I can’t believe I missed this the first time around. Listen samples here.
In the early 1970s, Jim Henson was worried that the Muppets were becoming typecast as children’s entertainment. So in December of 1974 he produced a pilot episode for The Muppet Show and gave it a name that was about as far away from Sesame Street as you could get: “Sex and Violence.”
The half-hour pilot was first broadcast on ABC in March of 1975. It’s a fast-moving series of vignettes, featuring a motley cast of characters–many of whom would become familiar in later years–appearing and reappearing throughout. Sam the Eagle, Sgt. Floyd Pepper, The Swedish Chef, Statler and Waldorf, and a wrestler named The San Francisco Earthquake all make an appearance. At one point, Kermit the Frog propositions a female with the line, “I might be able to get you a job on an educational show for kids.” The story, to the extent there is one, centers around preparations for a “Seven Deadly Sins Pageant.” Alas, the pageant never quite gets off the ground. As Sam the Eagle sagely asks: “Do we really want to get into a ‘deadly sins’ situation?”
Although Godley and Creme’s “Cry” is closely associated to the Definitely Miami episode, it was not featured on the original NBC airing. Instead, an original Jan Hammer incidental piece – which sounds very similar to the guitar rhythm in “Cry” – in select scenes such as when Crockett (Don Johnson) drives out to the sand dune junkyard to confront Charlie Basset (Ted Nugent), and when Crockett appears on the beach to reveal he is a cop and arrests Callie (Arielle Dombasle). Godley and Creme’s “Cry” replaced the Jan Hammer original score when Miami Vice went into TV syndication.
John Peel‘s record collection is to be made into an interactive online museum.
Peel’s collection, which contains 25,000 LPs, 40,000 singles and many thousands of CDs, will become part of The Space, a new experimental digital service organised and funded by the Arts Council and the BBC.
Testarossa montage from season 4 episode ‘Blood & Roses‘. Crocket and Tubbs race to save Gina after her cover is blown. Featuring guest star Stanley Tucci doing his best casual yet menacing walk as Frank Mosca for a couple of seconds towards the end of the clip. Music is ‘Dangerous Game’ by Tommy Shaw.
A weekly appreciation of classic film and television soundtracks.
Magic always happens when Danny Elfman teams up with director-producer Tim Burton and the soundtrack to Beetlejuice is no exception. The music complements Tim Burton’s aesthetic to a T and the film has one of the best opening and ending titles ever and fantastic musical interludes in between.
Beetlejuice also features classic tunes by Harry Belafonte and to pick just one song would be impossible. Instead, here’s three.
Firstly, the opening titles with music by Danny Elfman (above). They tie in perfectly with Belafonte’s ‘Banana Boat Song (Day-O) later on in the film and set the tone of the film from the onset.
Secondly, here’s Harry Belafonte with ‘Banana Boat Song (Day-O)‘. Fun fact: I went to see Harry Belafonte once with my mom. I was sorely disappointed when this song was only featured in one of the two medleys he performed that night.
Thirdly, Harry Belafonte again with ‘Jump In The Line‘. Guess which song was in the other medley Belafonte performed the night I went to see him with my mom? We were robbed, I tell ya. Despite of my strong aversion to Winona Ryder, this ending is one of my favourites of all time.
In related news, Michael Keaton is apparently “hugely” interested in a Beetlejuice sequel. You and me both, Michael, you and me both. Here’s hoping Tim Burton will stay on board and who knows, maybe Danny Elfman will be available too.
The fact that Beetlejuice was Batman never ceases to amaze me.
The Graduate came out in 1967 and astounded audiences with its now famous storyline. The young college graduate Benjamin Braddock (played by Dustin Hoffman) finds himself seduced by Mrs. Robinson (Anne Bancroft), a family friend, only to then fall in love with her daughter, Elaine. Pretty shocking material for many in 1967.
A financial and critical success, The Graduate made Dustin Hoffman a star, and the celebrity-style interviews soon followed. Above, we have Hoffman getting interviewed from the comfort of his own bed in 1968. The topics: Sex, his sex life, women’s role in society and their sexuality.