Podcasts about twentieth century fox

In this episode, we look at Twentieth Century-Fox, John Ford, Shirley Temple, John Wayne, and Alfred Hitchcock.

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Robert Watt, former Assistant Principal Horn of the Los Angeles Philharmonic.   Robert Lee Watt was born in Neptune, New Jersey the 4th child of seven. His father, Edward Watt Jr. played trumpet professionally in a Jazz ensemble, “The New Jersey Squires of Rhythm.” When Robert was eight years old he got curious about his father's trumpet, kept high on a shelf. Too short to reach it, Robert conscripted his little brother Tony to help. But with Tony on his shoulders he lost his balance, causing both of them to fall to the floor, trumpet in hand.  Robert then attempted to fix the dents in the instrument by using a hammer. The badly damaged trumpet was the way Robert's father discovered his interest in horns. After a serious reproach, Robert's father tried to teach him trumpet. However, it wasn't until years later that Robert discovered the instrument he really wanted to play.    While helping his father clean out a room in the basement Robert discovered some old 78 recordings. The curious Robert gave the old recordings a spin. It was the “William Tell Overture” on hearing the French horns on that recording he asked his father what instrument came in after the trumpet. His father informed him that it was a “French horn” “A middle instrument that never gets to play the melody like the trumpet…why, do you like that horn?” His father asked. Robert replied, “It gives me chills when I hear it, I love it. That's what I want to play.” His father informed the young Robert that it really wasn't the instrument for him. Explaining that it was an instrument for thin-lipped white boys. “Your lips are too thick to play that small, thin, mouthpiece. You'd be better suited for the trumpet like you father.”  Upon reaching high school Robert seriously pursued the French horn. Approaching the band director of his high school in Asbury Park, Robert was again told that his lips were too thick to play the French horn. After being persistent, the band director gave Robert an old French horn that barely worked.  Nevertheless, Robert advanced quickly and was soon winning auditions for honor bands and orchestras throughout the state of New Jersey, bringing great honor to his high school. After high school Robert was accepted to the New England Conservatory of Music in Boston where he majored in music and studied French horn with Harry Shapiro of the Boston Symphony. Mr. Shapiro took great interest in Robert pushing him hard. At the end of his first year Mr. Watt was asked to perform the Strauss Horn Concerto No. 1, with the Boston Pops Orchestra under Arthur Fiedler. The following summer he received a fellowship to the Berkshire Music Festival at Tanglewood. Returning to the Conservatory for his third year Mr. Watt was informed by the president's office that the Conservatory had financial problems and that all scholarships would be canceled for the coming year. At the end of his junior year at the Conservatory Mr. Watt was informed by his French horn teacher that it was time for him to audition for a position in a major symphony orchestra. On the advice of his teacher, Mr. Watt chose Los Angeles and Chicago. When Mr. Watt returned from his audition journey, he had made the finals at both auditions. Two months later The Los Angeles Philharmonic offered him the position of Assistant First Horn. Making him the first African American French horn player hired by a major symphony orchestra in the United States. Mr. Watt joined the ranks of only a handful of African Americans playing in symphony orchestras in these United States. According to the American Symphony Orchestra League, that represented less than 2% of the total, out of twenty-six top orchestras. Mr. Watt held his position until 2007, a career spanning 37 years.  Mr. Watt performed several times as soloist with the Los Angeles Philharmonic under Zubin Mehta and several orchestras in the Los Angeles area as well as the Oakland Symphony performing the Richard Strauss Second Horn Concerto While a member of the Los Angeles Philharmonic Mr. Watt has performed with principal and guest conductors that included: Leonard Bernstein, Eugene Ormandy, Eric Leinsdrof, Carla Maria Giulini, Pierre Boulez, Zubin Mehta, Henry Lewis, James De Priest, Michael Tilson Thomas, Herbert Blumstedt, Andre Previn, Marin Alsop, Esa-Pekka Salonen and Christoph Von Dohnányi. Included among the many world renown artists he has performed with were:     Yo-Yo Ma, Luciano Pavarotti, Placido Domingo, Jose Carreras, Wynton Marsalias, Henry Mancini, Gladys Night, Isaac Hayes, Quincy Jones, Stevie Wonder, Ray Charles, Barry White, Rihanna, Paula Abdul, Herbie Hancock, Lalo Schifrin, The Carpenters, Benny Carter, Quincy Jones, Bon Jovi, Elton John and film composer, John Williams. He has played on film scores of: Spiderman II, Rush Hour, Mission Impossible, Spike Lee's “Miracle at St. Anna, Golf and many others.  Mr. Watt has played the music for the Twentieth Century Fox cartoons, The Simpsons, American Dad, Family Guy and King of the Hill for the past three years. He played on the five hour TV special “The Jacksons, an American Family” under Harold Wheeler, and played for several years for the TV program “Startrek Voyager.” In the late 80's Mr. Watt helped organize an African American Brass Quintet, “The New Brass Ensemble” which performed throughout the United States and abroad.  Mr. Watt has done public speaking lecturing on music and African history in the Los Angeles area. He was hired as guest professor at Los Angele City College teaching the course, “Music of Black Americans”. Recently Mr. Watt executive produced a short film in memory of his friend Miles Davis. The film is based on the musical composition “Missing Miles” by Todd Cochran, commissioned by Mr. Watt, for French horn and piano. The short film was chosen by the Pan African Film Festival and the Garden State Film Festival.  Mr. Watt is a licensed airplane pilot with an instrument rating. He is a saber fencer and he speaks German and Italian.

Ever wondered what it takes to narrate your own audiobook? Cathy Worthington and Merry Elkins chat with the incredible Robert Lane, an audiobook coach and producer, who shares his fascinating career journey from radio and Twentieth Century Fox to empowering authors as a coach. What sparked his transition? And why does he believe nonfiction authors should narrate their own work?Robert dives into the art of audiobook narration, revealing how an author's unique voice and connection to their story bring unparalleled authenticity. We discuss the nitty-gritty of setting up your recording space, overcoming the fear of AI, and embracing your voice. Plus, Robert offers a sneak peek into the audiobook market and strategic marketing plans.Join us for an inspiring conversation that might just ignite your passion for storytelling. Don't miss out—tune in and discover the magic of your own voice!Robert BioRobert A. Lane is an Audiobook Coach & Producer as well as a Transformational Speaker. He spent 30+ years working in the entertainment industry in various facets of the business. Fourteen of those years were spent at 20th Century Fox, working on the studio lot in L.A. as their Feature Project Manager.After leaving the entertainment world in 2020, Robert founded Robert Lane Coaching, first as a Career/Life Coach, then expanding the business as an Audiobook Coach & Producer.After publishing his #1 bestselling book “Lights, Action, YOU!” based on his experiences in the entertainment business, he created the “Your Book Your Voice” audiobook coaching program, a one-on-one program helping nonfiction authors narrate and publish their own audiobooks.Robert has taken the Career/Life Coaching aspect of his business on the road as a Transformational Speaker inspiring audiences from big corporations to community groups all around the country.Connect with RobertWebsiteYouTubeFacebookInstagramLinkedInBook a Call

In this episode, Tara Sands and Steve Yurko interview Joshua Izzo! After working at Topps on the Pokemon cards, Joshua became the Marketing Manager and Head of Sales at 4Kids. He has amazing insights into the early days of Pokémon and Pokémon Live. He has since gone on to work at Hasbro (on Pokémon toys), Capcom, Twentieth Century Fox and Lightstorm. Check out his website at joshuaizzo.com  Here is the link to the Topps cards we talk about in this episode: https://www.elitefourum.com/t/complete-pokemon-topps-gallery/40934  4Kids Flashback is a behind the scenes podcast about the 4Kids era of television as told by the people who were actually there. 4Kids is the company that brought Pokémon, Yu-Gi-Oh!, One Piece and many other anime series to English speaking audiences. Our website is https://www.4kidsflashback.com/  Subscribe at https://www.patreon.com/4KidsFlashback for episodes one week early and ad-free plus bonus content! For merch go to https://4kids-flashback.printify.me/products  Leave us a voice message at Speakpipe.com/4KidsFlashback  Autographs for Charity available at https://www.ebay.com/usr/flashback4kids  Watch videos at https://www.youtube.com/@4KidsFlashback.  Disclaimer: The views and opinions expressed in this program are those of the speakers and do not necessarily reflect the views or positions of any entities they represent or of this podcast and/or it's hosts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cʹest un film catastrophe, absolument spectaculaire qui a fait un triomphe à sa sortie en 1996. Et triomphe, le mot est faible. Le film bouleverse les codes du cinéma, ouvre la voie à la renaissance de genre particulier. Ce film, cʹest Independence Day ; le jour de la riposte, Independence Day ou ID4 en anglais, de Roland Emmerich. Lʹhistoire part dʹun postulat très simple : Et si nous nʹétions pas seuls dans lʹunivers ? Et que faire, quand notre Terre est attaquée par des êtres venus de lʹespace ? Tout commence un jour dʹété tout à fait ordinaire, quand tout à coup des ombres gigantesques recouvrent la Terre. Lʹavenir de la planète et la survie de lʹhumanité sont désormais en jeu. Mais nʹayons aucune crainte, trois hommes - un pilote, un scientifique et le président des Etats-Unis -vont nous sauver. La bataille de la Dernière chance aura lieu le jour de la Fête nationale américaine, le 4 juillet. Simple, voir simpliste, la trame de ce film de Roland Emmerich va pourtant titiller autre chose : le grand spectacle. Sur lʹécran : des explosions, New York, Los Angeles, Paris, Moscou rayés de la carte, des héros, et de lʹhumour. Le réalisateur renoue, juste avant lʹan 2000, avec lʹApocalypse version destruction totale, réinvente les films catastrophe, jouant de la surenchère, se calquant sur les films de guerre des années 60, sur les films catastrophe des années 50, et sur tout un univers de films de science-fiction qui ont bercé son enfance, avec des invasions interminables dʹaliens plus méchants les uns que les autres. Epinglé par la critique, détesté, moqué, Independence Day rencontre son public qui se presse en masse pour le voir. Ça secoue dans tous les sens, on sʹen prend plein la vue, et Roland Emmerich en sort la tête haute. REFERENCES DELORME, Gérard, Jour J, Indépendance Day, in Première, 08.1996 Independence Day, Le jour de la riposte, notes de production du film, Twentieth Century Fox.

Kelly Reemtsen (b. 1967, Flint, Michigan) is best known for her bright and bold paintings of women carrying household tools such as chainsaws or axes. Her work often investigates the role of the modern woman, deconstructing societal perceptions of gender, power and femininity. Reemtsen's paintings are characterized by their thick impasto, stark white backgrounds, and anonymous figures. Reemtsen is currently based in Los Angeles. She studied fashion design and painting atCentral Michigan University and California State University Long Beach. Reemtsen has been involved with printmaking since the 1990s, studying etching and screen-printing in workshops and with educators across the United States.Kelly Reemtsen's work has been exhibited widely in North America and is part of the Twentieth Century Fox and AT&T corporate collections. Kelly Reemtsen, In The Spot Light, 2024, Oil on panel, 44 x 44 inches. Kelly Reemtsen, Focal Points, 2024, Oil on panel, 60 x 60 inches. Kelly Reemtsen, Soften the Blow, 2024, Dark walnut wood, faux fur, lacquer. Each Axe: 36 x 12 x 3 inches.  

This 1948 20th Century Fox Studios Year by Year episode is a doozy, a doubleheader of psychotic lovelorn men with bad ideas in their heads. First, in Jean Negulesco's rural noir Road House, Richard Widmark's spoiled road house owner selects Ida Lupino's unlikely and unforgettable femme fatale as his reluctant assassin, and then, in Preston Sturges' black comedy Unfaithfully Yours, Rex Harrison's celebrated symphony conductor spins murderous melodramatic fantasies and faces a recalcitrant slapstick reality when he suspects his much younger wife (Linda Darnell) of cheating on him. We unpack the practically infinite riches of these colossi of studio-era filmmaking, one with and one without an auteur at the helm.  Time Codes: 0h 00m 25s:      ROAD HOUSE [dir. Jean Negulesco] 0h 50m 02s:      UNFAITHFULLY YOURS [dir. Preston Sturges] Studio Film Capsules provided by The Films of Twentieth Century-Fox by Tony Thomas & Audrey Solomon   Additional studio information from: The Hollywood Story by Joe W. Finler                                 +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

Film lovers have long heard of the legendary names that built Hollywood into a global entertainment empire - Goldwyn, Mankiewicz, Laemmle, Mayer, Loews. But it was The Schenck Brothers, a ruthless pair of Bowery boys, who worked their way up to launch the Hollywood studio system, creating a lasting legacy of 'star maker machinery" while simultaneously breaking all the business rules. MOGULS: The Lives and Times of Film Pioneers Nicholas and Joseph Schenck (Sept. 24, 2024) is co-authored by Producers Guild of America member and film director Craig Singer, and Brooklyn-based writer Michael Benson (Gangsters vs. Nazis). MOGULS is a noirish, incredible Hollywood history. The Schenck brothers held controlling interests in three major studios: Metro-Goldwyn-Mayer (MGM), Twentieth Century-Fox, and United Artists (UA). But chances are you've never heard of them because they preferred to run their global empire behind closed doors. Nick was Louis B. Mayer's boss. Think Mank meets Chinatown and LA Confidential, with a heaping dose of Hail, Caesar! and The Godfather II (of course). Twice as powerful as the Warner Brothers, the Schencks were immigrants who quietly ran Hollywood out of the spotlight, bringing film into a world of blazing color. They were as American as jazz and baseball, as flashy as Gatsby, as cunning as gangsters, who controlled a third of the motion picture industry at their height - and were some of the richest men in America.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Costume Designer, JENNIFER STARZYK is a creative collaborator with over twenty five years in the film industry. She takes a character-driven approach with her own unique vision to serve the story and support the script. Her versatile yet distinct style has been showcased across a variety of genres and periods. Perhaps best known for the Netflix psychological series, Mindhunter. where Jennifer worked closely to create a restrained period look with renowned director David Fincher. Her range varies in tone as seen in Warner Bros Neo-Noir Reminiscence starring Hugh Jackman & Rebecca Ferguson; to the outlandish colorful contemporary in Bill & Ted Face The Music; to allowing documentary footage inform how Colin Firth and Toni Colette should look in aughts fashion for Max's The Staircase. Jennifer's latest work was A24 biopic, The Iron Claw, written and directed by Sean Durkin. The Iron Claw stars Zac Efron, Jeremy Allen White, Harris Dickinson and Hold McCallany and is a tragic film that tells the story of the Von Erich's. Spanning from late 1970s- 1990s, her costumes showcase the dynasty of wrestlers and help create the world of rural Texas. Jennifer's elaborate ring robes were included on display at the 2024 ASU FIDM Art of Costume Design in Film. Upcoming work includes Amazon's Killer Heat, starring Joseph Gordon Levitt, Shailene Woodley and Richard Madden. This contemporary mystery was filmed on location in Greece and follows twin brothers who find themselves in a dangerous love triangle on an isolated island. The contemporary costumes highlight quiet luxury and showcase several Greek fashion brands for added authenticity. During the WGA & SAG strikes, Jennifer lent her energy and talent to help costume The Groundlings charity fundraiser, One Night Only. Having just days to outfit 35 performers for The Chorus Line. The musical featured Saturday Night Live alum Kristen Wiig, Will Forte, Ana Gasteyer amongst other incredible talent and helped raise over $200,000 for Motion Picture & Television Fund. All proceeds went to below the line affected by the strikes. Currently, she is designing a contemporary action comedy for Twentieth Century Fox titled, Eenie Meanie. Written and directed by Shawn Simmons. The film stars Samara Weaving as a reformed teenage getaway driver who is dragged back into her unsavory past when a former employer offers her a chance to save the life of her chronically unreliable ex-boyfriend. No matter the project, Jennifer Starzyk brings the same fierce spirit and powerful approach to designing costumes.

Jim Fielding's dynamic career has spanned senior leadership roles at top global brands, including Disney, DreamWorks, and Twentieth Century Fox, anchored in experience and an early career at The Gap, Lands' End, and as CEO of Claire's Stores; He joins me in an exclusive interview to talk about this new book ALL PRIDE, NO EGO: A Queer Executive's Journey to Living and Leading Authentically with leadership, retail and life lessons you need to hear. ENCORE EPISODEAbout JimJim Fielding is a partner at Archer Gray and president of its Co-Lab Division. A retail and media industry veteran, Jim served as president of Disney Stores Worldwide and led global consumer experiences at DreamWorks and Twentieth Century Fox. His early career experience included top international brands, from The Gap to Lands' End. Jim later served as CEO of Claire's Stores, Inc. He is the author of ALL PRIDE, NO EGO: A Queer Executive's Journey to Living and Leading Authentically (Wiley, August 15, 2023). Jim's expertise combines storytelling, product innovation, merchandising, and consumer experiences. He is an active community leader and philanthropist, a founder of the Queer Philanthropy Circle, and serves on the board of directors for the Indiana University Foundation. Jim has served as an executive-in-residence for IU's Office of Diversity, Equity, and Inclusion and a board member for GLSEN, Make-A-Wish International, and the American Red Cross. He is based in Atlanta, GA and Northport, MI. Michael LeBlanc is the president and founder of M.E. LeBlanc & Company Inc, a senior retail advisor, keynote speaker and now, media entrepreneur. He has been on the front lines of retail industry change for his entire career. Michael has delivered keynotes, hosted fire-side discussions and participated worldwide in thought leadership panels, most recently on the main stage in Toronto at Retail Council of Canada's Retail Marketing conference with leaders from Walmart & Google. He brings 25+ years of brand/retail/marketing & eCommerce leadership experience with Levi's, Black & Decker, Hudson's Bay, CanWest Media, Pandora Jewellery, The Shopping Channel and Retail Council of Canada to his advisory, speaking and media practice.Michael produces and hosts a network of leading retail trade podcasts, including the award-winning No.1 independent retail industry podcast in America, Remarkable Retail with his partner, Dallas-based best-selling author Steve Dennis; Canada's top retail industry podcast The Voice of Retail and Canada's top food industry and one of the top Canadian-produced management independent podcasts in the country, The Food Professor with Dr. Sylvain Charlebois from Dalhousie University in Halifax.Rethink Retail has recognized Michael as one of the top global retail experts for the fourth year in a row, Thinkers 360 has named him on of the Top 50 global thought leaders in retail, RTIH has named him a top 100 global though leader in retail technology and Coresight Research has named Michael a Retail AI Influencer. If you are a BBQ fan, you can tune into Michael's cooking show, Last Request BBQ, on YouTube, Instagram, X and yes, TikTok.Michael is available for keynote presentations helping retailers, brands and retail industry insiders explaining the current state and future of the retail industry in North America and around the world.

Film lovers have long heard of the legendary names that built Hollywood into a global entertainment empire - Goldwyn, Mankiewicz, Laemmle, Mayer, Loews. But it was The Schenck Brothers, a ruthless pair of Bowery boys, who worked their way up to launch the Hollywood studio system, creating a lasting legacy of 'star maker machinery" while simultaneously breaking all the business rules. MOGULS: The Lives and Times of Film Pioneers Nicholas and Joseph Schenck (Sept. 24, 2024) is co-authored by Producers Guild of America member and film director Craig Singer, and Brooklyn-based writer Michael Benson (Gangsters vs. Nazis). MOGULS is a noirish, incredible Hollywood history. The Schenck brothers held controlling interests in three major studios: Metro-Goldwyn-Mayer (MGM), Twentieth Century-Fox, and United Artists (UA). But chances are you've never heard of them because they preferred to run their global empire behind closed doors. Nick was Louis B. Mayer's boss. Think Mank meets Chinatown and LA Confidential, with a heaping dose of Hail, Caesar! and The Godfather II (of course). Twice as powerful as the Warner Brothers, the Schencks were immigrants who quietly ran Hollywood out of the spotlight, bringing film into a world of blazing color. They were as American as jazz and baseball, as flashy as Gatsby, as cunning as gangsters, who controlled a third of the motion picture industry at their height - and were some of the richest men in America.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Holly Hardman started her career as a researcher for Rolling Stone, PBS and Twentieth Century Fox before moving into writing, directing and producing short films. After a personal experience with the dangers of prescribed benzodiazepines, Holly began her latest project, As Prescribed, a documentary that shares the problems linked to these drugs. In this episode of Flip Your Script with Kristi Piehl, Holly shares her advocacy for patients and the importance of understanding the risks of some prescriptions.

Craig Singer, Emmy-nominated director, producer, writer & filmmaker, and Michael Benson, author of 60+ books, check in regarding their new book Moguls: The Lives & Times of Film Pioneers Nicholas & Joseph Schenck. The brothers were involved in the launches of Metro-Goldwyn-Mayer (MGM), Twentieth Century-Fox, and United Artists (UA) created the Motion Picture Academy and the invention of the Oscars, and halted a Nazi takeover of the movie industry and shakedown by the Mob in the 1930s. Danny Yohannan, president of GFA World, also joins the show as we come down the home stretch of our September '24 partnership. We talk about his father K.P. Yohannan (who founded the ministry and who authored the bestseller Revolution in World Missions, among others), the work of GFA World, and how your participation can have an eternal impact. Our station family goal includes providing 2000 copies of God's Word for Africa & Asia (each copy, $5). You can help at 1 866 659-7361 or by clicking the GFA World banner at wfil.com.See omnystudio.com/listener for privacy information.

In this episode, Hilliard and guest co-hosts Dijorn & Trinea Moss sit down for a super entertaining conversation with. Literary Manager Zack Zucker from Bellevue Productions. It is a kickass, two hour podcast where we peppered Zack with writer/filmmaker questions and he dropped nothing but industry game!About Zack:Prior to joining Bellevue, Zack worked at Google, United Talent Agency, and Twentieth Century Fox. He also produced independently.On the feature side, his clients have placed #1 on the 2020 and 2021 Black Lists and had films premiere at Sundance, SXSW, TIFF, and Tribeca. On the TV side, his clients have sold to the likes of Fox, Hulu, Netflix, Sony, eOne, and Village Roadshow, and have written on such series as Fight Night, FBI: International, Frasier, Manifest, Flatbush Misdemeanors, and AJ & the Queen.As a producer, his feature, THE NOVICE, premiered at the 2021 Tribeca Film Festival, where it won multiple awards including Best US Narrative. The film went on to sell to IFC Films and was nominated for five Independent Spirit Awards, including Best Feature.Zack attained a Masters of Fine Arts from the University of Southern California's Peter Stark Producing Program and a Bachelor of Arts from the University of Michigan.Our Motto: "We keep it GAME all day!"For information, merch (T-SHIRTS/HOODIES), and all things Rant Room!NEW WEBSITE:SCREENWRITERSRANTROOM.COMSubscribe, like, follow, share & 5-star review!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Hilliard Guess on all social media IG: @ScreenwritersRantRoomGuests: @thedtmossteam @dijornm@neababaytmWE ARE NOW OPEN TO SPONSORSHIPS AND BRANDING OPPORTUNITIES⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠: Screenwritersrantroom@gmail.comWe invest countless hours per week to deliver the actionable content that goes into this podcast. We appreciate your support!SCREENWRITER NETWORKS:OBSwriter.comBTFC.orgSend in a voice message: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/messageSupport this podcast: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PODCASTS WE SUPPORT:2 Writers Talkin Shit: https://podcasts.apple.com/us/podcast/2-writers-talking-shit/id1671253747Hollywood Confessional: https://podcasts.apple.com/us/podcast/hollywood-confessional/id1628848064?i=1000630276175The Qube & Queer News: https://podcasts.apple.com/us/podcast/queer-news/id1595777135A Conversation With Floyd Marshall Jr: https://podcasts.apple.com/us/podcast/a-conversation-with-host-floyd-marshall-jr/id1544499834THEME SONG: Jack SpadeWEBSITE:Abigail Bloom & Laura HuieLOGOS: Rachel MusikanthRANT ROOM TEAM:Richard Scott - Creative ProducerTyler Musikanth - Associate ProducerBrooke Baltimore - Marketing Togo - MarketingJade Hunter Alessandria - BTS --- Support this podcast: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/support

Ryan and Dylan give their thoughts on the first MCU movie to release in months, Deadpool & Wolverine.

“Your Mindset Is A Miracle Worker” Join me and my guest Phillip Goldfine (phillipbgoldfine.com), founder of Hollywood Media Bridge, a film and television studio based in Hollywood with over 200 film credits and numerous television series. A winner of numerous awards including an Oscar, an Emmy, and a Tony, Phil has worked producing films and television for every major film studio and network in Hollywood, including Warner Bros., Twentieth Century Fox, Walt Disney, Sony, MGM, Paramount and Lions Gate Films. Phil has had the great privilege of working with and has relationships with Actors such as Hilary Swank, Katherine Heigl, Jack Black, Jerry O'Connell, Denise Richards, Wesley Snipes, Dolph Lundgren, Ray Liotta, and Val Kilmer. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nintendo and Sega financials dissapoint Sony gets ready for NextGen Venture money goes ga-ga over silliwood These stories and many more on this episode of the VGNRTM! This episode we will look back at the biggest stories in and around the video game industry in May 1994.  As always, we'll mostly be using magazine cover dates, and those are of course always a bit behind the actual events. Alex Smith of They Create Worlds is our cohost.  Check out his podcast here: https://www.theycreateworlds.com/ and order his book here: https://www.theycreateworlds.com/book or get it in the Humble Bundle here: https://www.humblebundle.com/books/game-programming-taylor-francis-books Get us on your mobile device: Android:  https://www.google.com/podcasts?feed=aHR0cHM6Ly92aWRlb2dhbWVuZXdzcm9vbXRpbWVtYWNoaW5lLmxpYnN5bi5jb20vcnNz iOS:      https://podcasts.apple.com/de/podcast/video-game-newsroom-time-machine And if you like what we are doing here at the podcast, don't forget to like us on your podcasting app of choice, YouTube, and/or support us on patreon! https://www.patreon.com/VGNRTM Send comments on Mastodon @videogamenewsroomtimemachine@oldbytes.space Or twitter @videogamenewsr2 Or Instagram https://www.instagram.com/vgnrtm Or videogamenewsroomtimemachine@gmail.com Links: If you don't see all the links, find them here: https://www.patreon.com/posts/110575391 7 Minutes in Heaven: Rebel Assault (SegaCD) Video Version:  https://www.patreon.com/posts/7-minutes-in-may-110535204     https://www.mobygames.com/game/272/star-wars-rebel-assault/     https://en.wikipedia.org/wiki/Star_Wars:_Rebel_Assault Corrections: April 1994 Ep - https://www.patreon.com/posts/april-1994-107563816 Ethan's fine site The History of How We Play: https://thehistoryofhowweplay.wordpress.com/      1994-05: Console market in a slump     Edge 8, May 1994 pg. 18 Panasonic tries to save 3DO     Edge 8, May 1994 pg. 16     https://x.com/blakejharrisNYC/status/1168364212139307008 Nintendo loosens minimum cart order rules in Japan     "Nintendo easing iron grip on programmers Video-Game Giant Halves Minimum Cartridge Order, The Nikkei Weekly (Japan), May 2, 1994, Section: INDUSTRY; Pg. 8 Nintendo stock keeps dropping     Nintendo shares no fun in 1994 - Emiko Terazono on reaction to the gamemaker's revised forecasts, Financial Times (London,England), May 6, 1994, Friday, London; Section: World Stock Markets; Pg. 39, Byline: By EMIKO TERAZONO Nintendo is a top earner     TOYOTA RETURNS AS NO.1 INCOME EARNER IN JAPAN, Jiji Press Ticker Service, MAY 18, 1994, WEDNESDAY,Dateline: TOKYO, MAY 18 Sega profits plunge     Sega Enterprises reports 22.7% pretax profit fall, Japan Economic Newswire, MAY 19, 1994, THURSDAY Sony Computer Entertainment of America formed     https://www.nytimes.com/1994/05/19/business/company-news-sony-starts-a-division-to-sell-game-machines.html?searchResultPosition=1 3DO shares collapse     https://www.nytimes.com/1994/05/21/business/company-news-shares-of-3do-fall-by-another-18.html Nintendo profits plunge... more     Nintendo suffers first profit decline in 10 years,Japan Economic Newswire,MAY 23, 1994, MONDAY     Nintendo reports solid earnings despite strong yen; outlines exciting new software plans for 1994, Business Wire, May 23, 1994, Monday THQ sales collapse     T-HQ announces first-quarter results, Business Wire, May 11, 1994, Wednesday     Absolute Entertainment reports first quarter results, Business Wire, May 10, 1994, Tuesday EA/Broderbund merger collapses     No Headline In Original, Consumer Electronics, May 9, 1994, Section: NOTEBOOK, Vol. 34, No. 19     https://archive.org/details/Electronic-Games-1994-05/page/n21/mode/1up?view=theater     https://www.smoliva.com/2024/08/07/what-the-learning-company-taught-us-about-the-history-of-computer-software/ Davidson & Associates buys Chaos Studios     https://archive.org/details/Electronic-Games-1994-05/page/n17/mode/1up?view=theater      Fox Interactive launches     Twentieth Century Fox establishes new interactive multimedia division; new division to utilize News Corp. resources, Business Wire, May 20, 1994, Friday Fall of Park Place profiled     https://archive.org/details/Electronic-Games-1994-05/page/n9/mode/1up?view=theater Forbes profiles Id     Profits from the underground, Forbes, May 9, 1994,Section: COMPUTERS/COMMUNICATIONS INTERACTIVE MEDIA; Parameters; Commentary; Pg. 176, Byline: BY ANDREW J. KESSLER      AOU lacks premieres     Edge 8, May 1994 pg. 8 Saturn to become an arcade Titan     Edge 8, May 1994 pg. 7       https://segaretro.org/Sega_Titan_Video        Play Meter, May 1994, pg. 16         https://segaretro.org/Batman_Forever_(arcade) Namco consolidates     Play Meter, May 1994, pg. 12 Atari links up with Bally     Edge 8, May 1994 pg. 13 Virtuality goes to Japan     British high-tech game maker to enter Japan, Japan Economic Newswire, MAY 6, 1994, FRIDAY     Https://en.wikipedia.org/wiki/Wakayama_Marina_City#Minor_attractions     Play Meter May 1994, pg. 251 Sony delivers devtools     Edge 8, May 1994 pg. 13 Sega disses Jupiter for Mars     Edge 8, May 1994 pg. 6 DMA signs up with Nintendo     Nintendo and U.K.-based DMA design announce Project Reality agreement; 64-bit home games to debut in fall 1995, Business Wire, May 2, 1994, Monday Nintendo smashes myths     https://archive.org/details/GamePro_Issue_058_May_1994/page/n31/mode/1up?view=theater Howard Lincoln to deliver CES keynote     Playthings May 1994, pg. 22 Laseractive drops price     Pelican Brief,' Pakula Classics Due From Warner, Billboard, May 7, 1994, Section: HOME VIDEO; Laser Scans; Pg. 96, Byline: by Chris McGowan         https://youtu.be/qSdfj5O-N1Q?si=Wx7ZJ_Yvc6MafKSK NEC taps out of 3D race     Edge 8, May 1994 pg. 14 NEC gives PC Engine another lease on life     Edge 8, May 1994 pg. 15 Sigma Designs to bring Jaguar to PC     Sigma To Make Atari Jaguar Titles Run On PC, Newsbytes, May 3, 1994, Tuesday Reinventing the Z-Machine is apparently Rocket Science     Platform battle, Forbes, May 9, 1994, Section: COMPUTERS/COMMUNICATIONS INTERACTIVE MEDIA; Pg. 168, Byline: By Nikhil Hutheesing Silliwood gold rush continues...     Sillywood, Forbes, May 9, 1994, Section: MANAGEMENT/CORPORATE STRATEGIES; Pg. 46, Byline: By Lisa Gubernick and Nikhil Hutheesing     Rocket Science takes off with funding from Sega Enterprises and Bertelsmann Music Group; 10-month-old start up attracts major corporate investors, Business Wire, May 18, 1994, Wednesday Penn & Teller sign up with Absolute     PENN & TELLER, THOSE 'BAD BOYS OF MAGIC,' MAKE THEIR VIDEO GAME DEBUT WITH ABSOLUTE ENTERTAINMENT, Business Wire, May 19, 1994, Thursday      CD-i gets John Cleese     No Headline In Original, Consumer Electronics, May 2, 1994, Section: NOTEBOOK; Vol. 34, No. 18; Pg. 13      Argonaut working on 3D accelerator     Edge 8, May 1994 pg. 19     https://en.wikipedia.org/wiki/ARC_(processor) Sirius introduces 5 ft. 10 pack     CD-ROM publishers unite-users benefit; introductory 5 ft. 10 Pak. flies from shelves, Business Wire, May 3, 1994, Tuesday       https://worldroms.com/5-ft-10-pak-volume-1-details.html Commodore advertises CD32.. in the US?         https://archive.org/details/GamePro_Issue_058_May_1994/page/n10/mode/1up?view=theater Commodore developing RISC CPU     https://archive.org/details/amiga-computing-magazine-073/page/n33/mode/2up      Commodore shows off CD drive at Cebit     Amiga Format 59, pg. 24 C64S launches     https://archive.org/details/64er_1994_05/page/n35/mode/1up         https://www.c64-wiki.de/wiki/C64s CPC emulation comes to PC     Amstrad Action 104, pg. 8        https://cpc-emu.org/news.html Sega Channel to launch in Japan     Sega to provide to provide videogames on cable TV, Report From Japan, May 3, 1994,Section: Business Silicon Graphics founder teams up with Mosaic devs     https://www.nytimes.com/1994/05/07/business/new-venture-in-cyberspace-by-silicon-graphics-founder.html?searchResultPosition=8 Lexis Nexis to get SEC filings     https://www.nytimes.com/1994/05/11/business/company-news-agreement-to-utilize-sec-data.html?searchResultPosition=18 Computer biz to dominate Akihabara     Akihabara shifting to 'computer town' amid recession, Japan Economic Newswire, MAY 4, 1994, WEDNESDAY, Byline: Hisa Miyatake Rewritable carts coming to Blockbuster     Sega and NewLeaf to test video game software delivery system that eliminates retailer stock-outs, Business Wire, May 31, 1994, Tuesday        https://segaretro.org/Game_Factory Copying goes legit in the UK with EDOS     https://commodore.software/downloads?task=download.send&id=15005:commodore-format-issue-44&catid=721   pg. 22          https://blog.amigaguru.com/edos-the-software-on-demand-of-the-80s/        http://amigaguru.com/Games/EDOS_MAGAZINE_1991-1992__ENGLISH.pdf         https://www.computinghistory.org.uk/det/63955/EDOS/     https://find-and-update.company-information.service.gov.uk/company/SC121687/filing-history?page=1      Psytronik keeps the C64 alive     https://commodore.software/downloads?task=download.send&id=15005:commodore-format-issue-44&catid=721  pg. 8        https://www.psytronik.net/ Lieberman picks IDSA over SPA     SENATORS WARN ON GAME RATINGS, Consumer Electronics, May 9, 1994, Section: THIS WEEK'S NEWS, Vol. 34, No. 19 Alpex faces off against Nintendo in court     https://www.nytimes.com/1994/05/16/business/patents-108332.html?searchResultPosition=30     https://itlaw.fandom.com/wiki/Alpex_Computer_v._Nintendo Japanese Copyright change scuttled     https://www.nytimes.com/1994/05/19/business/japan-likely-to-retain-curb-on-software-raiding.html?searchResultPosition=33      Jean-Claude Van Damme to headline Street Fighter movie     https://archive.org/details/GamePro_Issue_058_May_1994/page/n171/mode/1up?view=theater Multimedia-centric horror film captures Zeitgeist     https://www.nytimes.com/1994/05/01/movies/film-taking-the-children-like-your-mom-said-beware-sweet-serial-ads-931985.html?searchResultPosition=4 Virgin to release Music compilation CD      Billboard previews music's digital future     In The Brave New Technological World, Music Uses And Publishing Possibilities Seem Endless, Billboard, May 7, 1994, Section: MUSIC PUBLISHING; Spotlight; Pg. 76, Byline: BY MARILYN A. GILLEN Green Jelly wants to ooze all over multimedia     Green Jelly's Land Of Ooz: Zoo Act Opens Vid Facility, Billboard,May 21, 1994,Section: Pg. 1,Byline: BY DEBORAH RUSSELL   Recommended Links: The History of How We Play: https://thehistoryofhowweplay.wordpress.com/ Gaming Alexandria: https://www.gamingalexandria.com/wp/ They Create Worlds: https://tcwpodcast.podbean.com/ Digital Antiquarian: https://www.filfre.net/ The Arcade Blogger: https://arcadeblogger.com/ Retro Asylum: http://retroasylum.com/category/all-posts/ Retro Game Squad: http://retrogamesquad.libsyn.com/ Playthrough Podcast: https://playthroughpod.com/ Retromags.com: https://www.retromags.com/ Games That Weren't - https://www.gamesthatwerent.com/ Sound Effects by Ethan Johnson of History of How We Play. Copyright Karl Kuras 30 years ago: #Nintendo and #Sega financials disappoint, #Sony gets ready for NextGen & Venture money goes ga-ga over #Silliwood These stories and many more on the VGNRTM! https://www.patreon.com/posts/110575391

This Fox 1947 Studios Year by Year episode looks at two examples of the docu-noir: Boomerang! (directed by Elia Kazan), starring Dana Andrews as a prosecuting attorney who has to decide between morality and political expedience; and Kiss of Death (directed by Henry Hathaway), in which Victor Mature's sympathetic gangster is menaced by Richard Widmark's psychopathic gangster and the legal system. Then another oddball assortment of movies in Fear and Moviegoing in Toronto: Everything Everywhere All At Once (2022), Who's Afraid of Virginia Woolf? (1966), and Spellbound (1945).    Time Codes: 0h 00m 30s:      BOOMERANG!  [dir. Elia Kazan] 0h 27m 35s:      KISS OF DEATH [dir. Henry Hathaway] 0h 54m 55s:      Fear and Moviegoing in Toronto – Everything, Everywhere, All at Once (2022) by Daniel Scheinert & Daniel Kwan; Who's Afraid of Virginia Woolf? (1966) by Mike Nichols and Spellbound (1945) by Alfred Hitchcock Studio Film Capsules provided by The Films of Twentieth Century-Fox by Aubrey Solomon and Tony Thomas Additional studio information from: The Hollywood Story by Joe W. Finler                                 +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join!           

***SPOILER ALERT*** Deadpool & Wolverine is the latest and only offering from the MCU this year, and Zero Dark Nerdy dishes on all the highlights, easter eggs, our ratings, and more on this spoiler-heavy episode. As we say goodbye to the Twentieth Century Fox comic book movies, it's a great introduction into the MCU for Deadpool and Wolverine. What are your thoughts on the film and what MCU film do you think these two will appear in next? Be sure to like, subscribe, and follow Zero Dark Nerdy on your favorite social media and podcast formats. The Triad Podcast Network is proudly sponsored by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage, Dewey's Bakery, and Three Magnolias Financial Advisors.See omnystudio.com/listener for privacy information.

Our penultimate Lilli Palmer Acteurist Oeuvre-view episode brings us Lilli as a protagonist again at last, in Lotte in Weimar (1975), based on the Thomas Mann novel, and Lilli Lite in The Boys from Brazil (1978), an outrageous anti-Nazi sci fi story in which Laurence Olivier and Gregory Peck wage an epic battle (and also get into a very brutal girl-fight). And this week's Fear and Moviegoing in Toronto is a real smorgasbord: Saturday Night Fever, Coffy, It Happened One Night, and Beverly Hills Cop. From the charm of young John Travolta to screwball brutality and from exploitation auteurism to... the charm of young Eddie Murphy. We've got the movie talk you crave! Time Codes: 0h 00m 35s:      LOTTE IN WEIMAR (1975) [dir. Egon Gunther] 0h 32m 51s:      THE BOYS FROM BRAZIL (1978) [dir. Franklin J. Schaffner] 0h 50m 08s:      Fear and Moviegoing in Toronto – Saturday Night Fever (1977) by John Badham; Coffy (1973) by Jack Hill; It Happened One Night (1934) by Frank Capra; and Beverly Hills Cop (1984) by Martin Brest Studio Film Capsules provided by The Films of Twentieth Century-Fox by Aubrey Solomon and Tony Thomas Additional studio information from: The Hollywood Story by Joe W. Finler                                 +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join!         

This week, we bring you another one of our favorite interviews since the start of our show. She learned on the job as an assistant to one of the most powerful women in Hollywood, and spent nine years at Twentieth Century Fox before making the leap to Netflix. Now its director of original programing, she lets us in on what it takes to sell a big idea.    Follow Carolina on Instagram @thedancingdiary. If you loved this episode, listen to How Showrunner Dailyn Rodriguez Stays in High Demand and LEVEL UP: This Life Coach Says Now's the Time to Level Up. 

In this podcast episode, Dr. Jonathan H. Westover talks with Sunny Bonnell about culture and visionary leadership. Sunny Bonnell is a leadership and brand expert and the visionary Co-founder and CEO of Motto®, a strategic brand transformation agency helping the world's most innovative companies advance into their next era, and the bestselling author of the Rare Breed, A Guide to Success for the Defiant, Dangerous, and Different. Sunny was recognized with the prestigious 2024 Thinkers50 Radar Award, in partnership with Deloitte, spotlighting her as a seminal thinker whose ideas are shaping the future of business. Her strategic insight and creative prowess have benefited an impressive roster of clients including Virgin, Google, Microsoft, Minnesota Vikings, NFL, Hershey's, Legendary Digital, Disney, Twentieth Century Fox, Klaviyo, Andela, Goodnotes, Hopscotch, Hello Alice, and many more. SWAGGER named her a ‘Visionary Brand Icon' and has graced lists such as Top 30 Global Gurus in Brand, GDUSA's Top 25 People to Watch, and the Webby Awards. Sunny is also an internationally acclaimed keynote speaker for organizations like MasterCard, Microsoft, Dale Carnegie, Fast Company Innovation Festival, Inc., and Inspiring Workplaces. She has been featured on Yahoo! Finance, Fast Company, Inc., Forbes, Entrepreneur, and The Wall Street Journal. She has appeared on CNBC's Closing Bell, The Breakfast Club, Bloomberg Radio, Yahoo Finance, The Verge, and more. Check out all of the podcasts in the HCI Podcast Network!

After nearly 20 years of marriage, Lucille Ball and Desi Arnaz called it quits. Their divorce was quick, but it wasn't simple. They'd grown Desilu into a major Hollywood studio, on par with MGM, Warner Brothers and Twentieth Century Fox. In order to keep the business going, they had to work together. And when that didn't work out, Lucy had to figure out how to be the boss. Remember, kids, history hoes always cite their sources! For this episode, Kristin pulled from: “Love, Lucy,” by Lucille Ball “The Plot Thickens” podcast from Turner Classic Movies “The Life of Lucille Ball,” by Kathleen Brady The documentary “Lucy and Desi” “Ball of Fire,” by Stefan Kanfer Are you enjoying An Old Timey Podcast? Then please leave us a 5-star rating and review wherever you listen to podcasts! Are you *really* enjoying An Old Timey Podcast? Well, calm down, history ho! You can get more of us on Patreon at patreon.com/oldtimeypodcast. At the $5 level, you'll get a monthly bonus episode (with video!), access to our 90's style chat room, plus the entire back catalog of bonus episodes for Kristin's previous podcast, Let's Go To Court.

On this episode, I spoke to composer James S. Levine and music supervisor Mark Wike about their work on The New Look.  James Levine's notable credits include FX Networks' American Horror Story, for which he received an Emmy Award-nomination for “Outstanding Music Composition for a Miniseries, Movie or a Special (Original Dramatic Score)” in 2014; Nip/Tuck; and Damages.  Mark Wike's music supervision credits include Hulu's Emmy Award-winning series by Steven Spielberg, Animaniacs; Twentieth Century Fox's The Greatest Showman, directed by Michael Gracey; and The Sitter, directed by David Gordon Green; FX Networks' Damages; and Netflix's Bloodline.  The series stars Ben Mendelsohn, Juliette Binoche, Maisie Williams and John Malkovich.

Want to see a video version of this podcast? Please visit Youtube here: https://www.youtube.com/watch?v=pHBHjlb4y84 Support us on Patreon here - http://www.patreon.com/filmcourage. BUY THE BOOK - STORY MAPS: How To Write A GREAT Screenplay http://amzn.to/2hcbRwS BUY THE BOOK - STORY MAPS: TV Drama: The Structure of the One-Hour Television Pilot http://amzn.to/2heFCx5 DANIEL P. CALVISI is a Script Doctor, Writing Coach and the author of Story Maps: How to Write GREAT Screenplay and Story Maps: TV DRAMA: The Structure of the One-Hour Television Pilot. He is a former Story Analyst for major studios like Twentieth Century Fox, Miramax Films and New Line Cinema. He coaches writers, teaches webinars on writing for film and television and speaks at writing conferences. Many of his clients have worked with the top networks and studios in the industry, such as Netflix, HBO, Warner Brothers, Disney, Sony, ABC, Showtime, Apple TV+ and more. He holds a degree in Film and Television from New York University. He lives in Los Angeles. MORE VIDEOS WITH DANIEL CALVISI https://tinyurl.com/yc822utp CONNECT WITH DANIEL CALVISI http://actfourscreenplays.com https://www.facebook.com/StoryMaps https://twitter.com/storymapsdan https://www.instagram.com/storymapsdan MORE VIDEOS LIKE THIS Story Maps: How To Write A GREAT Screenplay PART 1 - https://youtu.be/635p_nkiK-g Beginners Guide To Story Development: Why Scripts Are Rejected - https://youtu.be/EUd5hZL62MA The Writer's Journey: Mythic Structure For Writers - https://youtu.be/Ab6z57N6evA First 3 Hours Of Writing A Story (Starting From Nothing) - https://youtu.be/b2RlPZmz9nc Why Most Scripts Are Rejected After The First 3 Pages - https://youtu.be/dEevGQ8Va_Y CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage https://www.facebook.com/filmcourage https://www.instagram.com/filmcourage http://filmcourage.tumblr.com http://pinterest.com/filmcourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage LISTEN TO THE FILM COURAGE PODCAST https://soundcloud.com/filmcourage-com (Affiliates) SAVE $15 ON YOUTUBE TV - LIMITED TIME OFFER https://tv.youtube.com/referral/r0847ysqgrrqgp ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *These are affiliate links, by using them you can help support this channel.

Luke has the flu. Heidi is off gallivanting. Until they rejoin forces next week, enjoy this classic episode of Grad School, culled from deep within our vaults.The music of Van Dyke Parks has always taken you on a journey, replete with exquisite sounds and thoughtful concepts. His most recent collaboration is no different- he never met Veronica Valerio, but the resulting album is no less compelling. We talked with Van Dyke about the new album, finger foods in Berlin, the Twentieth Century Fox theme music and the various books of the bible in this wide-ranging conversation. "Only In America," Van Dyke Parks orchestrates Veronica Valerio is available everywhere on June 11th.

Jim Fielding's dynamic career has spanned senior leadership roles at top global brands, including Disney, DreamWorks, and Twentieth Century Fox, anchored in experience and an early career at The Gap, Lands' End, and as CEO of Claire's Stores; He joins me in an exclusive interview to talk about this new book ALL PRIDE, NO EGO: A Queer Executive's Journey to Living and Leading Authentically with leadership, retail and life lessons you need to hear. About JimJim Fielding is a partner at Archer Gray and president of its Co-Lab Division. A retail and media industry veteran, Jim served as president of Disney Stores Worldwide and led global consumer experiences at DreamWorks and Twentieth Century Fox. His early career experience included top international brands, from The Gap to Lands' End. Jim later served as CEO of Claire's Stores, Inc. He is the author of ALL PRIDE, NO EGO: A Queer Executive's Journey to Living and Leading Authentically (Wiley, August 15, 2023). Jim's expertise combines storytelling, product innovation, merchandising, and consumer experiences. He is an active community leader and philanthropist, a founder of the Queer Philanthropy Circle, and serves on the board of directors for the Indiana University Foundation. Jim has served as an executive-in-residence for IU's Office of Diversity, Equity, and Inclusion and a board member for GLSEN, Make-A-Wish International, and the American Red Cross. He is based in Atlanta, GA and Northport, MI. About MichaelMichael is the Founder & President of M.E. LeBlanc & Company Inc. and a Senior Advisor to Retail Council of Canada and the Bank of Canada as part of his advisory and consulting practice. He brings 25+ years of brand/retail/marketing & eCommerce leadership experience with Levi's, Black & Decker, Hudson's Bay, Today's Shopping Choice and Pandora Jewellery. Michael has been on the front lines of retail industry change for his entire career. He has delivered keynotes, hosted fire-side discussions with C-level executives and participated worldwide in thought leadership panels. ReThink Retail has added Michael to their prestigious Top Retail Experts list for 2024 for the third year in a row.Michael is also the president of Maven Media, producing a network of leading trade podcasts, including Canada's top retail industry podcast, The Voice of Retail. He produces and co-hosts Remarkable Retail with best-selling author Steve Dennis, now ranked one of the top retail podcasts in the world. Based in San Francisco, Global eCommerce Leaders podcast explores global cross-border issues and opportunities for eCommerce brands and retailers. Last but not least, Michael is the producer and host of the "Last Request Barbeque" channel on YouTube, where he cooks meals to die for - and collaborates with top brands as a food and product influencer across North America.

THESE THY GIFTSMEET THE AUTHOR Podcast: LIVE - Episode 141 - THESE THY GIFTSOriginally Aired Wednesday January 31,2024 Featuring Mystery Author Vincent Panettiere. ABOUT VINCENT: Vincent Panettiere was not born in a trunk at the Princess Theatre in Pocatello, Idaho, but in Brooklyn, NY. He graduated from St. John's University and went to graduate school at Boston University. After college he became a sports writer for the wire service United Press International (UPI) and later wrote for the Boston Herald, a major daily newspaper in that city before Rupert Murdochized it. After holding executive positions at Westinghouse Broadcasting, CBS and Xerox he moved to Los Angeles to pursue a career as a screen writer. One script was optioned by Twentieth Century Fox but not produced. Three other projects were optioned by now defunct production companies and also not produced. He became a licensed and bonded literary agent representing writers and directors in television and films. He made deals for writers and directors on TV series (Xena, The Untouchables, Babylon 5 etc.); two independent features were produced; numerous indie/MOW film scripts were sold as well. He also had a client's book published and another client's play produced... He continues to live in Los Angeles. He has also had dinner in Pocatello, Idaho.Watch or listen to all episodes at www.IndieBookSource.com

fWotD Episode 2439: Shostakovich v. Twentieth Century-Fox Film Corp. Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Monday, 8 January 2024 is Shostakovich v. Twentieth Century-Fox Film Corp..Shostakovich v. Twentieth Century-Fox Film Corp. is a landmark 1948 New York Supreme Court decision that was the first case in United States copyright law to recognize moral rights in authorship. The Shostakovich case was brought following the United States premiere of The Iron Curtain, a 1948 spy film and the first anti-Soviet Hollywood film of the Cold War era. The film featured the music of several Soviet composers: Dmitri Shostakovich, Aram Khachaturian, Sergei Prokofiev, and Nikolai Myaskovsky.The composers—as nominal plaintiffs standing in for the Soviet government, according to some scholars—sued the film's distributor, Twentieth Century-Fox Film Corporation, in the New York Supreme Court, the state's trial court. Conceding that their compositions were in the public domain under United States law, the composers sought an injunction prohibiting further distribution of the film. The composers relied on several legal theories, most notably that they had moral rights in authorship preventing the misuse of their works in a manner that contradicted their beliefs. The court rejected the composers' arguments, holding that the standard for adjudicating moral rights was not settled law and that, in any event, moral rights conflict with the right of the public to use public domain works. The Soviet government continued to press the composers' moral rights case before the French courts, which ruled in their favor in Société Le Chant du Monde v. Société Fox Europe and Société Fox Americaine Twentieth Century.Legal commenters have described the case as a landmark decision and noted that it is representative of United States' courts reactions to moral rights. The decision has been criticized as a misunderstanding of moral rights and praised for upholding the right of the public to use public domain works over the rights of authors to censor uses that they disagree with.This recording reflects the Wikipedia text as of 01:26 UTC on Monday, 8 January 2024.For the full current version of the article, see Shostakovich v. Twentieth Century-Fox Film Corp. on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Brian Neural.

One of Carol's superpowers as a successful producer is her relationships with WRITERs. She is credited for starting the careers of David O'Russell, Noah Baumbach, and Mike White, in addition to being Former VP at 20th Century Fox and Co-President of Sandollar Productions (founded by Dolly Parton and Sandy Gallin). This is an excerpt from Carol Baum's new book: ⁠⁠⁠Creative Producing: a pitch-to-picture guide to Movie Development⁠⁠⁠. It is available wherever you buy books. Here we delve into Do's and Don'ts for talking to Writers, with some incredible stories along the way. Chapter 5 - Script Development, pages 49-52. Carol Baum has produced thirty-four movies, seventeen of them independently. Before becoming an independent producer, Baum was co-president of Sandollar Productions, Dolly Parton and Sandy Gallin's production company, for ten years, where she produced such hits as Father of the Bride; the Academy Award-winning HBO documentary Common Threads: Stories from the Quilt; Tidy Endings; I.Q.; Jacknife; True Identity; Buffy the Vampire Slayer; Gross Anatomy; Shining Through; Straight Talk; and Kicking and Screaming. As an indie producer, Baum made, among other movies, including The Good Girl; You Kill Me; and Boychoir. She has produced five television movies for Hallmark and several documentaries.  Her roots are in New York City, where she spent her early career in publishing, working for both Bantam Books and Random House and scouting for the English publisher Corgi. While in New York, she developed Ira Levin's The Stepford Wives, Stephen King's The Shining, and Ira Levin's The Boys from Brazil. When she relocated to Los Angeles, Baum became a studio vice president at Twentieth Century Fox and a senior vice president at Lorimar, where she developed Taylor Hackford's An Officer and a Gentleman. Following her stint as an executive, she produced David Cronenberg's Dead Ringers. Baum currently teaches producing in the Film and Television Production Division at USC's School of Cinematic Arts. She is also a mentor for the Peter Stark Producing Program at USC. Guest: ⁠IMDb⁠ ⁠Website⁠ ⁠Wikipedia⁠ Carole's book ⁠⁠Creative Producing: a pitch-to-picture guide to movie development⁠⁠ is available wherever you buy books. Host: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneMiller⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook page:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/mentorsonthemic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.michellesimonemiller.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠www.mentorsonthemic.com⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/user/24mmichelle⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Click here to join our Mailing list.⁠⁠⁠⁠⁠⁠⁠ Mentioned on this episode: ⁠Best Podcasts for Actors (Backstage)⁠ ⁠6 Must Listen to Podcasts for Actors (TheaterArtLife)⁠ ⁠30 Best Acting Podcasts (Feedspot)⁠ Join me at this virtual panel brought to you by SAG-AFTRA ⁠Actors with Podcasts for Actors⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/michelle-miller4/support

I recorded the intro to this episode earlier this week and already it's outdated! The strike is over! We can now talk about how GREAT Carol Baum is. Carol Baum has produced thirty-four movies, seventeen of them independently. Before becoming an independent producer, Baum was co-president of Sandollar Productions, Dolly Parton and Sandy Gallin's production company, for ten years, where she produced such hits as Father of the Bride; the Academy Award-winning HBO documentary Common Threads: Stories from the Quilt; Tidy Endings; I.Q.; Jacknife; True Identity; Buffy the Vampire Slayer; Gross Anatomy; Shining Through; Straight Talk; and Kicking and Screaming. As an indie producer, Baum made, among other movies, including The Good Girl; You Kill Me; and Boychoir. She has produced five television movies for Hallmark and several documentaries.  Her roots are in New York City, where she spent her early career in publishing, working for both Bantam Books and Random House and scouting for the English publisher Corgi. While in New York, she developed Ira Levin's The Stepford Wives, Stephen King's The Shining, and Ira Levin's The Boys from Brazil. When she relocated to Los Angeles, Baum became a studio vice president at Twentieth Century Fox and a senior vice president at Lorimar, where she developed Taylor Hackford's An Officer and a Gentleman. Following her stint as an executive, she produced David Cronenberg's Dead Ringers. Baum currently teaches producing in the Film and Television Production Division at USC's School of Cinematic Arts. She is also a mentor for the Peter Stark Producing Program at USC. Guest: IMDb Website Wikipedia Carole's book ⁠Creative Producing: a pitch-to-picture guide to movie development⁠ is available wherever you buy books. Host: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneMiller⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook page:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/mentorsonthemic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.michellesimonemiller.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠www.mentorsonthemic.com⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/user/24mmichelle⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠Click here to join our Mailing list.⁠⁠⁠⁠⁠⁠ Mentioned on this episode: Best Podcasts for Actors (Backstage) 6 Must Listen to Podcasts for Actors (TheaterArtLife) 30 Best Acting Podcasts (Feedspot) Join me at this virtual panel brought to you by SAG-AFTRA Actors with Podcasts for Actors --- Support this podcast: https://podcasters.spotify.com/pod/show/michelle-miller4/support

Today is a special day because we're tackling what might very well be my favorite movie if the 1980s...Russell Mulcahy's brilliantly over the top cult classic, Highlander!Released in 1986, and based off a student script from Gregory Widen, this tale of sword fighting immortals competing for the ultimate prize is like a big budget music video (complete with an iconic score from Queen!) and features Christopher Lambert, Sean Connery, and Clancy Brown in some of their most unforgettable roles. Join me as we take a deep dive into the Highlander universe -- form the film's origins and legacy on through to the universe of spinoffs it inspired. Just don't lose your head. Want to support the channel? https://www.patreon.com/Horrorgeek https://ko-fi.com/thehorrorgeekGet Your Horrorgeek Merch!https://horrorgeek.creator-spring.com/ Purchase Highlander here!https://amzn.to/477wyhEIceman Cometh: https://amzn.to/3Sl18jKHighlander 2: Renegade Cut: https://amzn.to/47aHn2wDisclaimer: this is an Amazon affiliate link. By purchasing through this link my channel will earn a referral fee. This will not make the item cost more. Amazon simply pays me for sending business to their site. It's another way you can support the channel.Resources:Fischer, Robert, director. The Making of Highlander. Fiction FACTory Filmproduktion, 2007. Mulcahy, Russell, director. Highlander. Twentieth Century-Fox, 1986. Russell, Maureen. Highlander: The Complete Watchers Guide. Warner, 1999. “Highlander (Film).” Wikipedia, Wikimedia Foundation, 27 Oct. 2023, en.wikipedia.org/wiki/Highlander_(film). Listen on podcast platforms:Spotify: https://open.spotify.com/show/2Cn1lep...Apple: https://podcasts.apple.com/us/podcast...Google Podcasts: https://podcasts.google.com/feed/aHR0...Amazon: https://music.amazon.com/podcasts/bb9...Follow me on social media!Twitter ► https://twitter.com/horrorgeekInstagram ► https://www.instagram.com/geekpocalypseFacebook ► https://www.facebook.com/mike.brackenThe Horror Geek FB group ► https://www.facebook.com/groups/11186...Blue Sky ► @horrorgeek.bsky.social

THE SHOW Jim Fielding is casting the kind of light we all need to free us from the anxiety of being enough and doing enough. Throughout his illustrious career as an executive as the world's most recognizable companies, he found that authenticity and kindness were the secrets to achieving the kind of success he most craved. But these realizations didn't come easy. After struggling with coming out, building international teams, and climbing corporate ladders, Jim left it all behind to lean into a new chapter where he brings his whole self to his work. This conversation is a must listen for anyone who wants to design a more meaningful professional life that delivers fulfillment and stability without sacrificing authenticity. Behind His Brilliance: Family Say hi to Jim on Instagram @allpridenoego THE GUEST JIM FIELDING | EXECUTIVE + AUTHOR, ALL PRIDE, NO EGO Jim Fielding is a partner at Archer Gray, and president of its Co-Lab Division. A retail and media industry veteran, Jim served as president of Disney Stores Worldwide, and led global consumer experiences at DreamWorks and Twentieth Century Fox. His early career experience included top global brands, from The Gap to Lands' End. Jim later served as CEO of Claire's Stores, Inc. He is author of ALL PRIDE, NO EGO: A Queer Executive's Journey to Living and Leading Authentically (Wiley, August 15, 2023). Jim's expertise combines storytelling, product innovation, merchandising, and consumer experiences. He is an active community leader and philanthropist, a founder of the Queer Philanthropy Circle, and serves on the board of directors for the Indiana University Foundation. Jim has served as an executive-in-residence for IU's Office of Diversity, Equity, and Inclusion, and a board member for GLSEN, Make-A-Wish International, and American Red Cross. He is based in Atlanta, GA and Northport, MI.  TOPICS COVERED Jim's path into retail and how he found success How authenticity accelerated Jim's elevation as an executive How Jim navigates high pressure situations Jim's advice on designing effective teams and collaborative cultures Jim's advice to professionals weighing their options A fresh perspective on failure – and how to fail up Why Jim stopped chasing the next promotion and title The ah ha moment that healed years of trauma And much more!

STEPHEN M. KRAVIT is executive vice president of the Gersh Agency, Beverly Hills. He has served as executive vice president of Kings Road Entertainment, senior vice president, business affairs, of Twentieth Century Fox and vice president, business-legal, of United Artists. A graduate of Columbia Law School, Stephen is a member of the California and New York bars and is admitted to practice in the United States Supreme Court, the United States Court of Military Appeals and various other courts.     Host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts. Music: “The Day it All Began and it All Ended” by Pawel Feszczuk (License: CC by 4.0)  

Many LGBTQ+ individuals struggle with the question, "How do I show up at work, and as a leader, while still being true to myself as a queer person?" The answer, "Your way, on your terms!" Jim Fielding, author of the brand new book, ALL PRIDE, NO EGO: A Queer Executive's Journey to Living and Leading Authentically, shares he navigated his gay life and roles at t top global brands including Disney, DreamWorks, and Twentieth Century Fox.  From his conservative Midwestern roots and a lovingly imperfect family to higher education, travel, advocacy, Jim found how seeing the world through a distinctly different lens is actually a positive way of being in the world, living life without apologies. About Jim Jim Fielding is an acclaimed retail and media industry veteran whose expertise combines storytelling, product innovation, merchandising, and consumer experiences. He is a partner at independent media company Archer Gray, and president of its Co-Lab Division. Having led consumer products groups at the world's largest media companies, Jim served as president of Disney Stores Worldwide, and transformed global consumer experiences at DreamWorks, Twentieth Century Fox, and more.  His early career experience has included top global brands, from The Gap to Lands' End, where he mastered vertical specialty retail, product design, store operations, visual merchandising, and supply chain management. Jim later served as CEO of Claire's Stores, Inc., a leading jewelry and accessories retailer. An active community leader and philanthropist, Jim is a founder of the Queer Philanthropy Circle, the nation's premier fundraising and advocacy group for the queer community. He also participates in the Women's Philanthropic Leadership Circle and the Black Philanthropy Circle.  Jim serves on the board of directors for the Indiana University Foundation, and has served as an executive-in-residence for IU's Office of Diversity, Equity, and Inclusion, and as a board member for GLSEN, Make-A-Wish International, and American Red Cross.  He lives in Atlanta with his partner, Joseph. Connect with Jim Website Instagram Twitter LinkedIn

ALAN HORN has served as head of three studios and founder of another. Most recently, he was Chairman of Walt Disney Studios. Before that, he was President and COO of Warner Bros. Earlier, he co-founded and was Chairman of Castle Rock Entertainment and President and COO of Twentieth Century Fox. During his tenures, Alan has overseen some of the most popular screen entertainment over 30 years. He has received several industry honors for his leadership, and also served on the board of the Natural Resources Defense Council for 30 years and Chair for the final 3 years.   Host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts.   Music: “The Day it All Began and it All Ended” by Pawel Feszczuk (License: CC by 4.0)  

Welcome to an interview with the author of All Pride, No Ego: A Queer Executive's Journey to Living and Leading Authentically, Jim Fielding, where he delivers an inspirational leadership story told from the perspective of an out and proud LGBTQ+ executive. In the book, you'll explore a call-to-action for authentic servant leadership that encourages people to own their truth and bring out the best in themselves and their communities. Jim Fielding is a respected retail and media industry veteran whose expertise combines storytelling, product innovation, merchandising, and consumer experiences. Jim currently serves as a partner at Archer Gray, an independent media company, and president of its Co-Lab Division. Having led consumer products groups at the world's largest media companies, including Disney, Dreamworks, and Twentieth Century Fox, Jim has built diverse cultures and visionary teams that excelled in competitive global markets. He served as president of Disney Stores Worldwide for four years, transforming its global consumer experience. He also served as CEO of Claire's Stores, Inc., a leading jewelry and accessories retailer.  Jim's early experience spanned leading global retail companies, from The Gap to Lands' End. He mastered all aspects of vertical specialty retail, including supply chain, product design, store operations, and visual merchandising.  An active community leader and philanthropist, Jim serves on the board of directors for the Indiana University Foundation and was a founding member of the Dean's Council for the Hamilton Lugar Global and International School. Jim is a founder of the Queer Philanthropy Circle, the nation's premier fundraising and advocacy group for the queer community. He also participates in the Women's Philanthropic Leadership Circle and the Black Philanthropy Circle.  Jim has served as a board member for GLSEN, Make-A-Wish International, and American Red Cross, as well as an executive-in-residence for IU Ventures and Indiana University's Office of Diversity, Equity, and Inclusion. He has endowed several scholarships at IU to support overseas study, international internships, and advocacy leadership training.    Jim lives in Atlanta with his partner, Joseph, and their dogs, Cricket and Olive. In the summers, you will find them in Leland and Northport, Michigan. Get Jim's book here: https://rb.gy/ax3aj All Pride, No Ego: A Queer Executive's Journey to Living and Leading Authentically. Jim Fielding. Here are some free gifts for you: Overall Approach Used in Well-Managed Strategy Studies free download: www.firmsconsulting.com/OverallApproach McKinsey & BCG winning resume free download: www.firmsconsulting.com/resumepdf Enjoying this episode? Get access to sample advanced training episodes here: www.firmsconsulting.com/promo

Ladies and gentlemen, gather 'round for another enchanting evening of mystery and intrigue as we delve into the shadows of the past. It's Friday Night Noir on Vintage Classic Radio, where we bring you two timeless gems from the golden age of radio drama. So, dim the lights, settle into your favorite armchair, and let's embark on a journey to a world of suspense and thrills. Inner Sanctum Mysteries - "Death for Sale" Our first chilling tale tonight is from the legendary 'Inner Sanctum Mysteries' series. In 'Death for Sale,' we are joined by the iconic Boris Karloff, who brings his unique gravitas to this spine-tingling story. In 'Death for Sale,' a quaint antique shop conceals more than just forgotten treasures. When a series of bizarre deaths occurs after customers purchase items from the store, suspicions arise, and the shop's owner finds himself entangled in a web of horror and suspicion. Join us as we unravel the mysteries hidden within the shop's shadowy corners. Cast: Boris Karloff as James Merrivale Mary Adams as Elizabeth Merrivale Paul Holden as Inspector Evans Joan Hart as Ann Brewster Walter Brown as Mr. Corbin Lisa Roberts as Mrs. Corbin Lux Radio Theatre - "Laura" This 1944 Twentieth Century Fox hit has graced both the silver screen and the airwaves. This Lux Radio Theatre presentation features the original stars in a tale of love, obsession, and a haunting memory. In 'Laura,' the brilliant detective Mark McPherson, portrayed by Dana Andrews, unravels the enigma surrounding the murder of the beautiful Laura Hunt, brought to life once again by the enchanting Gene Tierney. Vincent Price lends his voice to the charismatic Waldo Lydecker, while Otto Kruger masterfully takes over Clifton Webb's role as Shelby Carpenter. As McPherson navigates the twists and turns of the case, he finds himself falling in love with the memory of Laura, a woman whose charm and mystery refuse to be forgotten. Cast: Dana Andrews as Detective Mark McPherson Gene Tierney as Laura Hunt Vincent Price as Waldo Lydecker Otto Kruger as Shelby Carpenter Jeanne Crain as Ann Treadwell Dorothy Adams as Bessie Clary Sit back, relax, and let the echoes of the past transport you into a world of suspenseful storytelling. Until next time, remember to keep your lights on and your ears tuned to Vintage Classic Radio. Vintage Classic Radio presents Friday Night Noir where we bring to life timeless classic detective noir, mystery and suspense from the golden age of radio between the 1930s and the 1960s.

In this episode, we talk with Jim Fielding, who has led consumer products groups at the world's largest media companies, including Disney, Dreamworks, and Twentieth Century Fox. Jim is a partner at Archer Gray, an independent media company, and president of its Co-Lab Division. He is also founder of the Queer Philanthropy Circle, the nation's premier fundraising and advocacy group for the queer community. Listen as Jim talks about his career journey and new book ‘All Pride, No Ego: A Queer Executive's Journey to Living and Leading Authentically.' We also get his perspective on LGBTQ+ issues in the workplace and the current political climate, before providing receipts on LGBTQ+ representation and experiences in the workplace. To wrap up, you'll get a double dose of C-CRETS on tools LGBTQ+ employees can use to navigate their careers and how leaders can advocate for LGBTQ+ inclusion in the workplace.

Welcome to Strategy Skills episode 372, an interview with the author of All Pride, No Ego: A Queer Executive's Journey to Living and Leading Authentically, Jim Fielding, where he delivers an inspirational leadership story told from the perspective of an out and proud LGBTQ+ executive. In the book, you'll explore a call-to-action for authentic servant leadership that encourages people to own their truth and bring out the best in themselves and their communities. Jim Fielding is a respected retail and media industry veteran whose expertise combines storytelling, product innovation, merchandising, and consumer experiences. Jim currently serves as a partner at Archer Gray, an independent media company, and president of its Co-Lab Division. Having led consumer products groups at the world's largest media companies, including Disney, Dreamworks, and Twentieth Century Fox, Jim has built diverse cultures and visionary teams that excelled in competitive global markets. He served as president of Disney Stores Worldwide for four years, transforming its global consumer experience. He also served as CEO of Claire's Stores, Inc., a leading jewelry and accessories retailer.  Jim's early experience spanned leading global retail companies, from The Gap to Lands' End. He mastered all aspects of vertical specialty retail, including supply chain, product design, store operations, and visual merchandising.  An active community leader and philanthropist, Jim serves on the board of directors for the Indiana University Foundation and was a founding member of the Dean's Council for the Hamilton Lugar Global and International School. Jim is a founder of the Queer Philanthropy Circle, the nation's premier fundraising and advocacy group for the queer community. He also participates in the Women's Philanthropic Leadership Circle and the Black Philanthropy Circle.  Jim has served as a board member for GLSEN, Make-A-Wish International, and American Red Cross, as well as an executive-in-residence for IU Ventures and Indiana University's Office of Diversity, Equity, and Inclusion. He has endowed several scholarships at IU to support overseas study, international internships, and advocacy leadership training.    Jim lives in Atlanta with his partner, Joseph, and their dogs, Cricket and Olive. In the summers, you will find them in Leland and Northport, Michigan. Get Jim's book here: https://rb.gy/ax3aj All Pride, No Ego: A Queer Executive's Journey to Living and Leading Authentically. Jim Fielding. Here are some free gifts for you: Overall Approach Used in Well-Managed Strategy Studies free download: www.firmsconsulting.com/OverallApproach McKinsey & BCG winning resume free download: www.firmsconsulting.com/resumepdf Enjoying this episode? Get access to sample advanced training episodes here: www.firmsconsulting.com/promo

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Jim Fielding is a busy man. He's the president of the Archer Gray Co-Lab Group, the author of All Pride, No Ego: A Queer Executive's Journey to Living and Leading, and a leader of consumer product groups with prominent brands like Disney, Dreamworks, and Twentieth Century Fox, among others. In this week's episode, John and Jim talk about some of today's most pressing topics, such as our skewed perception of the world due in part to social media, the superpower of personal and professional authenticity, and real-world tips for making society a more inclusive and accepting place for everyone, including the LGBTQ+ community.Do you want to become your authentic self? You can Make It Happen with coaching and training from John Barrows at www.jbarrows.com.Are you interested in leveling up your sales skills and staying relevant in today's AI-driven landscape? Visit www.jbarrows.com and let's Make It Happen together!Connect with John on LinkedIn: https://www.linkedin.com/in/johnbarrows/Connect with John on IG: https://www.instagram.com/johnmbarrows/Follow Jim Fielding on LinkedIn: https://www.linkedin.com/in/jamesdfielding/Also Visit: www.allpridenoego.com

Many gay men, navigate the inevitable question of "How do I show up at work, and as a leader, while still being true to myself as a gay man?" The answer, "Your way, on your terms!" Jim Fielding, author of ALL PRIDE, NO EGO: A Queer Executive's Journey to Living and Leading Authentically, shares his dynamic career journey that has spanned senior leadership roles at top global brands including Disney, DreamWorks, and Twentieth Century Fox.  He recounts his journey from conservative Midwestern roots and a lovingly imperfect family to higher education, travel, advocacy, and ultimately owning his truth -- seeing the world through a distinctly different lens. About Jim Jim Fielding is an acclaimed retail and media industry veteran whose expertise combines storytelling, product innovation, merchandising, and consumer experiences. He is a partner at independent media company Archer Gray, and president of its Co-Lab Division. Having led consumer products groups at the world's largest media companies, Jim served as president of Disney Stores Worldwide, and transformed global consumer experiences at DreamWorks, Twentieth Century Fox, and more.  His early career experience has included top global brands, from The Gap to Lands' End, where he mastered vertical specialty retail, product design, store operations, visual merchandising, and supply chain management. Jim later served as CEO of Claire's Stores, Inc., a leading jewelry and accessories retailer. An active community leader and philanthropist, Jim is a founder of the Queer Philanthropy Circle, the nation's premier fundraising and advocacy group for the queer community. He also participates in the Women's Philanthropic Leadership Circle and the Black Philanthropy Circle.  Jim serves on the board of directors for the Indiana University Foundation, and has served as an executive-in-residence for IU's Office of Diversity, Equity, and Inclusion, and as a board member for GLSEN, Make-A-Wish International, and American Red Cross.  He lives in Atlanta with his partner, Joseph. Connect with Jim Website Instagram Twitter LinkedIn Join Our Live 40 Plus Gay Men, Gay Talk Chats The third Monday of each month at 5:00 p.m. Pacific, we gather together on a zoom chat to talk about the stuff us gay gays aren't talking about but should - careers, finances, sex, love, health, coming out - all that stuff that we think we're talking about but aren't. It's fun, it builds community, and you never know when you just might make a great connection or a friend. Click Here To Join The Calls! You can also listen to the podcast on…

We start minute 120 with the London unit and ends with Produced and Released by Twentieth Century Fox. The “Planet of the Apes” is kicked off in only the way Tim Burton can kick off a franchise, by adding Dirk Diggler to the world of apes!A Poor Polly Production: https://www.poorpollyproductions.com/Facebook @MinuteOfTheApesTwitter @MinuteOfTheApes (Shows post but no interaction here because Elon Musk sucks)Email: podcast@minuteoftheapes.comWebsite: https://www.minuteoftheapes.com/http://moviesbyminutes.com/https://www.zeuscomics.com/http://divebarboombox.com/New Podcast: Jeff & Todd Make a Movie“Antibody” by Chris Williams (shorturl.at/ctNY4)

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

With special guest Jennifer Fisher, Anna and Derek chat about how Aaron's magnificent sweaty anchor experience was executed on-screen, why James Brooks is a master of both dramedy and dynamic character depictions and so much more during their discussion of the brilliant Broadcast News (1987). Connect with '80s Movie Montage on Facebook, Twitter or Instagram! It's the same handle for all three... @80smontagepod.Facebook: https://www.facebook.com/80sMontagePodTwitter: https://twitter.com/80sMontagePodInstagram: https://www.instagram.com/80smontagepod/Anna Keizer and Derek Dehanke are the co-hosts of ‘80s Movie Montage. The idea for the podcast came when they realized just how much they talk – a lot – when watching films from their favorite cinematic era. Their wedding theme was “a light nod to the ‘80s,” so there's that, too. Both hail from the Midwest but have called Los Angeles home for several years now. Anna is a writer who received her B.A. in Film/Video from Columbia College Chicago and M.A. in Film Studies from Chapman University. Her dark comedy short She Had It Coming was an Official Selection of 25 film festivals with several awards won for it among them. Derek is an attorney who also likes movies. It is a point of pride that most of their podcast episodes are longer than the movies they cover.Jennifer Fisher is a television writer/producer whose credits include Titus, Wanda at Large, The Bill Engvall Show, and Ellen, where she was part of the Emmy Award-winning staff that wrote Ellen's “coming out” episode, aka The Puppy Episode. She's had pilot deals with Twentieth Century Fox, NBC/Universal, Touchstone, Warner Bros., Warner Horizons, and has pitched and sold multiple half-hour comedy pilots, with producers including Lisa Kudrow's Is or Isn't Entertainment and Zadan and Maron's Storyline Entertainment. A Los Angeles native, Jennifer received her BA in Film and Television from Cal State University Long Beach. Jennifer teaches TV writing in UCLA's Professional Program and does private writing consulting and personal coaching. She's currently working on a feature, a memoir and avoiding as much gluten as humanly possible. You can find her on Instagram @thejenfish.

Get 15% off zbiotics.com/reach - Wake up feeling great, even if you had a big night out. Episode Keywords: Roy Cohn, Rupert Murdoch, Ronald Reagan, Fox News, Donald Trump, Jared Kushner, Election Conspiracy Theories, Global Expansion, Iran Contra Scandal, CIA, Project Democracy, Twentieth Century Fox, Metromedia, Mogul, Television Stations, Market, Dave Marcus Episode Summary: In this episode, I discussed the complex connections between Roy Cohn, Rupert Murdoch, and Ronald Reagan and how they helped shape the landscape of the United States. We examined recent revelations involving Murdoch's Fox News network and its role in peddling lies to the American public. Rupert Murdoch's deposition was discussed, and how it does not absolve him or his company of responsibility for their actions. We also discussed Murdoch's influence, Donald Trump's reaction, the alliance between Murdoch and Jared Kushner, and Roy Cohn's impact on Murdoch's success. This episode provided an overview of the complex relationships between powerful figures and their influence on modern political and media landscapes. JOIN our PREMIUM CONTENT CHANNEL on YOUTUBE.COM/@NARATIVTV or Patreon.com/naratv. This week I share my thoughts on why Spy Murdoch has been the most challenging series for me to mount. Dear Friends: All of Narativ's content is supported by Narativ's patrons - Thank you for standing by my work and supporting democracy. Unless many more of you join, I cannot continue producing these shows. Please go to Patreon.com/narativ and sign up today. Thank you, Z Learn more about your ad choices. Visit podcastchoices.com/adchoices

SPY MURDOCH is the origin story of Rupert Murdoch as a spy and the first premium content serial from NARATIV TV.  The first and second episode are available for free.  Future episodes will be available to premium members only at patreon.com/narativ  Get 15% off zbiotics.com/reach - Wake up feeling great, even if you had a big night out.   Episode Keywords: Roy Cohn, Rupert Murdoch, Ronald Reagan, Fox News, Donald Trump, Jared Kushner, Election Conspiracy Theories, Global Expansion, Iran Contra Scandal, CIA, Project Democracy, Twentieth Century Fox, Metromedia, Mogul, Television Stations, Market, Dave Marcus Episode Summary: In this episode, I discussed the complex connections between Roy Cohn, Rupert Murdoch, and Ronald Reagan and how they helped shape the landscape of the United States. We examined recent revelations involving Murdoch's Fox News network and its role in peddling lies to the American public. Rupert Murdoch's deposition was discussed, and how it does not absolve him or his company of responsibility for their actions. We also discussed Murdoch's influence, Donald Trump's reaction, the alliance between Murdoch and Jared Kushner, and Roy Cohn's impact on Murdoch's success. This episode provided an overview of the complex relationships between powerful figures and their influence on modern political and media landscapes.   JOIN our PREMIUM CONTENT CHANNEL on YOUTUBE.COM/@NARATIVTV or Patreon.com/naratv. This week I share my thoughts on why Spy Murdoch has been the most challenging series for me to mount.   Dear Friends: All of Narativ's content is supported by Narativ's patrons - Thank you for standing by my work and supporting democracy. Unless many more of you join, I cannot continue producing these shows. Please go to Patreon.com/narativ and sign up today. Thank you, Z

Joel has been one of the top influencers in the marketing and technology space for almost 25-years. He is an entrepreneur and free-thinker who understands culture, technology, and people. With an extensive career in building brands across media, entertainment and technology, he has used his degree in anthropology to understand culture and societal trends. Joel was previously the Vice President of Global Brand Strategy at Twitter, responsible for Twitter's brand and marketing, revenue strategy, and partnerships across entertainment, brands, and media. He was there pre-revenue to post IPO, leading a Global Strategy team spanning 30-countries. Joel was responsible for growing the business from zero to $2.4B in revenue in just a handful of years.Prior to Twitter, Joel was the CEO of Moxie, recognized as a top ten digital agency, and acquired by Publicis, the world's largest holding company. Joel has led engagements with world-class brands such as Verizon Wireless, L'Oreal, Twentieth Century Fox,Coca-Cola, HP, and many others. As a recognition of his career achievements and impact on the industry, Joel was inducted into the AAF's Advertising Hall of Achievement in 2015. He's won almost every award in the advertising industry, including a Grand Prix Cannes Lion. Joel also cares deeply about giving back to society. In 2014 he co-founded a nonprofit – The Guardian Project http://www.guardiangym.org,a global program providing free jui-jitsu to at-risk youth, The Guardian Project buildscommunity and self-esteem through martial arts. Joel also served on the board of Hire Heroes USA a nonprofit that helps veterans and their spouses find jobs and transition from military to civilian life. Today, Joel is an advisor, investor and philanthropist, as well as entering a new chapter of his life–, following his passion for music as a recording artist.To find out more info about our brands, click one of the two links below….www.guadiangym.orgwww.andbreathe.io

Episode one hundred and fifty-three of A History of Rock Music in Five Hundred Songs looks at “Heroes and Villains” by the Beach Boys, and the collapse of the Smile album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "I Had Too Much to Dream Last Night" by the Electric Prunes. 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 There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode. As well as the books I referred to in all the Beach Boys episodes, listed below, I used Domenic Priore's book Smile: The Story of Brian Wilson's Lost Masterpiece and Richard Henderson's 33 1/3 book on Van Dyke Parks' Song Cycle. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson by Peter Ames Carlin is the best biography of Wilson. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of “Heroes and Villains”. The box set The Smile Sessions  contains an attempt to create a finished album from the unfinished sessions, plus several CDs of outtakes and session material. Transcript [Opening -- "intro to the album" studio chatter into "Our Prayer"] Before I start, I'd just like to note that this episode contains some discussion of mental illness, including historical negative attitudes towards it, so you may want to check the transcript or skip this one if that might be upsetting. In November and December 1966, the filmmaker David Oppenheim and the conductor and composer Leonard Bernstein collaborated on a TV film called "Inside Pop: The Rock Revolution".  The film was an early attempt at some of the kinds of things this podcast is doing, looking at how music and social events interact and evolve, though it was dealing with its present rather than the past. The film tried to cast as wide a net as possible in its fifty-one minutes. It looked at two bands from Manchester -- the Hollies and Herman's Hermits -- and how the people identified as their leaders, "Herman" (or Peter Noone) and Graham Nash, differed on the issue of preventing war: [Excerpt: Inside Pop, the Rock Revolution] And it made a star of East Coast teenage singer-songwriter Janis Ian with her song about interracial relationships, "Society's Child": [Excerpt: Janis Ian, "Society's Child"] And Bernstein spends a significant time, as one would expect, analysing the music of the Beatles and to a lesser extent the Stones, though they don't appear in the show. Bernstein does a lot to legitimise the music just by taking it seriously as a subject for analysis, at a time when most wouldn't: [Excerpt: Leonard Bernstein talking about "She Said She Said"] You can't see it, obviously, but in the clip that's from, as the Beatles recording is playing, Bernstein is conducting along with the music, as he would a symphony orchestra, showing where the beats are falling. But of course, given that this was filmed in the last two months of 1966, the vast majority of the episode is taken up with musicians from the centre of the music world at that time, LA. The film starts with Bernstein interviewing Tandyn Almer,  a jazz-influenced songwriter who had recently written the big hit "Along Comes Mary" for The Association: [Excerpt: Inside Pop: The Rock Revolution] It featured interviews with Roger McGuinn, and with the protestors at the Sunset Strip riots which were happening contemporaneously with the filming: [Excerpt: Inside Pop: The Rock Revolution] Along with Frank Zappa's rather acerbic assessment of the potential of the youth revolutionaries: [Excerpt: Inside Pop: The Rock Revolution] And ended (other than a brief post-commercial performance over the credits by the Hollies) with a performance by Tim Buckley, whose debut album, as we heard in the last episode, had featured Van Dyke Parks and future members of the Mothers of Invention and Buffalo Springfield: [Excerpt: Inside Pop: The Rock Revolution] But for many people the highlight of the film was the performance that came right before Buckley's, film of Brian Wilson playing a new song from the album he was working on. One thing I should note -- many sources say that the voiceover here is Bernstein. My understanding is that Bernstein wrote and narrated the parts of the film he was himself in, and Oppenheim did all the other voiceover writing and narration, but that Oppenheim's voice is similar enough to Bernstein's that people got confused about this: [Excerpt: Inside Pop: The Rock Revolution] That particular piece of footage was filmed in December 1966, but it wasn't broadcast until April the twenty-fifth, 1967, an eternity in mid-sixties popular music. When it was broadcast, that album still hadn't come out. Precisely one week later, the Beach Boys' publicist Derek Taylor announced that it never would: [Excerpt: Brian Wilson, "Surf's Up"] One name who has showed up in a handful of episodes recently, but who we've not talked that much about, is Van Dyke Parks. And in a story with many, many, remarkable figures, Van Dyke Parks may be one of the most remarkable of all. Long before he did anything that impinges on the story of rock music, Parks had lived the kind of life that would be considered unbelievable were it to be told as fiction. Parks came from a family that mixed musical skill, political progressiveness, and achievement. His mother was a scholar of Hebrew, while his father was a neurologist, the first doctor to admit Black patients to a white Southern hospital, and had paid his way through college leading a dance band. Parks' father was also, according to the 33 1/3 book on Song Cycle, a member of "John Philip Sousa's Sixty Silver Trumpets", but literally every reference I can find to Sousa leading a band of that name goes back to that book, so I've no idea what he was actually a member of, but we can presume he was a reasonable musician. Young Van Dyke started playing the clarinet at four, and was also a singer from a very early age, as well as playing several other instruments. He went to the American Boychoir School in Princeton, to study singing, and while there he sang with Toscaninni, Thomas Beecham, and other immensely important conductors of the era. He also had a very special accompanist for one Christmas carolling session. The choir school was based in Princeton, and one of the doors he knocked on while carolling was that of Princeton's most famous resident, Albert Einstein, who heard the young boy singing "Silent Night", and came out with his violin and played along. Young Van Dyke was only interested in music, but he was also paying the bills for his music tuition himself -- he had a job. He was a TV star. From the age of ten, he started getting roles in TV shows -- he played the youngest son in the 1953 sitcom Bonino, about an opera singer, which flopped because it aired opposite the extremely popular Jackie Gleason Show. He would later also appear in that show, as one of several child actors who played the character of Little Tommy Manicotti, and he made a number of other TV appearances, as well as having a small role in Grace Kelly's last film, The Swan, with Alec Guinness and Louis Jourdain. But he never liked acting, and just did it to pay for his education. He gave it up when he moved on to the Carnegie Institute, where he majored in composition and performance. But then in his second year, his big brother Carson asked him to drop out and move to California. Carson Parks had been part of the folk scene in California for a few years at this point. He and a friend had formed a duo called the Steeltown Two, but then both of them had joined the folk group the Easy Riders, a group led by Terry Gilkyson. Before Carson Parks joined, the Easy Riders had had a big hit with their version of "Marianne", a calypso originally by the great calypsonian Roaring Lion: [Excerpt: The Easy Riders, "Marianne"] They hadn't had many other hits, but their songs became hits for other people -- Gilkyson wrote several big hits for Frankie Laine, and the Easy Riders were the backing vocalists on Dean Martin's recording of a song they wrote, "Memories are Made of This": [Excerpt: Dean Martin and the Easy Riders, "Memories are Made of This"] Carson Parks hadn't been in the group at that point -- he only joined after they'd stopped having success -- and eventually the group had split up. He wanted to revive his old duo, the Steeltown Two, and persuaded his family to let his little brother Van Dyke drop out of university and move to California to be the other half of the duo. He wanted Van Dyke to play guitar, while he played banjo. Van Dyke had never actually played guitar before, but as Carson Parks later said "in 90 days, he knew more than most folks know after many years!" Van Dyke moved into an apartment adjoining his brother's, owned by Norm Botnick, who had until recently been the principal viola player in a film studio orchestra, before the film studios all simultaneously dumped their in-house orchestras in the late fifties, so was a more understanding landlord than most when it came to the lifestyles of musicians. Botnick's sons, Doug and Bruce, later went into sound engineering -- we've already encountered Bruce Botnick in the episode on the Doors, and he will be coming up again in the future. The new Steeltown Two didn't make any records, but they developed a bit of a following in the coffeehouses, and they also got a fair bit of session work, mostly through Terry Gilkyson, who was by that point writing songs for Disney and would hire them to play on sessions for his songs. And it was Gilkyson who both brought Van Dyke Parks the worst news of his life to that point, and in doing so also had him make his first major mark on music. Gilkyson was the one who informed Van Dyke that another of his brothers, Benjamin Riley Parks, had died in what was apparently a car accident. I say it was apparently an accident because Benjamin Riley Parks was at the time working for the US State Department, and there is apparently also some evidence that he was assassinated in a Cold War plot. Gilkyson also knew that neither Van Dyke nor Carson Parks had much money, so in order to help them afford black suits and plane tickets to and from the funeral, Gilkyson hired Van Dyke to write the arrangement for a song he had written for an upcoming Disney film: [Excerpt: Jungle Book soundtrack, "The Bare Necessities"] The Steeltown Two continued performing, and soon became known as the Steeltown Three, with the addition of a singer named Pat Peyton. The Steeltown Three recorded two singles, "Rock Mountain", under that group name: [Excerpt: The Steeltown Three, "Rock Mountain"] And a version of "San Francisco Bay" under the name The South Coasters, which I've been unable to track down. Then the three of them, with the help of Terry Gilkyson, formed a larger group in the style of the New Christy Minstrels -- the Greenwood County Singers. Indeed, Carson Parks would later claim that  Gilkyson had had the idea first -- that he'd mentioned that he'd wanted to put together a group like that to Randy Sparks, and Sparks had taken the idea and done it first. The Greenwood County Singers had two minor hot one hundred hits, only one of them while Van Dyke was in the band -- "The New 'Frankie and Johnny' Song", a rewrite by Bob Gibson and Shel Silverstein of the old traditional song "Frankie and Johnny": [Excerpt: The Greenwood County Singers, "The New Frankie and Johnny Song"] They also recorded several albums together, which gave Van Dyke the opportunity to practice his arrangement skills, as on this version of  "Vera Cruz" which he arranged: [Excerpt: The Greenwood County Singers, "Vera Cruz"] Some time before their last album, in 1965, Van Dyke left the Greenwood County Singers, and was replaced by Rick Jarrard, who we'll also be hearing more about in future episodes. After that album, the group split up, but Carson Parks would go on to write two big hits in the next few years. The first and biggest was a song he originally wrote for a side project. His future wife Gaile Foote was also a Greenwood County Singer, and the two of them thought they might become folk's answer to Sonny and Cher or Nino Tempo and April Stevens: [Excerpt: Carson and Gaile, "Somethin' Stupid"] That obviously became a standard after it was covered by Frank and Nancy Sinatra. Carson Parks also wrote "Cab Driver", which in 1968 became the last top thirty hit for the Mills Brothers, the 1930s vocal group we talked about way way back in episode six: [Excerpt: The Mills Brothers, "Cab Driver"] Meanwhile Van Dyke Parks was becoming part of the Sunset Strip rock and roll world. Now, until we get to 1967, Parks has something of a tangled timeline. He worked with almost every band around LA in a short period, often working with multiple people simultaneously, and nobody was very interested in keeping detailed notes. So I'm going to tell this as a linear story, but be aware it's very much not -- things I say in five minutes might happen after, or in the same week as, things I say in half an hour. At some point in either 1965 or 1966 he joined the Mothers of Invention for a brief while. Nobody is entirely sure when this was, and whether it was before or after their first album. Some say it was in late 1965, others in August 1966, and even the kind of fans who put together detailed timelines are none the wiser, because no recordings have so far surfaced of Parks with the band. Either is plausible, and the Mothers went through a variety of keyboard players at this time -- Zappa had turned to his jazz friend Don Preston, but found Preston was too much of a jazzer and told him to come back when he could play "Louie Louie" convincingly, asked Mac Rebennack to be in the band but sacked him pretty much straight away for drug use, and eventually turned to Preston again once Preston had learned to rock and roll. Some time in that period, Van Dyke Parks was a Mother, playing electric harpsichord. He may even have had more than one stint in the group -- Zappa said "Van Dyke Parks played electric harpsichord in and out." It seems likely, though, that it was in summer of 1966, because in an interview published in Teen Beat Magazine in December 66, but presumably conducted a few months prior, Zappa was asked to describe the band members in one word each and replied: "Ray—Mahogany Roy—Asbestos Jim—Mucilage Del—Acetate Van Dyke—Pinocchio Billy—Boom I don't know about the rest of the group—I don't even know about these guys." Sources differ as to why Parks didn't remain in the band -- Parks has said that he quit after a short time because he didn't like being shouted at, while Zappa said "Van Dyke was not a reliable player. He didn't make it to rehearsal on time and things like that." Both may be true of course, though I've not heard anyone else ever criticise Parks for his reliability. But then also Zappa had much more disciplinarian standards than most rock band leaders. It's possibly either through Zappa that he met Tom Wilson, or through Tom Wilson that he met Frank Zappa, but either way Parks, like the Mothers of Invention, was signed to MGM records in 1966, where he released two solo singles co-produced by Wilson and an otherwise obscure figure named Tim Alvorado. The first was "Number Nine", which we heard last week, backed with "Do What You Wanta": [Excerpt: Van Dyke Parks, "Do What You Wanta"] At least one source I've read says that the lyrics to "Do What You Wanta" were written not by Parks but by his friend Danny Hutton, but it's credited as a Parks solo composition on the label. It was after that that the Van Dyke Parks band -- or as they were sometimes billed, just The Van Dyke Parks formed, as we discussed last episode, based around Parks, Steve Stills, and Steve Young, and they performed a handful of shows with bass player Bobby Rae and drummer Walt Sparman, playing a mix of original material, primarily Parks' songs, and covers of things like "Dancing in the Street". The one contemporaneous review of a live show I've seen talks about  the girls in the audience screaming and how "When rhythm guitarist Steve Stillman imitated the Barry McGuire emotional scene, they almost went wiggy". But The Van Dyke Parks soon split up, and Parks the individual recorded his second single, "Come to the Sunshine": [Excerpt: Van Dyke Parks, "Come to the Sunshine"] Around the time he left the Greenwood County Singers, Van Dyke Parks also met Brian Wilson for the first time, when David Crosby took him up to Wilson's house to hear an acetate of the as-yet-unreleased track "Sloop John B". Parks was impressed by Wilson's arrangement techniques, and in particular the way he was orchestrating instrumental combinations that you couldn't do with a standard live room setup, that required overdubbing and close-micing. He said later "The first stuff I heard indicated this kind of curiosity for the recording experience, and when I went up to see him in '65 I don't even think he had the voices on yet, but I heard that long rotational breathing, that long flute ostinato at the beginning... I knew this man was a great musician." [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] In most of 1966, though, Parks was making his living as a session keyboard player and arranger, and much of the work he was getting was through Lenny Waronker. Waronker was a second-generation music industry professional. His father, Si Waronker, had been a violinist in the Twentieth Century Fox studio orchestra before founding Liberty Records (the label which indirectly led to him becoming immortalised in children's entertainment, when Liberty Records star David Seville named his Chipmunk characters after three Liberty executives, with Simon being Si Waronker's full forename). The first release on Liberty Records had been a version of "The Girl Upstairs", an instrumental piece from the Fox film The Seven-Year Itch. The original recording of that track, for the film, had been done by the Twentieth Century Fox Orchestra, written and conducted by Alfred Newman, the musical director for Fox: [Excerpt: Alfred Newman, "The Girl Upstairs"] Liberty's soundalike version was conducted by Newman's brother Lionel, a pianist at the studio who later became Fox's musical director for TV, just as his brother was for film, but who also wrote many film scores himself. Another Newman brother, Emil, was also a film composer, but the fourth brother, Irving, had gone into medicine instead. However, Irving's son Randy wanted to follow in the family business, and he and Lenny Waronker, who was similarly following his own father by working for Liberty Records' publishing subsidiary Metric Music, had been very close friends ever since High School. Waronker got Newman signed to Metric Music, where he wrote "They Tell Me It's Summer" for the Fleetwoods: [Excerpt: The Fleetwoods, "They Tell Me It's Summer"] Newman also wrote and recorded a single of his own in 1962, co-produced by Pat Boone: [Excerpt: Randy Newman, "Golden Gridiron Boy"] Before deciding he wasn't going to make it as a singer and had better just be a professional songwriter. But by 1966 Waronker had moved on from Metric to Warner Brothers, and become a junior A&R man. And he was put in charge of developing the artists that Warners had acquired when they had bought up a small label, Autumn Records. Autumn Records was a San Francisco-based label whose main producer, Sly Stone, had now moved on to other things after producing the hit record "Laugh Laugh" for the Beau Brummels: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Beau Brummels  had had another hit after that and were the main reason that Warners had bought the label, but their star was fading a little. Stone had also been mentoring several other groups, including the Tikis and the Mojo Men, who all had potential. Waronker gathered around himself a sort of brains trust of musicians who he trusted as songwriters, arrangers, and pianists -- Randy Newman, the session pianist Leon Russell, and Van Dyke Parks. Their job was to revitalise the career of the Beau Brummels, and to make both the Tikis and the Mojo Men into successes. The tactic they chose was, in Waronker's words, “Go in with a good song and weird it out.” The first good song they tried weirding out was in late 1966, when Leon Russell came up with a clarinet-led arrangement of Paul Simon's "59th Street Bridge Song (Feeling Groovy)" for the Tikis, who performed it but who thought that their existing fanbase wouldn't accept something so different, so it was put out under another name, suggested by Parks, Harpers Bizarre: [Excerpt: Harpers Bizarre, "Feeling Groovy"] Waronker said of Parks and Newman “They weren't old school guys. They were modern characters but they had old school values regarding certain records that needed to be made, certain artists who needed to be heard regardless. So there was still that going on. The fact that ‘Feeling Groovy' was a number 10 hit nationwide and ‘Sit Down, I Think I Love You'  made the Top 30 on Western regional radio, that gave us credibility within the company. One hit will do wonders, two allows you to take chances.” We heard "Sit Down, I Think I Love You" last episode -- that's the song by Parks' old friend Stephen Stills that Parks arranged for the Mojo Men: [Excerpt: The Mojo Men, "Sit Down, I Think I Love You"] During 1966 Parks also played on Tim Buckley's first album, as we also heard last episode: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And he also bumped into Brian Wilson on occasion, as they were working a lot in the same studios and had mutual friends like Loren Daro and Danny Hutton, and he suggested the cello part on "Good Vibrations". Parks also played keyboards on "5D" by the Byrds: [Excerpt: The Byrds, "5D (Fifth Dimension)"] And on the Spirit of '67 album for Paul Revere and the Raiders, produced by the Byrds' old producer Terry Melcher. Parks played keyboards on much of the album, including the top five hit "Good Thing": [Excerpt: Paul Revere and the Raiders, "Good Thing"] But while all this was going on, Parks was also working on what would become the work for which he was best known. As I've said, he'd met Brian Wilson on a few occasions, but it wasn't until summer 1966 that the two were formally introduced by Terry Melcher, who knew that Wilson needed a new songwriting collaborator, now Tony Asher's sabbatical from his advertising job was coming to an end, and that Wilson wanted someone who could do work that was a bit more abstract than the emotional material that he had been writing with Asher. Melcher invited both of them to a party at his house on Cielo Drive -- a house which would a few years later become notorious -- which was also attended by many of the young Hollywood set of the time. Nobody can remember exactly who was at the party, but Parks thinks it was people like Jack Nicholson and Peter and Jane Fonda. Parks and Wilson hit it off, with Wilson saying later "He seemed like a really articulate guy, like he could write some good lyrics". Parks on the other hand was delighted to find that Wilson "liked Les Paul, Spike Jones, all of these sounds that I liked, and he was doing it in a proactive way." Brian suggested Parks write the finished lyrics for "Good Vibrations", which was still being recorded at this time, and still only had Tony Asher's dummy lyrics,  but Parks was uninterested. He said that it would be best if he and Brian collaborate together on something new from scratch, and Brian agreed. The first time Parks came to visit Brian at Brian's home, other than the visit accompanying Crosby the year before, he was riding a motorbike -- he couldn't afford a car -- and forgot to bring his driver's license with him. He was stopped by a police officer who thought he looked too poor to be in the area, but Parks persuaded the police officer that if he came to the door, Brian Wilson would vouch for him. Brian got Van Dyke out of any trouble because the cop's sister was a Beach Boys fan, so he autographed an album for her. Brian and Van Dyke talked for a while. Brian asked if Van Dyke needed anything to help his work go smoothly, and Van Dyke said he needed a car. Brian asked what kind. Van Dyke said that Volvos were supposed to be pretty safe. Brian asked how much they cost. Van Dyke said he thought they were about five thousand dollars. Brian called up his office and told them to get a cheque delivered to Van Dyke for five thousand dollars the next day, instantly earning Van Dyke's loyalty. After that, they got on with work. To start with, Brian played Van Dyke a melody he'd been working on, a melody based on a descending scale starting on the fourth: [Plays "Heroes and Villains" melody] Parks told Wilson that the melody reminded him vaguely of Marty Robbins' country hit "El Paso" from 1959, a song about a gunfighter, a cantina, and a dancing woman: [Excerpt: Marty Robbins, "El Paso"] Wilson said that he had been thinking along the same lines, a sort of old west story, and thought maybe it should be called "Heroes and Villains". Parks started writing, matching syllables to Wilson's pre-conceived melody -- "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time" [Excerpt: Brian Wilson and Van Dyke Parks, "Heroes and Villains demo"] As Parks put it "The engine had started. It was very much ad hoc. Seat of the pants. Extemporaneous values were enforced. Not too much precommitment to ideas. Or, if so, equally pursuing propinquity." Slowly, over the next several months, while the five other Beach Boys were touring, Brian and Van Dyke refined their ideas about what the album they were writing, initially called Dumb Angel but soon retitled Smile, should be. For Van Dyke Parks it was an attempt to make music about America and American mythology. He was disgusted, as a patriot, with the Anglophilia that had swept the music industry since the arrival of the Beatles in America two and a half years earlier, particularly since that had happened so soon after the deaths both of President Kennedy and of Parks' own brother who was working for the government at the time he died. So for him, the album was about America, about Plymouth Rock, the Old West, California, and Hawaii. It would be a generally positive version of the country's myth, though it would of course also acknowledge the bloodshed on which the country had been built: [Excerpt: The Beach Boys, "Bicycle Rider" section] As he put it later "I was dead set on centering my life on the patriotic ideal. I was a son of the American revolution, and there was blood on the tracks. Recent blood, and it was still drying. The whole record seemed like a real effort toward figuring out what Manifest Destiny was all about. We'd come as far as we could, as far as Horace Greeley told us to go. And so we looked back and tried to make sense of that great odyssey." Brian had some other ideas -- he had been studying the I Ching, and Subud, and he wanted to do something about the four classical elements, and something religious -- his ideas were generally rather unfocused at the time, and he had far more ideas than he knew what to usefully do with. But he was also happy with the idea of a piece about America, which fit in with his own interest in "Rhapsody in Blue", a piece that was about America in much the same way. "Rhapsody in Blue" was an inspiration for Brian primarily in how it weaved together variations on themes. And there are two themes that between them Brian was finding endless variations on. The first theme was a shuffling between two chords a fourth away from each other. [demonstrates G to C on guitar] Where these chords are both major, that's the sequence for "Fire": [Excerpt: The Beach Boys, "Mrs. O'Leary's Cow/Fire"] For the "Who ran the Iron Horse?" section of "Cabin Essence": [Excerpt: The Beach Boys, "Cabinessence"] For "Vegetables": [Excerpt: The Beach Boys, "Vegetables"] And more. Sometimes this would be the minor supertonic and dominant seventh of the key, so in C that would be Dm to G7: [Plays Dm to G7 fingerpicked] That's the "bicycle rider" chorus we heard earlier, which was part of a song known as "Roll Plymouth Rock" or "Do You Like Worms": [Excerpt: The Beach Boys, "Bicycle Rider"] But which later became a chorus for "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] But that same sequence is also the beginning of "Wind Chimes": [Excerpt: The Beach Boys, "Wind Chimes"] The "wahalla loo lay" section of "Roll Plymouth Rock": [Excerpt: The Beach Boys, "Roll Plymouth Rock"] And others, but most interestingly, the minor-key rearrangement of "You Are My Sunshine" as "You Were My Sunshine": [Excerpt: The Beach Boys, "You Were My Sunshine"] I say that's most interesting, because that provides a link to another of the major themes which Brian was wringing every drop out of, a phrase known as "How Dry I Am", because of its use under those words in an Irving Berlin song, which was a popular barbershop quartet song but is now best known as a signifier of drunkenness in Looney Tunes cartoons: [Excerpt: Daffy Duck singing "How Dry I Am" https://www.youtube.com/watch?v=Ap4MMn7LpzA ] The phrase is a common one in early twentieth century music, especially folk and country, as it's made up of notes in the pentatonic scale -- it's the fifth, first, second, and third of the scale, in that order: [demonstrates "How Dry I Am"] And so it's in the melody to "This Land is Your Land", for example, a song which is very much in the same spirit of progressive Americana in which Van Dyke Parks was thinking: [Excerpt: Woody Guthrie, "This Land is Your Land"] It's also the start of the original melody of "You Are My Sunshine": [Excerpt: Jimmie Davis, "You Are My Sunshine" https://www.youtube.com/watch?v=yYvgNEU4Am8] Brian rearranged that melody when he stuck it into a minor key, so it's no longer "How Dry I Am" in the Beach Boys version, but if you play the "How Dry I Am" notes in a different rhythm, you get this: [Plays "He Gives Speeches" melody] Which is the start of the melody to "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] Play those notes backwards, you get: [Plays "He Gives Speeches" melody backwards] Do that and add onto the end a passing sixth and then the tonic, and then you get: [Plays that] Which is the vocal *countermelody* in "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] And also turns up in some versions of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains (alternate version)"] And so on. Smile was an intricate web of themes and variations, and it incorporated motifs from many sources, both the great American songbook and the R&B of Brian's youth spent listening to Johnny Otis' radio show. There were bits of "Gee" by the Crows, of "Twelfth Street Rag", and of course, given that this was Brian Wilson, bits of Phil Spector. The backing track to the verse of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] Owed more than a little to a version of "Save the Last Dance For Me" that Spector had produced for Ike and Tina Turner: [Excerpt: Ike and Tina Turner, "Save the Last Dance For Me"] While one version of the song “Wonderful” contained a rather out-of-place homage to Etta James and “The Wallflower”: [Excerpt: “Wonderful (Rock With Me Henry)”] As the recording continued, it became more and more obvious that the combination of these themes and variations was becoming a little too much for Brian.  Many of the songs he was working on were made up of individual modules that he was planning to splice together the way he had with "Good Vibrations", and some modules were getting moved between tracks, as he tried to structure the songs in the edit. He'd managed it with "Good Vibrations", but this was an entire album, not just a single, and it was becoming more and more difficult. David Anderle, who was heading up the record label the group were looking at starting, would talk about Brian playing him acetates with sections edited together one way, and thinking it was perfect, and obviously the correct way to put them together, the only possible way, and then hearing the same sections edited together in a different way, and thinking *that* was perfect, and obviously the correct way to put them together. But while a lot of the album was modular, there were also several complete songs with beginnings, middles, ends, and structures, even if they were in several movements. And those songs showed that if Brian could just get the other stuff right, the album could be very, very, special. There was "Heroes and Villains" itself, of course, which kept changing its structure but was still based around the same basic melody and story that Brian and Van Dyke had come up with on their first day working together. There was also "Wonderful", a beautiful, allusive, song about innocence lost and regained: [Excerpt: The Beach Boys, "Wonderful"] And there was CabinEssence, a song which referenced yet another classic song, this time "Home on the Range", to tell a story of idyllic rural life and of the industrialisation which came with westward expansion: [Excerpt: The Beach Boys, "CabinEssence"] The arrangement for that song inspired Van Dyke Parks to make a very astute assessment of Brian Wilson. He said later "He knew that he had to adhere to the counter-culture, and I knew that I had to. I think that he was about as estranged from it as I was.... At the same time, he didn't want to lose that kind of gauche sensibility that he had. He was doing stuff that nobody would dream of doing. You would never, for example, use one string on a banjo when you had five; it just wasn't done. But when I asked him to bring a banjo in, that's what he did. This old-style plectrum thing. One string. That's gauche." Both Parks and Wilson were both drawn to and alienated from the counterculture, but in very different ways, and their different ways of relating to the counterculture created the creative tension that makes the Smile project so interesting. Parks is fundamentally a New Deal Liberal, and was excited by the progresssive nature of the counterculture, but also rather worried about its tendency to throw the baby out with the bathwater, and to ignore the old in pursuit of the new. He was an erudite, cultured, sophisticated man who thought that there was value to be found in the works and attitudes of the past, even as one must look to the future. He was influenced by the beat poets and the avant garde art of the time, but also said of his folk music period "A harpist would bring his harp with him and he would play and recite a story which had been passed down the generations. This particular legacy continued through Arthurian legend, and then through the Middle Ages, and even into the nineteenth century. With all these songs, half of the story was the lyrics, and the folk songs were very interesting. They were tremendously thought-driven songs; there was nothing confusing about that. Even when the Kingston Trio came out -- and Brian has already admitted his debt to the Kingston Trio -- 'Tom Dooley', the story of a murder most foul 'MTA' an urban nightmare -- all of this thought-driven music was perfectly acceptable.  It was more than a teenage romantic crisis." Brian Wilson, on the other hand, was anything *but* sophisticated. He is a simple man in the best sense of the term -- he likes what he likes, doesn't like what he doesn't like, and has no pretensions whatsoever about it. He is, at heart, a middle-class middle-American brought up in suburbia, with a taste for steaks and hamburgers, broad physical comedy, baseball, and easy listening music. Where Van Dyke Parks was talking about "thought-driven music", Wilson's music, while thoughtful, has always been driven by feelings first and foremost. Where Parks is influenced by Romantic composers like Gottschalk but is fundamentally a craftsman, a traditionalist, a mason adding his work to a cathedral whose construction started before his birth and will continue after his death, Wilson's music has none of the stylistic hallmarks of Romantic music, but in its inspiration it is absolutely Romantic -- it is the immediate emotional expression of the individual, completely unfiltered. When writing his own lyrics in later years Wilson would come up with everything from almost haiku-like lyrics like "I'm a leaf on a windy day/pretty soon I'll be blown away/How long with the wind blow?/Until I die" to "He sits behind his microphone/Johnny Carson/He speaks in such a manly tone/Johnny Carson", depending on whether at the time his prime concern was existential meaninglessness or what was on the TV. Wilson found the new counterculture exciting, but was also very aware he didn't fit in. He was developing a new group of friends, the hippest of the hip in LA counterculture circles -- the singer Danny Hutton, Mark Volman of the Turtles, the writers Michael Vosse and Jules Siegel, scenester and record executive David Anderle -- but there was always the underlying implication that at least some of these people regarded him as, to use an ableist term but one which they would probably have used, an idiot savant. That they thought of him, as his former collaborator Tony Asher would later uncharitably put it, as "a genius musician but an amateur human being". So for example when Siegel brought the great postmodern novelist Thomas Pynchon to visit Brian, both men largely sat in silence, unable to speak to each other; Pynchon because he tended to be a reactive person in conversation and would wait for the other person to initiate topics of discussion, Brian because he was so intimidated by Pynchon's reputation as a great East Coast intellectual that he was largely silent for fear of making a fool of himself. It was this gaucheness, as Parks eventually put it, and Parks' understanding that this was actually a quality to be cherished and the key to Wilson's art, that eventually gave the title to the most ambitious of the complete songs the duo were working on. They had most of the song -- a song about the power of music, the concept of enlightenment, and the rise and fall of civilisations: [Excerpt: The Beach Boys, "Surf's Up"] But Parks hadn't yet quite finished the lyric. The Beach Boys had been off on tour for much of Brian and Van Dyke's collaboration, and had just got back from their first real tour of the UK, where Pet Sounds had been a smash hit, rather than the middling success it had been in the US, and "Good Vibrations" had just become their first number one single. Brian and Van Dyke played the song for Brian's brother Dennis, the Beach Boys' drummer, and the band member most in tune with Brian's musical ambitions at this time. Dennis started crying, and started talking about how the British audiences had loved their music, but had laughed at their on-stage striped-shirt uniforms. Parks couldn't tell if he was crying because of the beauty of the unfinished song, the humiliation he had suffered in Britain, or both. Dennis then asked what the name of the song was, and as Parks later put it "Although it was the most gauche factor, and although maybe Brian thought it was the most dispensable thing, I thought it was very important to continue to use the name and keep the elephant in the room -- to keep the surfing image but to sensitise it to new opportunities. One of these would be an eco-consciousness; it would be speaking about the greening of the Earth, aboriginal people, how we had treated the Indians, taking on those things and putting them into the thoughts that come with the music. That was a solution to the relevance of the group, and I wanted the group to be relevant." Van Dyke had decided on a title: "Surf's Up": [Excerpt: The Beach Boys, "Surf's Up"] As the group were now back from their tour, the focus for recording shifted from the instrumental sessions to vocal ones. Parks had often attended the instrumental sessions, as he was an accomplished musician and arranger himself, and would play on the sessions, but also wanted to learn from what Brian was doing -- he's stated later that some of his use of tuned percussion in the decades since, for example, has come from watching Brian's work. But while he was also a good singer, he was not a singer in the same style as the Beach Boys, and they certainly didn't need his presence at those sessions, so he continued to work on his lyrics, and to do his arrangement and session work for other artists, while they worked in the studio. He was also, though, starting to distance himself from Brian for other reasons. At the start of the summer, Brian's eccentricity and whimsy had seemed harmless -- indeed, the kind of thing he was doing, such as putting his piano in a sandbox so he could feel the sand with his feet while he wrote, seems very much on a par with Maureen Cleave's descriptions of John Lennon in the same period. They were two newly-rich, easily bored, young men with low attention spans and high intelligence who could become deeply depressed when understimulated and so would get new ideas into their heads, spend money on their new fads, and then quickly discard them. But as the summer wore on into autumn and winter, Brian's behaviour became more bizarre, and to Parks' eyes more distasteful. We now know that Brian was suffering a period of increasing mental ill-health, something that was probably not helped by the copious intake of cannabis and amphetamines he was using to spur his creativity, but at the time most people around him didn't realise this, and general knowledge of mental illness was even less than it is today. Brian was starting to do things like insist on holding business meetings in his swimming pool, partly because people wouldn't be able to spy on him, and partly because he thought people would be more honest if they were in the water. There were also events like the recording session where Wilson paid for several session musicians, not to play their instruments, but to be recorded while they sat in a pitch-black room and played the party game Lifeboat with Jules Siegel and several of Wilson's friends, most of whom were stoned and not really understanding what they were doing, while they got angrier and more frustrated. Alan Jardine -- who unlike the Wilson brothers, and even Mike Love to an extent, never indulged in illegal drugs -- has talked about not understanding why, in some vocal sessions, Brian would make the group crawl on their hands and knees while making noises like animals: [Excerpt: The Beach Boys, "Heroes and Villains Part 3 (Animals)"] As Parks delicately put it "I sensed all that was destructive, so I withdrew from those related social encounters." What this meant though was that he was unaware that not all the Beach Boys took the same attitude of complete support for the work he and Brian had been doing that Dennis Wilson -- the only other group member he'd met at this point -- took. In particular, Mike Love was not a fan of Parks' lyrics. As he said later "I called it acid alliteration. The [lyrics are] far out. But do they relate like 'Surfin' USA,' like 'Fun Fun Fun,' like 'California Girls,' like 'I Get Around'? Perhaps not! So that's the distinction. See, I'm into success. These words equal successful hit records; those words don't" Now, Love has taken a lot of heat for this over the years, and on an artistic level that's completely understandable. Parks' lyrics were, to my mind at least, the best the Beach Boys ever had -- thoughtful, intelligent, moving, at times profound, often funny, often beautiful. But, while I profoundly disagree with Love, I have a certain amount of sympathy for his position. From Love's perspective, first and foremost, this is his source of income. He was the only one of the Beach Boys to ever have had a day job -- he'd worked at his father's sheet metal company -- and didn't particularly relish the idea of going back to manual labour if the rock star gig dried up. It wasn't that he was *opposed* to art, of course -- he'd written the lyrics to "Good Vibrations", possibly the most arty rock single released to that point, hadn't he? -- but that had been *commercial* art. It had sold. Was this stuff going to sell? Was he still going to be able to feed his wife and kids? Also, up until a few months earlier he had been Brian's principal songwriting collaborator. He was *still* the most commercially successful collaborator Brian had had. From his perspective, this was a partnership, and it was being turned into a dictatorship without him having been consulted. Before, it had been "Mike, can you write some lyrics for this song about cars?", now it was "Mike, you're going to sing these lyrics about a crow uncovering a cornfield". And not only that, but Mike had not met Brian's new collaborator, but knew he was hanging round with Brian's new druggie friends. And Brian was behaving increasingly weirdly, which Mike put down to the influence of the drugs and these new friends. It can't have helped that at the same time the group's publicist, Derek Taylor, was heavily pushing the line "Brian Wilson is a genius". This was causing Brian some distress -- he didn't think of himself as a genius, and he saw the label as a burden, something it was impossible to live up to -- but was also causing friction in the group, as it seemed that their contributions were being dismissed. Again, I don't agree with Mike's position on any of this, but it is understandable. It's also the case that Mike Love is, by nature, a very assertive and gregarious person, while Brian Wilson, for all that he took control in the studio, is incredibly conflict-avoidant and sensitive. From what I know of the two men's personalities, and from things they've said, and from the session recordings that have leaked over the years, it seems entirely likely that Love will have seen himself as having reasonable criticisms, and putting them to Brian clearly with a bit of teasing to take the sting out of them; while Brian will have seen Love as mercilessly attacking and ridiculing the work that meant so much to him in a cruel and hurtful manner, and that neither will have understood at the time that that was how the other was seeing things. Love's criticisms intensified. Not of everything -- he's several times expressed admiration for "Heroes and Villains" and "Wonderful" -- but in general he was not a fan of Parks' lyrics. And his criticisms seemed to start to affect Brian. It's difficult to say what Brian thinks about Parks' lyrics, because he has a habit in interviews of saying what he thinks the interviewer wants to hear, and the whole subject of Smile became a touchy one for him for a long time, so in some interviews he has talked about how dazzlingly brilliant they are, while at other times he's seemed to agree with Love, saying they were "Van Dyke Parks lyrics", not "Beach Boys lyrics". He may well sincerely think both at the same time, or have thought both at different times. This came to a head with a session for the tag of "Cabinessence": [Excerpt: The Beach Boys, "Cabinessence"] Love insisted on having the line "over and over the crow flies uncover the cornfield" explained to him, and Brian eventually decided to call Van Dyke Parks and have him come to the studio. Up to this point, Parks had no idea that there was anything controversial, so when Brian phoned him up and very casually said that Mike had a few questions about the lyrics, could he come down to the studio? He went without a second thought. He later said "The only person I had had any interchange with before that was Dennis, who had responded very favorably to 'Heroes and Villains' and 'Surf's Up'. Based on that, I gathered that the work would be approved. But then, with no warning whatsoever, I got that phone call from Brian. And that's when the whole house of cards came tumbling down." Parks got to the studio, where he was confronted by an angry Mike Love, insisting he explain the lyrics. Now, as will be, I hope, clear from everything I've said, Parks and Love are very, very, *very* different people. Having met both men -- albeit only in formal fan-meeting situations where they're presenting their public face -- I actually find both men very likeable, but in very different ways. Love is gregarious, a charmer, the kind of man who would make a good salesman and who people use terms like "alpha male" about. He's tall, and has a casual confidence that can easily read as arrogance, and a straightforward sense of humour that can sometimes veer into the cruel. Parks, on the other hand, is small, meticulously well-mannered and well-spoken, has a high, precise, speaking voice which probably reads as effeminate to the kind of people who use terms like "alpha male", and the kind of devastating intelligence and Southern US attention to propriety which means that if he *wanted* to say something cruel about someone, the victim would believe themselves to have been complimented until a horrific realisation two days after the event. In every way, from their politics to their attitudes to art versus commerce to their mannerisms to their appearance, Mike Love and Van Dyke Parks are utterly different people, and were never going to mix well. And Brian Wilson, who was supposed to be the collaborator for both of them, was not mediating between them, not even expressing an opinion -- his own mental problems had reached the stage where he simply couldn't deal with the conflict. Parks felt ambushed and hurt, Love felt angry, especially when Parks could not explain the literal meaning of his lyrics. Eventually Parks just said "I have no excuse, sir", and left. Parks later said "That's when I lost interest. Because basically I was taught not to be where I wasn't wanted, and I could feel I wasn't wanted. It was like I had someone else's job, which was abhorrent to me, because I don't even want my own job. It was sad, so I decided to get away quick." Parks continued collaborating with Wilson, and continued attending instrumental sessions, but it was all wheelspinning -- no significant progress was made on any songs after that point, in early December. It was becoming clear that the album wasn't going to be ready for its planned Christmas release, and it was pushed back to January, but Brian's mental health was becoming worse and worse. One example that's often cited as giving an insight into Brian's mental state at the time is his reaction to going to the cinema to see John Frankenheimer's classic science fiction horror film Seconds. Brian came in late, and the way the story is always told, when he was sat down the screen was black and a voice said from the darkness, "Hello Mr. Wilson". That moment does not seem to correspond with anything in the actual film, but he probably came in around the twenty-four minute mark, where the main character walks down a corridor, filmed in a distorted, hallucinatory manner, to be greeted: [Excerpt: Seconds, 24:00] But as Brian watched the film, primed by this, he became distressed by a number of apparent similarities to his life. The main character was going through death and rebirth, just as he felt he was. Right after the moment I just excerpted, Mr. Wilson is shown a film, and of course Brian was himself watching a film. The character goes to the beach in California, just like Brian. The character has a breakdown on a plane, just like Brian, and has to take pills to cope, and the breakdown happens right after this: [Excerpt: Seconds, from about 44:22] A studio in California? Just like where Brian spent his working days? That kind of weird coincidence can be affecting enough in a work of art when one is relatively mentally stable, but Brian was not at all stable. By this point he was profoundly paranoid -- and he may have had good reason to be. Some of Brian's friends from this time period have insisted that Brian's semi-estranged abusive father and former manager, Murry, was having private detectives watch him and his brothers to find evidence that they were using drugs. If you're in the early stages of a severe mental illness *and* you're self-medicating with illegal drugs, *and* people are actually spying on you, then that kind of coincidence becomes a lot more distressing. Brian became convinced that the film was the work of mind gangsters, probably in the pay of Phil Spector, who were trying to drive him mad and were using telepathy to spy on him. He started to bar people who had until recently been his friends from coming to sessions -- he decided that Jules Siegel's girlfriend was a witch and so Siegel was no longer welcome -- and what had been a creative process in the studio degenerated into noodling and second-guessing himself. He also, with January having come and the album still not delivered, started doing side projects,  some of which, like his production of tracks for photographer Jasper Daily, seem evidence either of his bizarre sense of humour, or of his detachment from reality, or both: [Excerpt: Jasper Daily, "Teeter Totter Love"] As 1967 drew on, things got worse and worse. Brian was by this point concentrating on just one or two tracks, but endlessly reworking elements of them. He became convinced that the track "Fire" had caused some actual fires to break out in LA, and needed to be scrapped. The January deadline came and went with no sign of the album. To add to that, the group discovered that they were owed vast amounts of unpaid royalties by Capitol records, and legal action started which meant that even were the record to be finished it might become a pawn in the legal wrangling. Parks eventually became exasperated by Brian -- he said later "I was victimised by Brian Wilson's buffoonery" -- and he quit the project altogether in February after a row with Brian. He returned a couple of weeks later out of a sense of loyalty, but quit again in April. By April, he'd been working enough with Lenny Waronker that Waronker offered him a contract with Warner Brothers as a solo artist -- partly because Warners wanted some insight into Brian Wilson's techniques as a hit-making producer. To start with, Parks released a single, to dip a toe in the water, under the pseudonym "George Washington Brown". It was a largely-instrumental cover version of Donovan's song "Colours", which Parks chose because after seeing the film Don't Look Back, a documentary of Bob Dylan's 1965 British tour, he felt saddened at the way Dylan had treated Donovan: [Excerpt: George Washington Brown, "Donovan's Colours"] That was not a hit, but it got enough positive coverage, including an ecstatic review from Richard Goldstein in the Village Voice, that Parks was given carte blanche to create the album he wanted to create, with one of the largest budgets of any album released to that date. The result was a masterpiece, and very similar to the vision of Smile that Parks had had -- an album of clever, thoroughly American music which had more to do with Charles Ives than the British Invasion: [Excerpt: Van Dyke Parks, "The All Golden"] But Parks realised the album, titled Song Cycle, was doomed to failure when at a playback session, the head of Warner Brothers records said "Song Cycle? So where are the songs?" According to Parks, the album was only released because Jac Holzman of Elektra Records was also there, and took out his chequebook and said he'd release the album if Warners wouldn't, but it had little push, apart from some rather experimental magazine adverts which were, if anything, counterproductive. But Waronker recognised Parks' talent, and had even written into Parks' contract that Parks would be employed as a session player at scale on every session Waronker produced -- something that didn't actually happen, because Parks didn't insist on it, but which did mean Parks had a certain amount of job security. Over the next couple of years Parks and Waronker co-produced the first albums by two of their colleagues from Waronker's brains trust, with Parks arranging -- Randy Newman: [Excerpt: Randy Newman, "I Think It's Going to Rain Today"] And Ry Cooder: [Excerpt: Ry Cooder, "One Meat Ball"] Waronker would refer to himself, Parks, Cooder, and Newman as "the arts and crafts division" of Warners, and while these initial records weren't very successful, all of them would go on to bigger things. Parks would be a pioneer of music video, heading up Warners' music video department in the early seventies, and would also have a staggeringly varied career over the years, doing everything from teaming up again with the Beach Boys to play accordion on "Kokomo" to doing the string arrangements on Joanna Newsom's album Ys, collaborating with everyone from U2 to Skrillex,  discovering Rufus Wainwright, and even acting again, appearing in Twin Peaks. He also continued to make massively inventive solo albums, releasing roughly one every decade, each unique and yet all bearing the hallmarks of his idiosyncratic style. As you can imagine, he is very likely to come up again in future episodes, though we're leaving him for now. Meanwhile, the Beach Boys were floundering, and still had no album -- and now Parks was no longer working with Brian, the whole idea of Smile was scrapped. The priority was now to get a single done, and so work started on a new, finished, version of "Heroes and Villains", structured in a fairly conventional manner using elements of the Smile recordings. The group were suffering from numerous interlocking problems at this point, and everyone was stressed -- they were suing their record label, Dennis' wife had filed for divorce, Brian was having mental health problems, and Carl had been arrested for draft dodging -- though he was later able to mount a successful defence that he was a conscientious objector. Also, at some point around this time, Bruce Johnston seems to have temporarily quit the group, though this was never announced -- he doesn't seem to have been at any sessions from late May or early June through mid-September, and didn't attend the two shows they performed in that time. They were meant to have performed three shows, but even though Brian was on the board of the Monterey Pop Festival, they pulled out at the last minute, saying that they needed to deal with getting the new single finished and with Carl's draft problems. Some or all of these other issues almost certainly fed into that, but the end result was that the Beach Boys were seen to have admitted defeat, to have handed the crown of relevance off to the San Francisco groups. And even if Smile had been released, there were other releases stealing its thunder. If it had come out in December it would have been massively ahead of its time, but after the Beatles released Sgt Pepper it would have seemed like it was a cheap copy -- though Parks has always said he believes the Beatles heard some of the Smile tapes and copied elements of the recordings, though I don't hear much similarity myself. But I do hear a strong similarity in "My World Fell Down" by Sagittarius, which came out in June, and which was largely made by erstwhile collaborators of Brian -- Gary Usher produced, Glen Campbell sang lead, and Bruce Johnston sang backing vocals: [Excerpt: Sagittarius, "My World Fell Down"] Brian was very concerned after hearing that that someone *had* heard the Smile tapes, and one can understand why. When "Heroes and Villains" finally came out, it was a great single, but only made number twelve in the charts. It was fantastic, but out of step with the times, and nothing could have lived up to the hype that had built up around it: [Excerpt: The Beach Boys, "Heroes and Villains"] Instead of Smile, the group released an album called Smiley Smile, recorded in a couple of months in Brian's home studio, with no studio musicians and no involvement from Bruce, other than the previously released singles, and with the production credited to "the Beach Boys" rather than Brian. Smiley Smile has been unfairly dismissed over the years, but it's actually an album that was ahead of its time. It's a collection of stripped down versions of Smile songs and new fragments using some of the same motifs, recorded with minimal instrumentation. Some of it is on a par with the Smile material it's based on: [Excerpt: The Beach Boys, "Wonderful"] Some is, to my ears, far more beautiful than the Smile versions: [Excerpt: The Beach Boys, "Wind Chimes"] And some has a fun goofiness which relates back to one of Brian's discarded ideas for Smile, that it be a humour album: [Excerpt: The Beach Boys, "She's Going Bald"] The album was a commercial flop, by far the least successful thing the group had released to that point in the US, not even making the top forty when it came out in September, though it made the top ten in the UK, but interestingly it *wasn't* a critical flop, at least at first. While the scrapping of Smile had been mentioned, it still wasn't widely known, and so for example Richard Goldstein, the journalist whose glowing review of "Donovan's Colours" in the Village Voice had secured Van Dyke Parks the opportunity to make Song Cycle, gave it a review in the New York Times which is written as if Goldstein at least believes it *is* the album that had been promised all along, and he speaks of it very perceptively -- and here I'm going to quote quite extensively, because the narrative about this album has always been that it was panned from the start and made the group a laughing stock: "Smiley Smile hardly reads like a rock cantata. But there are moments in songs such as 'With Me Tonight' and 'Wonderful' that soar like sacred music. Even the songs that seem irrelevant to a rock-hymn are infused with stained-glass melodies. Wilson is a sound sculptor and his songs are all harmonious litanies to the gentle holiness of love — post-Christian, perhaps but still believing. 'Wind Chimes', the most important piece on the album, is a fine example of Brian Wilson's organic pop structure. It contains three movements. First, Wilson sets a lyric and melodic mood ("In the late afternoon, you're hung up on wind chimes"). Then he introduces a totally different scene, utilizing passages of pure, wordless harmony. His two-and-a-half minute hymn ends with a third movement in which the voices join together in an exquisite round, singing the words, "Whisperin' winds set my wind chimes a-tinklin'." The voices fade out slowly, like the bittersweet afternoon in question. The technique of montage is an important aspect of Wilson's rock cantata, since the entire album tends to flow as a single composition. Songs like 'Heroes and Villains', are fragmented by speeding up or slowing down their verses and refrains. The effect is like viewing the song through a spinning prism. Sometimes, as in 'Fall Breaks and Back to Winter' (subtitled "W. Woodpecker Symphony"), the music is tiered into contrapuntal variations on a sliver of melody. The listener is thrown into a vast musical machine of countless working gears, each spinning in its own orbit." That's a discussion of the album that I hear when I listen to Smiley Smile, and the group seem to have been artistically happy with it, at least at first. They travelled to Hawaii to record a live album (with Brian, as Bruce was still out of the picture), taking the Baldwin organ that Brian used all over Smiley Smile with them, and performed rearranged versions of their old hits in the Smiley Smile style. When the recordings proved unusable, they recreated them in the studio, with Bruce returning to the group, where he would remain, with the intention of overdubbing audience noise and releasing a faked live album: [Excerpt: The Beach Boys, "California Girls [Lei'd studio version]"] The idea of the live album, to be called Lei'd in Hawaii, was scrapped, but that's not the kind of radical reimagining of your sound that you do if you think you've made an artistic failure. Indeed, the group's next albu