter and land safely, the quartet find themselves forever transformed with superpowers. Deciding to use these new powers to help people, they form the Fantastic Four, a superhero team dedicated to the protection of Earth from menaces like the Latverian King Dr. Doom and Galactus, the planet consumer.
Thanks to Oscar-level Patreon member Johnzilla, this month is all about dinosaurs! We're kicking things off the only right way, which is to discuss the Roger Corman production CARNOSAUR, which was rushed into production to compete with Jurassic Park, complete with Laura Dern's mom as the villain! Love the Podcast? Leave us a review! Follow Alternate Ending on Twitter and Instagram Follow Brennan on Twitter, Instagram, and Letterboxd Follow Tim on Letterboxd Support Alternate Ending and check out our member perks, including voting for the films we cover on this program, via the Alternate Ending Patreon page!
From the second half of our second episode — initially made available to our subscribers and patrons on December 11, 2020 — we discuss Edgar Allen Poe's The Masque of the Red Death and Roger Corman's 1964 film adaptation, in light of then-president Donald Trump catching Covid. We also read a few more answers from the Irrealist Workers Survey and riffed a bit about how the goths were right about (almost) everything. Discussion includes: “The Masque of the Red Death,” by Edgar Allen Poe * The Masque of the Red Death, written by Charles Beaumont and R. Wright Campbell, adapted from Poe's story, directed by Roger Corman * “Hop-Frog,” by Edgar Allen Poe Locust Radio Episode 2.5 was produced by Drew Franzblau and hosted by Alexander Billet, Tish Markley and Adam Turl. Music by Omnia Sol.
How much monster does $150 get you? Find out in this episode of Monster Kid Radio when ' Tom Gurganus joins him to discuss Roger Corman's Creature from the Haunted Sea! Plus Kenny's Look at Famous Monsters of Filmland and Mark Matzke's Beta Capsule review! Voicemail: (360) 524-2484 Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeMonsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Follow Tom Gurganus Go Forth and Game - Monster Kid Radio Amazon Wishlist - Monster Kid Radio on TeePublic - Next time on Monster Kid Radio: Gamera vs. Gyaos (dir. Noriaki Yuasa) with Bryan Clark All original content of Monster Kid Radio by is licensed under a .
It's time for the end of Season 7 of the podcast and I'm looking at the Vincent Price classic The Pit and the Pendulum! Will terror overtake me? Can I expect the Spanish Inquisition? What is with all these frilly clothes? Find out by listening to a brand new episode of the Terrible Terror Podcast!If you can donate: https://www.kidsrockcancer.org/SIPNetwork:Web: http://sipnet.usTwitter: https://www.twitter.com/NetworkSIPInstagram: SIPNetworkTerrible Terror:Facebook: https://facebook.com/terribleterrorpodcastInstagram: https://instagram.com/terribleterrorpodcastTwitter: https://twitter.com/t00lbertYouTube: Terrible Terror PodcastTwitch: https://twitch.tv/terribleterrorsCheck out the Terrible Terror Store On TeePublic! The new Corn Tree design is now available:http://tee.pub/lic/e7et5lQSSbw
In Attack of the Monster Musical: A Cultural History of Little Shop of Horrors (Bloomsbury, 2022), Adam Abraham chronicles the history of this hit musical. Starting with the story of Roger Corman's 1960s movie that was shot in two days with a budget of $30,000, and largely forgotten, Abraham details how two decades later Little Shop of Horrors opened Off-Broadway and became a surprise success. Abraham relates the Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. At the core of this in-depth study is the collaboration between the show's creators, Howard Ashman and Alan Menken. Told through archival research and eyewitness accounts, this is the first book to make extensive use of Ashman's personal papers, offering a unique and inspiring study of one of musical theatre's greatest talents. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Drive-in theaters are a rare, retro throwback to the golden age of cinema. Join the Watching Wyrd team this week as we go back in time to movies we should have seen at the Drive-In. Southern Comfort is a 1981 American thriller film that stars Keith Carradine, Powers Boothe, Fred Ward, T. K. Carter, Franklyn Seales and Peter Coyote. The film, set in 1973, features a Louisiana Army National Guard squad of nine from an infantry unit on weekend maneuvers in rural bayou country as they antagonize some local Cajun people and become hunted. Death Race 2000 is a 1975 American science fiction action film produced by Roger Corman, directed by Paul Bartel, and starring David Carradine. The film takes place in a dystopian American society in the year 2000, where the murderous Transcontinental Road Race has become a form of national entertainment. Twister is a 1996 American epic disaster film directed by Jan de Bont from a screenplay by Michael Crichton and Anne-Marie Martin. It was produced by Crichton, Kathleen Kennedy and Ian Bryce, with Steven Spielberg, Walter Parkes, Laurie MacDonald, and Gerald R. Molen serving as executive producers. The film stars an ensemble cast that includes Helen Hunt, Bill Paxton, Jami Gertz, Cary Elwes, Philip Seymour Hoffman, Alan Ruck, Todd Field, and Jeremy Davies as a group of amateur but spirited storm chasers trying to deploy a tornado research device during a severe outbreak in Oklahoma. Twister was officially released in theaters on May 10, 1996. Smokey and the Bandit is a 1977 American road action comedy film starring Burt Reynolds, Sally Field, Jackie Gleason, Jerry Reed, Pat McCormick, Paul Williams and Mike Henry. The directorial debut of stuntman Hal Needham, the film follows Bo "Bandit" Darville (Reynolds) and Cledus "Snowman" Snow (Reed), two bootleggers attempting to illegally transport 400 cases of Coors beer from Texarkana to Atlanta. While the Snowman drives the truck carrying the beer, the Bandit drives a Pontiac Trans Am to distract law enforcement (called blocking) and keep the attention off the Snowman. During their run, they are pursued by Texas county sheriff Buford T. Justice (Gleason). Live Stream Thursdays at 10 pm EST/7 pm PST On Wyrd Realities Facebook, Twitter, and YouTube You can find us at linktr.ee/ wyrdrealities www.wyrdrealities.net --- Send in a voice message: https://anchor.fm/wyrd-realities/message Support this podcast: https://anchor.fm/wyrd-realities/support
And now for something completely different! Richard, Matt, and Jeff are doing a weekly television show on Tingler Television and this is the never aired and possibly never will be aired pilot episode and its all about Roger Corman and Dinosaurs.... Sponsored By @southland_dungeon www.southlandbooksandcafe.com @nightofthenerdylaser on INSTAGRAM @notnlpod on the Twitter machine Email us @ email@example.com Hosts: Richard, Matt, & Jeff www.frankencontn.com @frankencontn on Instagram, Twitter, & Facebook
In Attack of the Monster Musical: A Cultural History of Little Shop of Horrors (Bloomsbury, 2022), Adam Abraham chronicles the history of this hit musical. Starting with the story of Roger Corman's 1960s movie that was shot in two days with a budget of $30,000, and largely forgotten, Abraham details how two decades later Little Shop of Horrors opened Off-Broadway and became a surprise success. Abraham relates the Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. At the core of this in-depth study is the collaboration between the show's creators, Howard Ashman and Alan Menken. Told through archival research and eyewitness accounts, this is the first book to make extensive use of Ashman's personal papers, offering a unique and inspiring study of one of musical theatre's greatest talents. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
In Attack of the Monster Musical: A Cultural History of Little Shop of Horrors (Bloomsbury, 2022), Adam Abraham chronicles the history of this hit musical. Starting with the story of Roger Corman's 1960s movie that was shot in two days with a budget of $30,000, and largely forgotten, Abraham details how two decades later Little Shop of Horrors opened Off-Broadway and became a surprise success. Abraham relates the Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. At the core of this in-depth study is the collaboration between the show's creators, Howard Ashman and Alan Menken. Told through archival research and eyewitness accounts, this is the first book to make extensive use of Ashman's personal papers, offering a unique and inspiring study of one of musical theatre's greatest talents. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture
In Attack of the Monster Musical: A Cultural History of Little Shop of Horrors (Bloomsbury, 2022), Adam Abraham chronicles the history of this hit musical. Starting with the story of Roger Corman's 1960s movie that was shot in two days with a budget of $30,000, and largely forgotten, Abraham details how two decades later Little Shop of Horrors opened Off-Broadway and became a surprise success. Abraham relates the Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. At the core of this in-depth study is the collaboration between the show's creators, Howard Ashman and Alan Menken. Told through archival research and eyewitness accounts, this is the first book to make extensive use of Ashman's personal papers, offering a unique and inspiring study of one of musical theatre's greatest talents. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In Attack of the Monster Musical: A Cultural History of Little Shop of Horrors (Bloomsbury, 2022), Adam Abraham chronicles the history of this hit musical. Starting with the story of Roger Corman's 1960s movie that was shot in two days with a budget of $30,000, and largely forgotten, Abraham details how two decades later Little Shop of Horrors opened Off-Broadway and became a surprise success. Abraham relates the Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. At the core of this in-depth study is the collaboration between the show's creators, Howard Ashman and Alan Menken. Told through archival research and eyewitness accounts, this is the first book to make extensive use of Ashman's personal papers, offering a unique and inspiring study of one of musical theatre's greatest talents. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
In Attack of the Monster Musical: A Cultural History of Little Shop of Horrors (Bloomsbury, 2022), Adam Abraham chronicles the history of this hit musical. Starting with the story of Roger Corman's 1960s movie that was shot in two days with a budget of $30,000, and largely forgotten, Abraham details how two decades later Little Shop of Horrors opened Off-Broadway and became a surprise success. Abraham relates the Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. At the core of this in-depth study is the collaboration between the show's creators, Howard Ashman and Alan Menken. Told through archival research and eyewitness accounts, this is the first book to make extensive use of Ashman's personal papers, offering a unique and inspiring study of one of musical theatre's greatest talents. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
We are joined by legendary filmmaker, Joe Dante, who directed movies like Gremlins, The Howling, and Innerspace. A true cinephile, Joe shares his experiences of working with great collaborators such as Spielberg and Corman. He also explains that while filmmaking has changed since he started, newer filmmakers still have the opportunity to create great films. In this episode, we talk about… Working for Roger Corman at the beginning of Joe's career How Joe first became a “film nut” The influence cartoons had on his films Adding his naturally fragmented personality to each of his films When working on studio films, it can be difficult to be expressive Exposing more people to great films that are underappreciated or underseen New filmmakers can accomplish a lot, even with little financial resources Mentioned in the episode: Trailers from Hell Joe's Podcast - The Movies That Made Me Joe's Curated List of Monstrous Mayhem - September 3 on Shout Factory TV Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing firstname.lastname@example.org! Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices
In today's episode of The Discourse, host Mike DeAngelo goes back in time to explore all of the nooks and crannies of filmmaker Joe Dante's film career with the director himself, who is currently out promoting his Scream Factory and Shout Factory TV takeover entitled, “Joe Dante's Film Inferno.” During the takeover, Dante will introduce and guide you through 7 underrated classic feature films from the Shout Factory/Scream Factory catalog, including films like Roger Corman's “Attack of the Crab Monsters,” William Castle's “House on Haunted Hill,” and more. Dante discussed the origins of "Gremlins" (meant to be a low-budget horror at first before Steven Spielberg got eyes on it) and a bunch of projects that almost happened, like his unproduced “Jaws” sequel, his “Halloween III” and even his version of “Batman” before Michael Keaton and Tim Burton were brought on. Remember to check out more stories, news, reviews, interviews, and more at ThePlaylist.net, subscribe to our newsletter, and check out more of our Playlist Podcast interviews here. --- Send in a voice message: https://anchor.fm/theplaylist/message Support this podcast: https://anchor.fm/theplaylist/support
This week's guest got his start - as so many other great talents did - working for Roger Corman during the heyday of New World Pictures, first with the spastic comedy HOLLYWOOD BOULEVARD and later with the ferocious Killer fish classic PIRANHA. He chased this early success with 1981's THE HOWLING, widely considered the greatest werewolf movie ever made. And then came GREMLINS in 1984, the blockbuster film that almost single handedly spurred on the invention of the PG-13 rating. He's one of the greatest horror and weird fantasy directors in history, he's Joe Dante and we are honored to have him in the Freakshow!
Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. 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/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts. Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne. Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin. He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller, because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch
You know what you miss when you don't go to Monster Bash? Amazing Q&As with amazing Bash guests! This week, we give you another taste of what you can expect at any Monster Bash with a Q&A with the late Kris Yeaworth! RIP. Plus Kenny's Look at Famous Monsters of Filmland and Mark Matzke's Beta Capsule review! Voicemail: (360) 524-2484 Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeMonsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Monster Kid Radio Amazon Wishlist - Cinemassacre's Why is There Cardboard in Dracula? - Monster Kid Radio on TeePublic - "Just Another Surf Song" - The Dwellers Spaghetti Records Next time on Monster Kid Radio: Creature from the Haunted Sea (dir. Roger Corman) with Tom Gurganus All original content of Monster Kid Radio by is licensed under a .
THIS EPISODE, Treksperts MARK A. ALTMAN (author, The Fifty Year Mission, writer/producer, Pandora, Agent X, The Librarians) and DAREN DOCHTERMAN (vfx producer, Star Trek: The Motion Picture - Director's Edition) continue their celebration of the 40th anniversary of THE WRATH OF KHAN with the Reliant's genetically enhanced super navigator, LAURA BANKS. Immortalized in Time Magazine as Khan's Pet in the first image released from the film in 1981, Banks shares her candid memories of working on The Wrath Of Khan, Nick Meyer, meeting Bill Shatner at 1982's Ultimate Fantasy Convention, working in B-Movies for Roger Corman, rebuffing the overtures of Jack Nicholson and being the captain's woman... and liking it. Banks new book "Close Encounters With Captain Kirk and The Making Of The Wrath Of Khan" comes out this month and you can find out more at laurabanks.com... and after hearing this episode, you know you'll want it. Don't miss the Trreksperts as they beam down to CREATION'S STAR TREK LAS VEGAS CONVENTION August 25 - 28th. For more information, visit creationent.com. Special Guest: legendary triviamaster (and Organian) RAFE NEEDLEMAN! NEXT WEEK: The fourth season of finale of INGLORIOUS TREKSPERTS in the super-sized STARSHIP SMACKDOWN 2022 REDUX. Don't miss our last episode of season four before we conclude our five year mission next season. Learn all that is learnable about Star Trek in Mark A. Altman & Edward Gross' THE FIFTY-YEAR MISSION, available in hardcover, paperback, digital and audio from St. Maritn's Press. And if you're a James Bond fan, don't miss NOBODY DOES IT BETTER, in hardcover, paperback, digital and audio from Forge Books. And don't miss SECRETS OF THE FORCE, the definitive unauthorized, uncensored oral history of STAR WARS, now available in hardcover, digital and audio!! And this summer, it's THEY SHOULDN'T HAVE KILLED HIS DOG, the complete oral history of John Wick, Gun-Fu and The New Age of Action in hardcover and digital. Follow Inglorious Treksperts at @inglorioustrek on Twitter, Facebook and at @inglorioustreksperts on Instagram. And now follow the Treksperts Briefing Room at @trekspertsBR, an entirely separate Twitter & Instagram feed. "Mark A. Altman is the world's foremost Trekspert" - Los Angeles Times #StarTrek #TOS #TAS #TNG #DS9 #VOY #ENT #DISCO #PICARD #LLAP #comics #IDW #Marvel #DC #GoldKey #Discovery #DeepSpaceNine #STTMP #StarWars #CaptainPike #StrangeNewWorlds #55YearTour #casting #ST55 #StarTrek55 #TheCage #StrangeNewWorlds #SNW #Voyager #Janeway #Enterprise #TheSearchForSpock #StarTrekIII #BSG #TMP #Trekkies During the pandemic, we are still recording remotely and not in the studio. As a result, the quality of the audio may not be up to our usual high standards. We trust you will nursemaid us through these difficulties. Please stay healthy and safe... and keep on Trekkin' - ingloriously, of course!
Created in the style of Ed Wood and Roger Corman, It Came from Somewhere is a new, original feature length horror film that looks like it was created in the 1950s. Delivered in black & white, 4x3 aspect ratio, made to look dated. Of course, there is a creature, a spaceship, aliens and many terrified characters, perhaps you can be one of them! We have Ann Myrna how is both producing and acting in this film and Steve Hermann writer and director. We are talking with them about the film It Came from Somewhere and other projects. We hope you enjoy this episode of Same Cast Different Day Podcast link to It Came from Somewhere IndieGoGo It Came from Somewhere creature feature 1950s film | Indiegogo Socials Same Cast Different Day Podcast | Facebook Same Cast Different Day Pod (@scddpodcast) TikTok | Watch Same Cast Different Day Pod's Newest TikTok Videos Same Cast DFNT Day Podcast (@scddpodcast) • Instagram photos and videos Deals Online Shopping Store - Habits 365 Use code Anthony4 for 20% off REPP Sports Supplements and Nutrition Use code Martel1 for 5% off --- 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/same-cast-different-day/message Support this podcast: https://anchor.fm/same-cast-different-day/support
In many ways, the story of Francis Ford Coppola in the 1960s is a true parallel to the story of the dissolution and subsequent restructuring of Hollywood throughout the decade. Coppola got into the film industry quickly after graduating college, he started in nudie flicks and worked his way up through various low budget Roger Corman pictures. After earning his MFA in film from UCLA in 1967, he graduated to working on blockbusters – only to find himself drawn to a style of independent film later known as New Hollywood. In this episode, Bart and Jenna pinpoint what it is about Francis Ford Coppola that's continually inspirational, and debate which of his many masterful films are their favorites - but then remember they're supposed to be talking about all his ‘60s juvenilia instead. Listen as they brave a handful of lighthearted nudie flicks, mediocre genre cash-ins, a couple of fascinating failures and one genuinely great film. The following films are discussed:• Tonight for Sure (1962) Directed by Francis Ford Coppola & Jerry Schafer Starring Karl Schanzer, Don Kenney, Marli Renfro• The Bellboy and the Playgirls (1962) Directed by Francis Ford Coppola & Fritz Umgelter Starring June Wilkinson, Don Kenney, Karin Dor• Battle Beyond the Sun (1962) Directed by Mikhail Karyukov and Aleksandr Kozyr & Francis Ford Coppola Starring Ivan Pereverzev, Aleksandr Shvorin, Konstantin Bartashevich• The Terror (1963) Directed by Roger Corman & Monte Hellman & Francis Ford Coppola & Jack Hale & Dennis Jakob & Jack Nicholson & Jack Hill Starring Boris Karloff, Jack Nicholson, Sandra Knight• Dementia 13 (1963) Directed by Francis Ford Coppola Starring Luana Anders, Bart Patton, Patrick Magee• You're a Big Boy Now (1966) Directed by Francis Ford Coppola Starring Peter Kastner, Elizabeth Hartman, Geraldine Page• Finian's Rainbow (1968) Directed by Francis Ford Coppola Starring Fred Astaire, Petula Clark, Tommy Steele• The Rain People (1969) Directed by Francis Ford Coppola Starring James Caan, Shirley Knight, Robert Duvall
Join Scott for the latest edition of the official Talking Pictures TV podcast, the show dedicated to the UK's favourite archive tv and movie channel. This week, we have naval nonsense with David Tomlinson, Hammer glamour with Ingrid Pitt and classic BBC drama set on the high seas. There's a slice of chilling Edgar Allen Poe horror directed by the legendary Roger Corman, and James Mason takes us on a tour of London that nobody knows.
On this show, our specialty is sequels, sequels, and more sequels. From the good ones, to the bad ones, to the really ugly ones, we'll be covering them all! We've got homicidal maniacs that won't stay in the grave, sci-fi epics whose stories cannot be told in a single tale, and much much more. For our 17th episode, we are covering a deep dive first ever PART THREE review from legendary producer Roger Corman with the science fiction action romp "CARNOSAUR 3: PRIMAL SPECIES." Starring Scott Valentine (Black Scorpion series, My Demon Lover, To Sleep With A Vampire and Family Ties) and directed by Jonathan Winfrey (Bloodfist 7, Black Scorpion 1 & 2, Excessive Force 2) so you just know it's a sequel in good standing. In this creatures run amok action adventure, that's part Jurassic Park, with a dash of Aliens, and a sprinkle of Predator for good measure; a group of terrorists get a big surprise when their cargo turns out to contain living dinosaurs. Join our host Cameron Scott (Parallels, Blood Moon River, Post Mortem America 2021) and returning guest co-host Scott Tepperman (Ghost Hunters International, Cruel Summer, Nightblade), for the first ever third chapter in a franchise review on Sequel Too, Deja Vu! "Well, if you pass out on me now, you're dead!"
Despite having this in his physical media collection for decades, Derek only just watched 1931's Drácula (dir. George Meford) for a first time a few years ago. And he loved it. You know who else loves it? This week's guest. Ricardo Deglado joins the show this week to talk about Dracula, Drácula, and so much more. Plus Kenny's Look at Famous Monsters of Filmland and Mark Matzke's Beta Capsule review! Voicemail: (360) 524-2484 Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeMonsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Monster Kid Radio Amazon Wishlist - Cinemassacre's Why is There Cardboard in Dracula? - Monster Kid Radio on TeePublic - Next time on Monster Kid Radio: Creature from the Haunted Sea (dir. Roger Corman) with Tom Gurganus All original content of Monster Kid Radio by is licensed under a .
When we saw this was playing at a local theater, we bent the rules so we could take in the story of how punk rock blew up a high school, thanks to the Ramones. A goofy, campy teensploitation movie produced by the great Roger Corman, this episode has everything from both Mary *and* Dennis singing, to an interview with the program director of the Ambler Theater, to a celebration of grindhouse, red-shifted film stock, and rock and roll.
Behind Screams Mick Strawn Get M.A.D. with Chris Graves 8-14-2022 Mick StrawnMICK STRAWNArt Director, Production Designer & AuthorMick Strawn designed either the effects or the sets of some of your favorite 80s and 90s horror and fantasy films. From the roller coaster originality of the sets in A Nightmare on Elm Street 3 and 4 to the Dark horror of Leatherface. From the futuristic low-budget retro look of Corman's Fantastic Four to the adventures of Hercules, Mortal Kombat, and the town of Grovers Bend from Critters 2. Tales from the Darkside, Ouija Board, The Kindred, Blade, Night of the Scarecrow, the list goes on and on.He is appearing Oct. 21st - 23rd in Lexington KY: https://scarefestweekend.com/home/guests/Mick Strawn Returns for Scarefest 2022 NOES Reunion https://scarefestweekend.com/mick-strawn-returns-for-scarefest-2022-noes-reunion/?utm_source=ReviveOldPost&utm_medium=social&utm_campaign=ReviveOldPost&fbclid=IwAR1S9uauT1f3mee1hLhlEawKsmRso0CZiK7GpjVIXi-yjUqnFWIYdnpLb9gFacebook: https://www.facebook.com/mick.strawn.3Mick IMDB page: https://www.imdb.com/name/nm0833954/Behind the Screams: The Dream Masters Revealed https://en.wikipedia.org/wiki/Behind_the_ScreamsDream Warrior Review with Mick Strawn and Kurt Thomas https://podcasts.apple.com/in/podcast/dream-warrior-review-with-mick-strawn-and-kurt-thomas/id1291824866Mick Strawn on A Nightmare on Elm Street 3 and 4 and Behind the Screams https://wickedhorror.com/features/interviews/mick-strawn-behind-screams/ https://www.hellboundhorror.com/product/book-behind-the-screams-the-dream-masters-revealed/219Astar the Robot from Planet Danger, was a popular Canadian safety PSA by the War Amps of Canada that aired from 1984-1994: https://www.youtube.com/watch?v=45W7YmQNX-o"A Nightmare On Elm Street 3: Dream Warriors" theatrical trailer: https://www.youtube.com/watch?v=oy-hgBu1h0w https://www.imdb.com/title/tt0093629/?ref_=nv_sr_srsg_7"A Nightmare On Elm Street 4: The Dream Master" teaser trailer: https://www.youtube.com/watch?v=elbv_XyXmaI"A Nightmare On Elm Street 4: The Dream Master" theatrical trailer: https://www.youtube.com/watch?v=jc-9vF9F_eg https://www.imdb.com/title/tt0095742/?ref_=nv_sr_srsg_0"Are You Ready For Freddy?" music video: https://www.youtube.com/watch?v=VIUGUQTs5WQ"Freddy's Nightmares" tv series trailer: https://www.youtube.com/watch?v=mI87K9DURXE https://www.imdb.com/title/tt0094466/?ref_=nv_sr_srsg_0"Leatherface: The Texas Chainsaw Massacre 3" teaser trailer: https://www.youtube.com/watch?v=nY7n9IKerag https://www.imdb.com/title/tt0099994/?ref_=nv_sr_srsg_3"Vengeance" https://www.imdb.com/title/tt8773662/?ref_=tt_mv_close"Vengeance" trailer: https://www.youtube.com/watch?v=9AwA6V39Tu0Fantastic Four the Movie (1994) Trailer https://www.youtube.com/watch?v=r_X5C6e3ZeYDoomed: The Untold Story of Roger Corman's The Fantastic Four (Full Movie) 2015 https://www.youtube.com/watch?v=OzhmBdqzuJICanadian Safety Board PSA: https://youtu.be/45W7YmQNX-oGet M.A.D. Podcast: https://ochelli.com/category/get-m-a-d-with-chris-graves/CHRIS GRAVES on TWITTER: https://twitter.com/CGravesMassholeSupport Chris Graves's Efforts via the CASH APP: https://cash.app/$SirhcSevargOCHELLI LINKS:If You Appreciate what Ochelli.com Radio Does: https://ochelli.com/donate/Ochelli Effect - Uncle - Age of Transitions - T-shirts and MORE: https://theageoftransitions.com/category/support-the-podcasts/Special New Audiobook SeriesPayPal & Contact for special arrangements: email@example.comOchelli Effect Patreon https://www.patreon.com/ochelliSign-up on Ochelli.comhttps://ochelli.com/membership-account/membership-levels/
Paul Bartel POPS THE CLUTCH and brings the world the gory sci-fi satire DEATH RACE 2000 in 1975, a box office smash that remains a popular (and influential) exploitation film and a jewel in Roger Corman's New World Pictures catalogue. On this episode of BARTEL ME SOMETHING GOOD we look at how the film came to be, the difficulties in filming (including David Carradine nearly being replaced by Lee Majors!), and the enduring legacy of the film. FRANKENSTEIN SCORES!
NOW...That's what I call DUNE! Have you ever wanted to hear the sounds of DUNE from the comfort of your very own home? Well have a sniff of spice and get your headphones! You have GOT to hear this episode of DEATH BY DVD, all about NOW : THAT'S WHAT I CALL DUNE! The sounds of DUNE! NEW EPISODES COMING SOON!HEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTRE