Hear Sun Ra, the Avant-Garde Jazz Legend, Play on a 1966 Batman and Robin Album for Kids

in Comics/Cartoons, Music, Television | December 11th, 2015

In the mid 1960s, when the Batman TV show was in full swing, a New Jersey toy company released a children’s record of Batman & Robin songs. Called The Sensational Guitars Of Dan & Dale, Batman & Robin, the album featured, as WFMU’s Beware of the Blog notes, “one of the greatest uncredited session combos of all time, including the core of Sun Ra’s Arkestra and Al Kooper’s Blues Project.” Anonymously, Sun Ra played on organ, Jimmy Owens on trumpet, Tom McIntosh on trombone & Danny Kalb on guitar.

Other than the well-known Batman and Robin themes (above), the kid’s album was created around music that had fallen into the public domain–e.g. Chopin’s Polonaise Op. 53, Tchaikovsky’s Fifth Symphony and the love theme from Romeo and Juliet. Over at WFMU, you can hear various tracks, including Batman’s Batmarang, Batman and Robin Over The Roofs, Flight of the Batman, The Riddler’s Retreat, Joker is Wild, Penguin’s Umbrella, and more. Enjoy.

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via WFMU

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by OC | Permalink | Make a Comment ( 1 ) |

Casablanca’s Hilarious Alternative Final Scene Featuring Saturday Night Live’s Kate McKinnon: Pragmatism Carries the Day!

in Comedy, Film, Television | December 11th, 2015

The classic film Casablanca is perennially ripe for parody, but for some reason, its spoofs usually confine themselves to Rick’s Café Américain. It’s rare that anyone gets funny with the famous final scene, where (spoiler!) Humphrey Bogart’s Rick sacrifices his personal happiness, insisting that his beloved board a plane that will safely carry her and her husband, a leader of the Czech Resistance, away from Vichy-contolled Casablanca.

There are exceptions of course.

Bugs Bunny…

The Simpsons…

Woody Allen…

Saturday Night Live’s Kate McKinnon bests them all with a dewy-eyed Ingrid Bergman impression nailing the Swedish-born actress’ gloriously cinematic middle Atlantic accent, described by writer Trey Taylor in The Atlantic as a learned “hybrid of Britain’s Received Pronunciation and standard American English as it exists today.”

It’s a refreshing change to see the Ilsa character driving the laughs.

McKinnon’s scene partner, J.K. Simmons, gives an equally credible performance as Bogart’s Rick. The award-winning actor has demonstrable comic chops, but for this sketch, the writers wisely had him play it dead serious.

The players are further abetted by the design team’s faithful execution of the original, including costumes by Tom Broecker and Eric Justian. Who wouldn’t want to wear that hat?

Much of Julius J. Epstein, Philip G. Epstein, and Howard Koch’s original dialogue was left intact. It’s reproduced below for your scrutiny, along with Bogart and Bergman’s performance.

You’ll notice one significant line reassignment, necessitated by this Ilsa’s pragmatic response to the possibility of winding up in a concentration camp.

As in the original, love does not triumph, but they’ll always have Paris.

INT./EXT. AIRPORT HANGAR — NIGHT

Rick takes the letters of transit out of his pocket and

hands them to Renault, who turns and walks toward the hangar.

RICK

If you don’t mind, you fill in the names. That will make it even more official.

RENAULT

You think of everything, don’t you?

RICK

(quietly And the names are Mr. and Mrs. Victor Laszlo.

Renault stops dead in his tracks, and turns around. Both Ilsa and Renault look at Rick with astonishment.

ILSA

But why my name, Richard?

RICK

Because you’re getting on that plane.

ILSA

(confused) I don’t understand. What about you?

RICK

I’m staying here with him ’til the plane gets safely away.

Rick’s intention suddenly dawns on Ilsa.

ILSA

No, Richard, no. What has happened to you? Last night we said —

RICK

Last night we said a great many things. You said I was to do the thinking for both of us. Well, I’ve done a lot of it since then and it all adds up to one thing. You’re getting on that plane with Victor where you belong.

ILSA

(protesting) But Richard, no, I, I —

RICK

You’ve got to listen to me. Do you have any idea what you’d have to look forward to if you stayed here? Nine chances out of ten we’d both wind up in a concentration camp. Isn’t that true, Louis?

Renault countersigns the papers.

RENAULT

I’m afraid Major Strasser would insist.

ILSA

You’re saying this only to make me go.

RICK

I’m saying it because it’s true. Inside of us we both know you belong with Victor. You’re part

of his work, the thing that keeps him going. If that plane leaves the ground and you’re not with

him, you’ll regret it.

ILSA

No.

RICK

Maybe not today, maybe not tomorrow, but soon, and for the rest of your life.

ILSA

But what about us?

RICK

We’ll always have Paris. We didn’t have, we’d lost it, until you came to Casablanca. We got it back last night.

ILSA

And I said I would never leave you.

RICK

And you never will. But I’ve got a job to do, too. Where I’m going you can’t follow. What I’ve got to do you can’t be any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that. Now, now…

Ilsa’s eyes well up with tears. Rick puts his hand to her chin and raises her face to meet his own.

RICK

Here’s looking at you, kid.

If McKinnon’s take on Ingrid Bergman leaves you screaming for more, here are Hillary Rodham Clinton, Justin Bieber and Ellen DeGeneres.

A Fun Parody of Downton Abbey Features George Clooney & the Cast of the Show

The Beatles Perform in a Spoof of Shakespeare’s A Midsummer Night’s Dream, 1964

Ayun Halliday is an author, illustrator, and Chief Primatologist of the East Village Inky zine.Follow her @AyunHalliday

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

Watch Björk, Age 11, Read a Christmas Nativity Story on a 1976 Icelandic TV Special

in Education, Life, Music, Religion, Television | December 4th, 2015

The holidays can be hard, starting in October when the red and green decorations begin muscling in on the Halloween aisle.

Most Wonderful Time of the Year, you say? Oh, go stuff a stocking in it, Andy Williams!

The majority of us have more in common with the Grinch, Scrooge, and/or the Little Match Girl.

Still, it’s hard to resist the preternaturally mature 11-year-old Björk reading the nativity story in her native Icelandic, backed by unsmiling older kids from the Children’s Music School in Reykjavík.

Particularly since I myself do not speak Icelandic.

The fact that it’s in black and white is merely the blueberries on the spiced cabbage.

It speaks highly of the Icelandic approach to education that a principal’s office regular who reportedly chafed at her school’s “retro, constant Beethoven and Bach bollocks” curriculum was awarded the plum part in this 1976 Christmas special for the National Broadcasting Service.

It would also appear that little Björk, the fiercely self-reliant latchkey kid of a Bohemian single mother, was far and away the most charismatic kid enrolled in the Barnamúsikskóli.

(Less than a year later her self-titled first album sold 7000 copies in Iceland—a modest amount compared to Adele’s debut, maybe, but c’mon, the kid was 11! And Iceland’s population at the time was a couple hundred thousand and change.)

As to the above performance’s religious slant, it wasn’t a reflection of her personal beliefs. As she told the UK music webzine Drowned in Sound in 2011:

…nature is my religion, in a way… I think everybody has their own private religion. I guess what bothers me is when millions have the same one. It just can’t be true. It’s just…what?

Still, it probably wasn’t too controversial that the programmers elected to cleave to the reason in the season. Icelandic church attendance may be low-key, but the overwhelming majority of its citizens identify as Lutheran, or some other Christian denomination.

(They also believe in elves and 13 formerly fearsome Yule Lads, descendants of the ogres Grýla and Leppalúði. By the time Björk appeared on earth, they had long since evolved, through a combination of foreign influence and public decree, into the kinder, gentler, not quite Santa-esque version, addressing the studio audience at the top of the act.)

A Young Björk Deconstructs (Physically & Theoretically) a Television in a Delightful Retro Video

Björk Presents Groundbreaking Experimental Musicians on the BBC’s Modern Minimalists (1997)

Ayun Halliday is an author, illustrator, and Chief Primatologist of the East Village Inky zine. She is proud to originated the role of Santa’s mortal consort, Mary, in her Jewish husband Greg Kotis’ Nordic-themed holiday fantasia, The Truth About Santa. Follow her @AyunHalliday

by Ayun Halliday | Permalink | Make a Comment ( 4 ) |

How Isaac Asimov Went from Star Trek Critic to Star Trek Fan & Advisor

in Sci Fi, Television | December 3rd, 2015

When we think of a science fiction, most of us doubtless think of a Star Trek. Since the original series made its television debut almost a half-century ago, the speculative future it created has come to stand, in many minds, as the very model of the science-fictional enterprise (as it were). But the institution of Star Trek in all its forms — TV shows, movies, movies made out of TV shows, novels, video games, action figures, and so on — still has its detractors, and back at the very beginning it hardly looked like a sure success. Geek.com’s list of five things that nearly killed off Star Trek includes a failed pilot, a near-firing of Leonard Nimoy, and the words of no less a science-fiction titan than Isaac Asimov.

“Star Trek,” wrote its creator Gene Roddenberry in 1966, “almost did not get on the air because it refused to do juvenile science fiction, because it refused to put a ‘Lassie’ aboard the space ship, and because it insisted on hiring Dick Matheson, Harlan Ellison, A.E. Van Vogt, Phil Farmer, and so on.” This came as part of a response to Asimov, who, in a TV Guide article entitled “What Are a Few Galaxies Among Friends?,” criticized Star Trek for getting the science wrong. He cites, for example, a line about a gaseous cloud “one-half light year outside the Galaxy,” which he likens to “saying a house is one-half yard outside the Mississippi Basin.”

Measurement flubs aside, Star Trek, despite its cancellation after three seasons, had become so big by the early 1970s that its fans had begun to put on whole conventions dedicated to the show. You can see in the clip above one such event in 1973, which provides proof that even Asimov had turned fan. He speaks of his appreciation for the show three times during the video, now describing Star Trek as the “sanest” and “most meaningful” program of its kind, one that “tackled real social problems,” was “not devoted entirely to adventure,” and had “fully realized characters” (citing Mr. Spock as Exhibit A). He may still have objected to the infamous split infinitive “to boldly go” (once a nitpicker, always a nitpicker), but he still thought the show “really presented the brotherhood of intelligence.”

After Asimov wrote his initial critique in TV Guide, he and Gene Roddenberry exchanged letters, and the two formidable sci-fi minds became friends and even collaborators thereafter. A 1967 Time magazine profile described Asimov as “batting out books on a new electric typewriter, emerging only occasionally to watch Star Trek (his favorite TV show),” and he went on to become an advisor to the show. A Letters of Note post on Roddenberry and Asimov’s correspondence contains a 1967 exchange wherein they put their heads together to solve the problem of how to give Captain Kirk lines as good as the ones that naturally go to a more unusual character like Spock. Since Asimov also contributed original ideas to the show, after having gone on record as a fan, I wonder: does that mean, in some sense, that Isaac Asimov wrote Star Trek fan fiction?

Isaac Asimov Predicts in 1964 What the World Will Look Like Today — in 2014

Free: Isaac Asimov’s Epic Foundation Trilogy Dramatized in Classic Audio

Isaac Asimov Explains the Origins of Good Ideas & Creativity in Never-Before-Published Essay

Isaac Asimov Explains His Three Laws of Robots

Isaac Asimov’s Favorite Story “The Last Question” Read by Isaac Asimov— and by Leonard Nimoy

Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 6 ) |

New Wave Music–DEVO, Talking Heads, Blondie, Elvis Costello–Gets Introduced to America by ABC’s TV Show, 20/20 (1979)

in Music, Television | November 24th, 2015

Given the efforts of people like Malcolm McLaren to turn punk rock into a viable commercial product—or at least a quick cash grab—it’s a little surprising it took as long as it did for “pop punk” to find its profitable 90s/oughties teenage niche. Always a catch-all term for an eclectic variety of styles, punk instead further diversified in the eighties into various kinds of post-punk, hardcore, and new wave. The latter development, however, quickly found a commercial audience, with its successful fusion of 70s pop, reggae, and disco elements with punk’s wry, arty-outsider sensibility. Artists like Gary Numan, Blondie, DEVO, Talking Heads, and even The Clash emerged from the 70s with highly danceable hits that set the tone for the sound of the next decade.

But first the public had to learn what new wave was, and many of them did in a surprisingly mainstream way, in the 1979 special produced by ABC’s 20/20 in two parts here. By comparison with the number of awkwardly clueless or blatantly sensationalistic news reports on emerging youth cultures over the decades, the show is “impressively astute,” writes Dangerous Minds, “for a news segment on new music from one of the major TV networks.” It features a number of the above-named artists—DEVO, Blondie, Talking Heads—and makes an interesting attempt to situate the music on a continuum with Chuck Berry, Buddy Holly, and the Rolling Stones.

The segment claims that new wave both satirized and updated rock and pop—with DEVO’s cover of “(I Can’t Get No) Satisfaction” as Exhibit A. And while new wave would eventually glam it up with the best of the 70s disco acts—think Duran Duran or the bubblegum pop of Flock of Seagulls or Kajagoogoo—in its first, post-punk phase, the music stripped things down to 50s simplicity. Elvis Costello gets called in to represent the revivalism inherent in the nascent form, heralding a “rediscovery of the rock and roll audience.”

There are problems with the history: punk gets labeled “an extreme element of new wave” and “a British phenomenon,” where it makes more sense to call it a precursor with roots in Detroit and New York. It’s a nitpicky point, and one shouldn’t expect too much accuracy in a top-down network news report. The real treat here is the performance clips and rare interviews. Even with the poor video quality, they’re all well worth watching, especially the extended focus on the Talking Heads in the second part above. As Dangerous Minds writes, “it takes an effort of will to remember how weird David Byrne… must have seemed to a mainstream audience in 1979.” Or not. He still comes off as pretty odd to me, and the music still fresh and inventive.

Note: Elvis Costello has just published a new autobiography, Unfaithful Music & Disappearing Ink. And he narrates the audiobook version, which you can download for free (along with another audiobook) if you join Audible.com’s 30-day Free Trial program. Get details on the 30-day trial here. And get Elvis Costello’s audiobook, by clicking here and then clicking the “Try Audible Free” button in the upper right.

via Dangerous Minds

See Very Early Concert Footage of the B‑52s, When New Wave Music Was Actually New (1978)

The Talking Heads Play CBGB, the New York Club that Shaped Their Sound (1975)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 1 ) |

When David Lynch Directed a Mini-Season of Twin Peaks in the Form of Japanese Coffee Commercials

in Food & Drink, Television | November 20th, 2015

I recently read Merry White’s Coffee Life in Japan, a history of the west’s favorite beverage in the Land of the Rising Sun. As with so many cultural imports, the Japanese first entertained a fascination with coffee, then got more serious about drinking it, then made an official place for it in their society, then got even more serious about not just drinking it but artisanally preparing and serving it, winding up with an originally foreign but now unmistakably Japanese suite of products and associated experiences. Having spent a fair bit of time in Japanese cafés myself, I can tell you that the country has some damn fine coffee.

But what about its cherry pie? Only one man could take that case: FBI Special Agent Dale Cooper, the main character of David Lynch’s groundbreakingly strange ABC television drama Twin Peaks. A great many Japanese people love coffee, but no small number also love David Lynch.

And so, when the opportunity arose to take simultaneous advantage of local enthusiasm for beverage and filmmaker alike, Georgia Coffee seized it, working in the robust tradition of Japanese advertisements starring American celebrities to reunite members of Twin Peaks’ cast, reconstruct the fictional town of Twin Peaks itself, and have Lynch direct a new mini-mini-mini-season of the show, each episode a forty-second Georgia Coffee commercial.

The first episode, “Mystery of G,” finds Cooper in the Twin Peaks Sheriff’s Department, enlisted in the search for a missing Japanese woman named Asami. He and Asami’s husband examine the first piece of evidence: an origami crane with a G on it. The second, “Lost,” introduces two more inscrutable artifacts: a photo of Asami beside a rare roadster, and a mounted deer’s head. The latter leads him to Big Ed’s Gas Farm, where in the third episode, “Cherry Pie,” he spots the car and, on its passenger seat, a mysterious wedge of red billiard balls (which, of course, reminds him of his favorite dessert). The fourth, “The Rescue,” closes the case in the woods, where Cooper finds Asami, trapped and backwards-talking, in — where else? — the red-curtained room of the extra-dimensional Black Lodge.

Every step of the solution to this mystery requires a cup of Georgia Coffee — or, rather, a can of Georgia Coffee, Georgia being one of the best-known varieties of that vending machine-ready category of beverage. The west may never have gone in for canned coffee, but Japan drinks it in enormous quantities. What better way to advertise a Japanese interpretation of coffee in the early 1990s, then, than with a Japanese interpretation of Twin Peaks? Alas, the higher-ups at Georgia Coffee didn’t ultimately think that way, giving the axe to the planned second series of Twin Peaks commercials. Maybe that’s for the best since, as for the actual taste of Georgia Coffee — well, I’ve had damn finer.

Coffee is for People, Not Robots: The New Ad for David Lynch’s Line of Organic Coffee

David Lynch’s Unlikely Commercial for a Home Pregnancy Test (1997)

David Lynch’s Perfume Ads Based on the Works of Hemingway, F. Scott Fitzgerald & D.H. Lawrence

Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Mr. Rogers Goes to Congress and Saves PBS: Heartwarming Video from 1969

in Education, History, K-12, Politics, Television | October 26th, 2015

What kind of delusional self-aggrandizer, called to testify before a United States Senate Subcommittee, uses it as an opportunity to quote the lyrics of a song he’s written… in their entirety!?

Sounds like the work of a certain rapper/prospective political candidate or perhaps some daffy buffoon as brought to life by Ben Stiller or Will Ferrell.

Only children’s television host Fred Rogers could pull such a stunt and emerge unscathed, nay, even more beloved, as he does above in documentary footage from 1969.

Mister Rogers’ impulse to recite What Do You Do With the Mad That You Feel to then-chairman of the Subcommittee on Communications, Senator John Pastore, was ultimately an act of service to the Corporation for Public Broadcasting and its child viewers.

Newly elected President Richard Nixon opposed public television, believing that its liberal bent could only undermine his administration. Determined to strike first, he proposed cuts equal to half its $20 million annual operating budget, a measure that would have seriously hobbled the fledgling institution.

Mr. Rogers appeared before the Committee armed with a “philosophical statement” that he refrained from reading aloud, not wishing to monopolize ten minutes of the Committee’s time. Instead, he sought Pastore’s promise that he would give it a close read later, speaking so slowly and with such little outward guile, that the tough nut Senator was moved to crack, “Would it make you happy if you did read it?”

Rather than taking the bait, Rogers touched on the ways his show’s budget had grown thanks to the public broadcasting model. He also hipped Pastore to the qualitative difference between frenetic kiddie cartoons and the vastly more thoughtful and emotionally healthy content of programming such as his. Mr. Roger’s Neighborhood was a place where such topics as haircuts, sibling relationships, and angry feelings could be discussed in depth.

Rogers’ emotional intelligence seems to hypnotize Pastore, whose challenging front was soon dropped in favor of a more respectful line of questioning. By the end of Rogers’ heartfelt, non-musical rendition of What Do You Do… (it’s much peppier in the original), Pastore has goosebumps, and the Corporation for Public Broadcasting has its 2 mil’ back in the bag.

What do you do with the mad that you feel

When you feel so mad you could bite?

When the whole wide world seems oh, so wrong…

And nothing you do seems very right?

What do you do? Do you punch a bag?

Do you pound some clay or some dough?

Do you round up friends for a game of tag?

Or see how fast you go?

It’s great to be able to stop

When you’ve planned a thing that’s wrong,

And be able to do something else instead

And think this song:

I can stop when I want to

Can stop when I wish.

I can stop, stop, stop any time.

And what a good feeling to feel like this

And know that the feeling is really mine.

Know that there’s something deep inside

That helps us become what we can.

For a girl can be someday a woman

And a boy can be someday a man.

Mr. Rogers Takes Breakdancing Lessons from a 12-Year-Old (1985)

Puppet Making with Jim Henson: A Priceless Primer from 1969

Ayun Halliday’s new play, Fawnbook, debuts as part of the Bad Theater Festival in NYC tomorrow night. Follow her @AyunHalliday

by Ayun Halliday | Permalink | Make a Comment ( 4 ) |

David Lynch Draws a Map of Twin Peaks (to Help Pitch the Show to ABC)

in Maps, Television | October 23rd, 2015

“How did this even get on the air?” Both the die-hard fans and bewildered haters asked that question about Twin Peaks, David Lynch and Mark Frost’s surreal television drama that famously aired on ABC primetime in 1990 and 1991. That such an unconventional vision — and one realized, at least throughout the first season, with such thorough commitment — ever made it to the mainstream airwaves now seems like a historical achievement in and of itself. So how, given the stultifying rigors of the entertainment industry, did Lynch and Frost actually sell this package of cryptic dreams, backward speech, small-town savagery, a murdered homecoming queen, and damn fine cherry pie?

First, Lynch drew a map. Knowing that no TV executive would understand Twin Peaks without understanding Twin Peaks, the fictional Washington town which gives the story its setting and title, he drew what you see above. Nigel Holmes included it in his out-of-print Pictorial Maps, commenting that “the peaks of the title, and the town they name, are clearly visible as white-topped mountains rising out of the modeled landscape.

By creating a sense of place, Lynch made the town all the more believable. A straightforward map would have been dull by comparison and might have suggested that there was something intrinsically interesting about the geography of the place. What was much more important to convey was the mood of the story, and it’s nicely captured in Lynch’s quirky drawing.”

The book also includes a quote from Lynch himself, on the utility of the map: “We knew where everything was, and it helped us decide what mood each place had, and what could happen there. Then the characters just introduced themselves to us and walked into the story.” As any Twin Peaks fan will notice, the map identifies a host of locations referenced in the show, such as White Tail and Blue Pine mountains (the peaks themselves), Ghostwood National Forest, and Lucky Highway 21. But “can you locate Sparkwood and 21, One-Eyed Jack’s and The Great Northern?” asks fan site Welcome to Twin Peaks. And if the much-discussed 21st-century Twin Peaks revival comes to fruition, will it dust off this trusty reference document and revive the askew but deep sense of place we (or at least some us) savored the first time around?

Play the Twin Peaks Video Game: Retro Fun for David Lynch Fans

Elementary School Students Perform in a Play Inspired by David Lynch’s Twin Peaks

Colin Marshall writes elsewhere on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Hear Sun Ra, the Avant-Garde Jazz Legend, Play on a 1966 Batman and Robin Album for Kids

Casablanca’s Hilarious Alternative Final Scene Featuring Saturday Night Live’s Kate McKinnon: Pragmatism Carries the Day!

Watch Björk, Age 11, Read a Christmas Nativity Story on a 1976 Icelandic TV Special

How Isaac Asimov Went from Star Trek Critic to Star Trek Fan & Advisor

New Wave Music–DEVO, Talking Heads, Blondie, Elvis Costello–Gets Introduced to America by ABC’s TV Show, 20/20 (1979)

When David Lynch Directed a Mini-Season of Twin Peaks in the Form of Japanese Coffee Commercials

Mr. Rogers Goes to Congress and Saves PBS: Heartwarming Video from 1969

David Lynch Draws a Map of Twin Peaks (to Help Pitch the Show to ABC)

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