“Only Water In A Stranger’s Tear”

This is the last BlissVille episode for a little while. Today, I talk to Alex Saltz.

With a background as a musician and audio enthusiast, owner and engineer
Alex Saltz studied music and sound engineering at S.U.N.Y. Fredonia and
The New School / Parsons, NYC. During this time he took audio jobs in film,
TV and theater.

Years following, Alex recorded and performed as a drummer and worked as a
sound engineer at NYC studios, including East Side Sound and Masterdisk.

With a range of experiences in the music industry, along with critical standards
for fidelity, Alex established APS Mastering in 1997.

Show Notes:
APS Mastering http://www.apsmastering.com/
On the Odd http://wwwontheodd.com/

Music intro:
Song: “Bell Tower”
Artist: Kitaro

Music outro:
Song: “Not One of Us”
Artist: Peter Gabriel

Recorded April 11th, 2017
Aired April 25th, 2017

http://www.blissville.net
http://www.blissville.net/

This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended.

Monkees vs. Macheen: “The Picture Frame”

“What’s My Motivation?”

“The Picture Frame” starts out with the “Hurray for Hollywood” sound-alike incidental music and the sign for the fictional Mammoth Studios, first used in “I’ve Got a Little Song Here.” Some previous episodes where the Monkees tried to break into show biz were “Captain Crocodile,” “Find the Monkees,” “Monkees at the Movies,” and “Monkees in Manhattan.” Mike, Micky, and Davy wander onto a soundstage and meet Harvey and J.L., who tell the Monkees that they want them to play bank bandits in their picture. Harvey and J.L. are wearing berets, and it amuses me that berets are what crooks think will let them pass for legit Hollywood producers. The film flips over and the three Monkees appear in gangster-wear with guns, cigars, suits and hats, etc. (It’s probably an illness on my part, but I find them rather sexy here.) Previously we’ve seen the boys as gangsters in “Monkees in a Ghost Town,” “Monkees a la Cart,” and Micky in “Alias Micky Dolenz.” In all those cases however, the Monkees were trying to fool crooks into thinking they were of their kind.

J.L. asks the Monkees for a picture to see “how they photograph” and Davy whips out a baby picture. J.L. throws it away and asks for something more recent. Micky grabs a medium format camera to take a picture of the crooks with Mike and Davy, despite J.L.’s protests of “no pictures.” They get an instant picture which J.L. tosses in the same trashcan. J.L. tells them they’re all set up to shoot “the bank stick-up scene” at the 9th National Bank. He tosses scripts at them and explains they use the “hidden camera technique” so they won’t see the film crew. The Monkees, who have perpetuated dozens of cons aren’t suspicious of any of this.

“The Picture Frame,” directed by James Frawley, originally aired on September 18, 1967. The filming dates for the main episode were April 5-7, 1967, not long after they finished Headquarters. Jack Winter wrote “The Picture Frame” as well as “Everywhere a Sheik, Sheik,” “Monkee Mayor,” “”Hitting The High Seas,” and “The Monkees In Texas.” The first three on that list were among the group of leftover first season scripts. Musical numbers in this episode were part of the Rainbow Room performances, shot on August 2, 1967.

Back to the story, the Monkees awkwardly enter the busy bank, guns drawn. Some highlights of this scene include the squeaky voiced bank teller (Joy Harmon) who keeps asking Davy, “Do you have an account here, sir?” Micky’s brief Cagney impression, and Mike’s magic power to speed up time and open a safe by imitating a clock. The bank Vice President was played by Ronald Foster and was also the Rolls Owner in “Success Story” and the Courtier in “Prince and the Paupers.” As they leave, the boys read the scripted lines, telling the bank customers and staff not to move or say anything. The extras put their arms down once the door shuts, but then Micky sticks his head in to say “cut, print that’s a wrap” and they all put their hands back up.

Mike, Micky, and Davy are back on the soundstage. Peter arrived, having gone initially to the wrong stage at the wrong time. J.L. congratulates them, gives them each $100 bucks, and tells them they’ll call tonight about tomorrow’s shoot. Mike offers to take the stuff back but J.L. tells him the “prop people” will handle that, as the Monkees are going to be “big stars.” As they leave, J.L. tells Harvey he’s going to make an anonymous call to the cops.

There’s stock footage of police cars with sirens blazing. Outside the Monkees house is Dort Clark as the Sergeant, previously in the “Monkees à la Cart” episode in a similar role. He’s a funny actor and I wish they’d used him as well for “Alias Micky Dolenz” (though Robert Strauss did a fine job as the Captain.) The Sergeant is with two uniformed policemen. Peter thinks they want his overdue library book, so he crawls to the door and puts the books outside. The Sergeant tells them to stop fooling around. Davy goes up to the lookout window and repeats the gag from “Monkees à la Mode” where he opens it even though he’s too short to see out. Somehow he reports what’s out there: cops, lights, etc. Mike decides it must be tomorrow’s shoot moved up to tonight.

The Sergeant sends one of the uniformed cops in, after some comic uncertainty on the their part. The cop goes into the Monkee pad, stammering and telling them to follow him. Micky says that’s no good and starts directing him how to hold the gun and to be more steely-eyed. Cute, unintentional meta-moment because the cop is played by Robert Michaels, who was also in “The Frodis Caper,” Dolenz’ directorial debut. The cop exits and re-enters, accidentally scaring the Monkees and himself by shooting up the place. The editors cut to stock footage of planes crashing, cars crashing, etc.

At the police station, the Sergeant shows the Monkees the film of themselves robbing the bank. They’re disappointed that it’s black and white but I think it’s actually improbably good for security camera footage. Mike tries to decide what movie star he looks like: Barry Sullivan, Paul Newman, Marlon Brando, while Micky and Davy also admire their own performances. Not getting that they’re in deep trouble, they agree it is them on film. Peter walks in with popcorn and the scene becomes a clever parody of a movie audience, with a lady in a hat, a couple making out, a guy sleeping in sunglasses. The Sergeant tells them he’s booking them for the robbery of the 9th National bank. The Monkees are confused. Davy explains, “We were shooting a movie. Some cat came up and said ‘do you want to shoot a movie?’ We said, ‘yeah, we’ll shoot a movie’ So we shot a movie.” Mike realizes how screwed they are and has a nervous breakdown, with hilarious facial expressions.

Now we have the comic sequence of Taking Everything Literally. The Sarge tells the three busted Monkees to “start talking” and so they mutter lyrics to “Zilch,” the isolated vocal track from Headquarters. Sarge tells them to change their tune, so Mike blows a pitch pipe and talks in a higher pitch (okay, not technically changing their “tune.”) He threatens them with the 3rd degree so Micky passes out three diplomas. The cops bring over the bright light but the Monkees respond by pulling out dark glasses and sun-tan lotion. Sarge asks them if they’re ready to spill the beans, and of course the Monkees pour out cans of beans. The Sarge loses it and says to throw the book at them. The cop tosses a book. In the shot where Mike catches it, he’s not wearing his glasses but back in the closeup he’s wearing them again. I’m thinking this is not an accidental continuity error but a deliberate one so he could see to catch the book. In a callback gag, the book is Peter’s overdue library book.

The Monkees, minus Peter, are now pacing around a jail cell. Peter brings them a file, which turns out to be an emery board instead of the expected metal file. Peter unleashes this nonsensical gem, “I don’t think you’re guilty. I just don’t see how you could possibly be innocent.” He found a lawyer from the classifieds but the lawyer won’t attempt get them off, “With that kind of evidence? No chance.” He points to Davy, “him maybe with the cute face.” The not-so cute faces of Micky and Mike are told to plead guilty. The lawyer wants $40,000 to represent them, which they don’t have. The lawyer states the seemingly obvious, “Of course you do, you just robbed a bank, didn’t you?” The lawyer was portrayed by Art Lewis, who was the missing persons inspector in “Find the Monkees.”

Now, the court scenes. The judge asks the Monkees if they’re represented by council. They say yes, but clearly they don’t have a lawyer. She asks them to bring in the first prospective juror. The DA calls in Philip Jackson. It’s actually Mike playing a similar character to the janitor he played in “Captain Crocodile.” The DA objects on the grounds that Mr. Jackson is one of the defendants. The judge scolds Mike for trying to pull a fast one. Mike starts flirting and pulls out some flowers for her. She melts (as do I) as Davy and Micky look on hopefully.

Meanwhile, Peter is back on the soundstage, snooping for evidence against the actual crooks. He has the Sherlock Holmes hat that Micky used in “Monkee See, Monkee Die” and a sleuth-cliché magnifying glass. Peter runs into Harvey who correctly guesses that Peter is snooping. If this were logical, Harvey could have gotten rid of Peter right there, but instead he watches him snoop. Peter finds a picture in the wastebasket and is happy/excited with this evidence. Harvey calls J.L. and tells him what Peter has found. J.L. assumes it’s the incriminating picture of them with the Monkees and orders Harvey to keep Peter there.

Back at the court, Micky adopts a British Barrister persona and questions the bank VP on whether he can be sure Mike was the one who held him up. The bank manager is sure, so Micky asks him a bunch of irrelevant trivia questions (What is the capital of Nova Scotia?) Micky wants to dismiss on the grounds that it is late and everybody’s hungry. The judge joyfully claps her hands for food and Mike and Davy are suddenly ballpark vendors with hot dogs and popcorn. The prosecutor freaks, “Your honor, this is outrageous!” as the judge obliviously enjoys her hot dog.

Mike argues that the dynamite that they supposedly threatened to blow open the safe with was actually harmless. There was no bit like that in the robbery scene, but just roll with it. He lights it, and it goes out as it burns down the wick. The prosecutor objects and grabs the dynamite. Of course it explodes, leaving him not blown to bits, but covered in soot and smoke, a la Daffy Duck. It is to laugh. The judge overrules his objection because this is all insanity anyway.

Peter tries to leave the studio but J.L. comes in with a gun and tells him to hand over the picture. This launches a romp to “Pleasant Valley Sunday” (Goffin/King) with Peter running all over the soundstage area we saw in “I’ve Got a Little Song Here” and in and out of the “Mammoth Studios” area. This is mixed with Rainbow Room footage of the Monkees performing the song. The gangsters catch Peter in the shower at one point and he pretends to be offended. If this was meant to make sense, they could have shot him a while ago. Outside the soundstage, Peter drives a Monkees logo golf-cart. He seems to have evaded them by climbing the chain-link fence but they simply open the gate.

Somehow he gets to the courthouse with the picture. The music is still playing as Peter runs all over the courtroom with the gangsters chasing him. The Monkees protect Peter while the police grab the gangsters. Romp over, J.L. yells at Harvey for not emptying the wastebasket (or you know, shredding the picture, destroying the negative etc.) Mike, Micky, and Davy crowd around Peter hoping he’s got the picture they need, but naturally it’s the baby picture. They hand it over to the judge anyway who gasps at the cuteness and decides they’re “obviously innocent.” That was certainly in keeping with the ridiculous logic of everything else in this story.

Next up is more Rainbow Room footage of “Randy Scouse Git” (Dolenz). This series of song performance film clips were shot in the summer of 1967, in the middle of the Monkees concert tour. Due to race riots taking place in both Milwaukee and Detroit at that time, a couple of the Monkees performances were cancelled so they ended up with some extra time in Chicago. The Monkees producers booked time in Fred Niles Studios (later Oprah Winfrey’s Harpo Studios was there; sadly it is now torn down). In the Fred Niles Studies room with a robin’s egg blue and rainbow background, the Monkees filmed promo clips for “Daydream Believer,” “She Hangs Out,” “No Time,” “Randy Scouse Git,” “Pleasant Valley Sunday,” “Love Is Only Sleeping,” “What Am I Doin’ Hangin’ ‘Round?,” and “Salesman.” If you look at the recording dates of these songs, some of them were not complete yet so the Monkees were lip-syncing to rough versions. More about this here.

I enjoy all the Rainbow Room performances, they have an iconic look and are the first thing that comes to mind when I think of Monkees performance clips. Last summer I was lucky enough to be invited to discuss the Rainbow Room with a panel of smart Monkees fans on Zilch! A Monkees Podcast. Check it out here.

The Monkees are in great form in this story, working together with crack comic timing to create mischief in the justice system. With the dynamite, the literal sight gags, and the absurd plot points, “The Picture Frame” would certainly get my vote for Most Cartoony. It’s a tightly put-together farce, with it’s own insane sense of logic that builds up to a wacky finish. The solution with the baby picture certainly isn’t any more ridiculous than the Monkees just tying up the bad guys at the end of the romp like they usually do. “The Picture Frame” has one laugh-out-loud scene after another and it’s certainly worth watching for entertainment value.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

“Sugar Never Tasted So Good”

90 episodes? I can’t believe it, but I guess it make sense if you do the arithmetic. The first episode I recorded (with my dear friend, Neena) came out December 5th of 2014. It was recorded the day after Thanksgiving that year. In the middle of April, 2017, we have 90 episodes. This is the second-to-last for this series and featuring frequent collaborator Mark Jeacoma. Mark and I discuss musical tastes and the worldwide phenomenon of podcasting.

Show Notes:
KISS “Tomorrow and Tonight” on VINYL!
VHS REWIND!
On the Odd
Walnut Grovecast on iTunes

Music intro:
Song: “Down Deep Inside (Theme From “The Deep”)”
Artist: Donna Summer, John Barry

Music outro:
Song: Theme From “The Deep”
Artist: John Barry

Recorded April 5th, 2017
Aired April 18th, 2017

http://www.blissville.net
http://www.blissville.net/

Thanks to Chris Hasler for suggesting “Down Deep Inside (Theme From “The Deep”).

This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended.

Extreme Cinema! A Deadly Game of Cat and Mouse

Extreme Cinema episodes are released once-per-month. This is because when we record, we usually wind up spending two to three hours discussing these movies. We have to watch the movies first, that takes about two weeks. We’re busy guys and Andrew and his wife just had a baby. After we record, I listen to the episode twice to figure out edit-points, sound effects, and where to put the clips. After that I start cutting for dialogue. I run the episode again to place clips and sound effects. I put the clips in and find the right spot for the intermission. I go through the episode again to take out the “uhs” and “ers” and gaps in the audio for piss breaks and diaper changes, and then I add in the intro and outro music and voila! A brand new episode of Extreme Cinema! So it’s a three-week process for me from recording to editing; add in an extra week for Bronwyn’s art and there you have it. I pride the show on having Bronwyn’s episode-specific artwork.

Tonight, we’re talking about John Boorman, an excellent often underrated filmmaker with a phenomenal body of work, again an eclectic mix of different genres, everything from cop movies to science fiction and fantasy. We have two movies we’re looking at in-depth directed by Boorman and starring the great Lee Marvin. Lee Marvin was an early champion of Boorman. He used his star power to get Boorman hired.

In Point Blank, a desperate John Vernon has a plan to get some loot.  He gets buddy Lee Marvin in on the heist, and the idea is to tell the story in a modified flashback, or at least to get the back-story.  He remembers Vernon’s words in a great out-of-context kind of way, but five minutes in, it’s obvious Vernon double-crossed him.  He told Marvin they weren’t going to kill anybody, but when they see their marks, he fires his gun and kills everybody.  Vernon shoots Marvin and leaves him for dead.  Marvin wants his cut, and he also wants a little revenge!

I watched Payback again to compare it with Point Blank; I wasn’t aware that Point Blank was an early adaptation of Richard Stark’s book, The Hunter, or that Payback was also an adaptation of the same source material. Bronwyn and I saw Payback back when it came out. It was unusual for us, in that it was a movie we were both very interested in seeing, even though it’s kind of a down and dirty action exploitation movie with the familiar beats of a revenge fantasy. This was Mel Gibson at his best, before he got all loopy. His Icon Productions made the movie, written and directed by Brian Helgeland (who won an Oscar for his L.A. Confidential script). It follows the same story as Point Blank, but executed differently – a kind of a straight line narrative, we start with a flashback and then go to the beginning.

We move on to Hell in the Pacific – great title and again directed by John Boorman, shot in beautiful Panavision, photographed by Connie Hall, who photographed Marathon Man among other classics.  We have the quiet, contemplative Toshiro Mifune meditating on an island, I surmise Guadalcanal with the breaking of water on the shore.  He searches with binoculars – perhaps he’s looking for a rescue boat, who knows?  We don’t know yet.  We’re not supposed to know.  We see Lee Marvin under a lean-to, some kind of a shelter, talking to himself.  Toshiro stalks the jungle.  I don’t know if Toshiro knows Marvin is near.

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs.
Artwork by Bronwyn Knox.
Head Title Washer: Ben Lauter.

Running Time: 1:33:15

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. We do this ’cause it’s fun, and nothing else.

 

“I Could Make the Sun Shine from Pure Desire”

David B. Anderson, frequent contributor to VHS Rewind! and co-host of my numerous podcasts, joins me for a frank discussion of politics, transvestites, transgenders, a time-traveling Richard Belzer’s uncanny impersonation of Donald Trump in 1974, and all manner of inappropriate sociological rambling.

Show Notes:
The Groove Tube
Music intro:
Song: The Breakfast Club “Love Theme (Instrumental)
Artist: Keith Forsey

Music outro:
Song: “Move On Up”
Artist: Curtis Mayfield

Recorded March 23, 2017
Aired April 11th, 2017

www.blissville.net
http://www.blissville.net/

This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended.

Vintage Cable Box: “Silkwood, 1983”

“It doesn’t matter whether you work in plutonium or dog food because they ain’t gonna give you a thing, there’s nowhere left to go! You close this plant down and then what? You’re gonna be up in Washington, but we’re gonna be down here outta work!”

Silkwood, 1983 (Meryl Streep), ABC Motion Pictures

Karen Silkwood is a trouble-maker. At Kerr-McGee, she handles the processing of plutonium and uranium dioxide as it is converted into fuel pellets for nuclear reactors. The interesting idea about Silkwood and her co-workers is that they are not scientists, but technicians working on an assembly line. Nuclear power is a job of work, not ideals and definitely not science. They know enough to do their work, and very little more. She and her co-workers are overworked and underpaid; they complain about having to work extra hours on short notice and the power plant runs efficiently with no-nonsense supervisors and bitchy subordinates.

Though depicted as lazy and irresponsible with self-destructive qualities, Karen (as portrayed beautifully by Meryl Streep) is fiercely independent and defiant (even at the cost of her own safety and well-being). She loves her estranged children, her co-dependent lesbian roommate, Dolly (Cher), and her on-again off-again boyfriend, Drew (Kurt Russell). She almost seems to work hard at making terrible mistakes, which I find oddly fascinating, especially with regard to the way strong female characters are written in films these days. Women written today, by contrast, appear to be perfect, beautiful, patient, and unrealistically saintly creatures. By humanizing a character like Karen Silkwood, we can more readily identify with her and her struggle.

One day, Karen’s co-worker, Thelma, is “cooked”, meaning she’s been exposed to radiation, and is forced to undergo a humiliating cleaning process involving vigorous use of steel wool.  Karen worries about cancer as she relentlessly chain-smokes.  Boyfriend Drew has a plan to one day quit the power plant and set up his own small bait-shop dealership, but Karen thinks he’s just dreaming.  You get the sense most people employed in this part of the Country have very few options.  One night, after cleaning up, Karen tests positive for radiation and is required to provide urine samples for the next few weeks.  She begins to notice her supervisors are falsifying reports and re-touching photographs of faulty welds in fuel rods.  She checks her union manuals, does her homework, and figures out she and her fellow employees are being deceived.

As Kerr-McGee management clamps down on union meetings, Karen decides to take her complaints to Washington and the Atomic Energy Commission.  When she tells her representatives (Ron Silver, Josef Sommer) about the re-touched photographs, they realize they have a case against the plant.  Oddly, the narrative is broken up with episodic moments, such as Dolly’s latest girlfriend, a snooty funeral home beautician (Diana Scarwid), and Karen’s brief dalliance with Ron Silver in Washington and resulting break-up with Drew.  She gathers up enough physical evidence to meet with a reporter from The New York Times, but she never arrives for her interview.   She was found to have died in a mysterious car crash.

Silkwood, the movie, is a strange case.  The movie was given a DVD release, but went out-of-print, and has never enjoyed a Blu-Ray run, though it had been transferred to 1080p for HD broadcast television.  This is a movie that received five Academy Award nominations, including Best Actress, Best Director (Mike Nichols), and Best Original Screenplay (credited to Nora Ephron and Alice Arlen).  Nichols does his usual best (for the time) at letting his actors direct his film.  He gives enormous creative license to Streep, Russell (in his first dramatic role), and Cher in bringing the patina of the surroundings to life.  Rising stars Fred Ward, Craig T. Nelson, Anthony Heald, and David Strathairn all make memorable appearances in the film.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.

“Why Do Fools Fall In Love?”

“The medium is the message. This is merely to say that the personal and social consequences of any medium – that is, of any extension of ourselves – result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology.”

Marshall McLuhan

Chris Cooling is co-host of the Walnut Grovecast, frequent contributor to VHS Rewind! and host of his own podcast, Forgotten TV. We talk about Brent Spiner, television antennas, the explosion of high definition programming, music rights, and TV theme songs.

Show Notes:
Forgotten TV site
Videoholic ULTIMATE YouTube page

Music intro:
Song: Trapped in a Box
Artist: No Doubt

Music outro:
Song: The A-Team Opening Theme
Artist: Mike Post, Pete Carpenter

Recorded March 22, 2017
Aired April 4th, 2017

www.blissville.net
http://www.blissville.net/

This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended.