Chapters
Shownotes Transcript
you want to maximize your summer oh liveget a covered with tips on staying safety heat， planning your big vacation becoming a grill master and exploring your neighborhood on a budget make the most of everyday this summer listen to the life keep podcast from npr！
this is freshshare im Tony mostly in the summer of nineteen eighty two my guest today entertainment writer Chris Natioadi was a thirteen year old burjuning film Geek who spent the entire summer that year and movietheaters watching eight feature films that would go on to change the face of cinema as we know it movies like blade runner Conan the barbarian polterguised an a sweet movie about an alien trying to find his way back home T！
e t phone home， e t phone home！
e t forhome once the cost somebody！
oh！
etthe extra terrestrial is a classic of course and was a huge hit when it was released the weekend of July fourth in 1982， making it at the time， the biggest boxoffice hit in hollywoodhistory， some of the other movies that made a splash were Tron the thing startrack Rathufkan and mad max the road warrior chrisnatioaudias written a new book about the significance of that summer called the future was now， mad men， Maverix and the Epic scifi summer of nineteen 82 up until that point hollywould executors， he says were baffled by the scifi fanacygena until these movies showed them， the potential of tapping and to a rabbit fanbase eager to spend money on merchandice and endless sequence chrisnatioaudiis a writer editor in former film Critic of entertainment weekly his work is appeared in Esquire sports illustrated invanity fair he is also the author of Caddy Shack the making of a Hollywood cinder rela story and Chris natioady welcome to fresh air thank you for having me im very excited yeah well， you know what is so interesting about this conversation right now is that the movies that are making a splash today are reboots and part two three fours many of the same movies that were going to be talking about today its like the summer of nineteen eighty two brought with it both an expansion of our thinking。
but also kind of created a monster that is one hundred percent the argument of the book um you know， its its interesting that this was a thats summer was a real turning point um it was uh the beginning of Hollywood really catering to find culture um， which is something you know right now was were talking you know comic con is is still fresh in the news thats right yeah so um you know， its its interesting that that that summer sort of uh was a reaction to what had gone on um with star wars uh approving that you know there was an audience for agenre that was in many ways dismissed as geeky or or kidsta for whatever。
the subculture yeah， and and the subculture sort of became the culture that summer so star wars 177 jaws， nineteen 75 are two films that theyare usually talked about as the birth of the summer blockbusters we know it and i dont end up this um world of scifi and fanacy how did those two films though set the stage for this summer of nineteen eighty two yeah i mean i think that um！
jazz and star wars were potent examples of movies that people didnt just paid a sea in the summer um， but paid the sea over and over again um they were movies that appealed to uh as you mention in the intro a rapid fan base and um the studios saw how much money that those movies were making and knew that they needed to tap into this audience they need to follow that trend as Hollywood always does eh but that takes time its like turning a battleship right so after usually， when you want to find out where trend came from in terms of movies just look back five years earlier um because thats how long it takes to develop and make a movie and release it um so five years earlier uh before nineteen eighty two was nineteen 77 hello， star wars yeah， so that thats what theyre all reacting to in the summer OK！
lets talk about what films actually came out the summer of nineteen eighty two so there was Tron， there was the thing。
the thing blade runner the road warrior Conan the barbarian star trek？
the wrath of kong and what et how many of them were original screen plays and how many of them were based on books and or comics well。
i would say i mean there are two ways to answer that question i think of them all as original because they were not based on like today the concept of whats original is very different from back that some of them were based on books like for example， the thing um was based on um a science fiction story called to goas there um， uh， you know blade runner was based on a philipk dic novel called uh to androids dream of electric sheep hmm， uh， you know they were all et was completely original was completely original i mean theres a mix really， but none of them were based on what we consider today as you know popular intellectual property you know what i mean they wert these huge ip things they it would become those but they werent them and um so to me its its very telling that in once summer you had all of these fresh bold original ideas um， which is sort of the exact opposite of where we find we are today right now yeah well！
this book is a funny because you give a lot of behind the scenes history and people love hearing those stories about like who was thought of to cast for who and then who ended up getting the role and then some of the fights and things like that but the stories that i love the most are um the stories behind the writing of these um these stories that are enduring stories that we love take us back to win Steven Spilberg was conceptualizing et at the time he was considered the golden boy he was like that it director in town at the time yeah um！
yeah he is just uh jaws， which obviously um was a massive hit uh and he could really do anything he wanted after that so he um he decided to make closing counters and the reason i bring that up is that its in a way sort of uh a cousin of pretty， pretty close cousin to to this movie e t um you know youve got this really promising young director dealing in science fiction and in a way he sort of legitimized it right with him in him in Lucas sort of legitimize the genre um by making really great movies um and what was seen as a very populist um maybe low genre and um you know with et that was really a story that he had been carrying around for a long time releases his childhood he had a very lonely childhood as parent split up um any never really understood why uh only understood much later and i think he felt like an ugly duckling at school he was jouition in an area that wasnt you know uh uh didnt have a very large Jewish population i think he felt like a you know like an outsider and an a lonely outsider so created you know these sort of pretend friends um an et is really the outgrowth of that story i mean its as as as great as a science fiction tail as it is its also this really sort of touching story about growing up in the suberbs alone， you know yougot your your siblings but really like its a broken home， its a broken family but theres a lot of love there， and its its you know he had this story inside of him and hell did a couple of times in the various ways most recently with the fablements but like he， hes， he taps into his own life， which makes the story especially resonant in personal， um he also had a screen writer， um who what really brought a lot to the project and that was Melissa Mattheson， um she had written the black stallion and she was dating Harrison Ford when they were making redis， the lost Ark and um that was the movie that he made right before et and while they were on the set， um they met and he knew that he needed a a an emotional sort of assist on on this on the script because the initial。
the initial screen play didnt have some of these yeah， it was very different yeah in what way？
it was it was more of a horror story really， i mean it was it was um about a group of aliens that are left behind at the time it was being called um night skies and um it was a darker story any in fact， he actually hired a writer uh to sort of pursue that um he hired John sales is a great screen writer to to sort of go down that path and he wrote that script and i think by the time he delivered it spilbercket had a bit of a change of hard in realizedhe wanted it to be a more emotional， sort of kind or gentler story for kids the way you say it in the book is that what came of that is where that story night skysands is whereet began yeah exactly yeah yeah its a its a its a great making of story and spilberg you know i im especially fascinated by him at this period of his career because he is having so much success so quickly and hes really working at the height of his powers he has all this energy hes going popping from one project to the next hesort of this unstoppable force of nature and yet someone did turn down et initially an executive yeah， i mean the the thats thats a great story to i mean he had a deal with Columbia to make et there and um they had signed on for the scarier darker version um because they wanted this sort of hard science fiction dark story from the director of jobs that they could sell right and then um he told them that he was shifting it in a different direction you know into the softer story， um and when they read the script， they just said no this is our wmpy kids a Disney movie we cant we dont， were not interested in this， were not interested in this and and they basically said you know were gonna not make this movie and and they put it in turn around， which means that another studio if they paid what Columbia had invested in the property， already they could take the picture so spilbert called up his body at universal Sydney Shinberg um who had worked with him on Jaz and he said look， can you write a check for million bucks to take this project um i really want to make this movie and columns not going to make it and he was like yeah of course， so um whats interesting is that Columbia that made a huge mistake obviously if because et became the biggest movie of all time and um， they retained five percent the films profits， but the the funny thing is in the ironic thing is is that co um Columbia just from there five percent that made more money for that student for the studio that year than any of their own homeground movies。
so i mean they really screwed up spilperg also wrote polter guys switches about a young family thats visited by ghosts in their home and at first， the ghost appear friendly， but then they get more sinister and um uh it turns nasty and they start to terrorize the family before they kidnap the youngest daughter um in this scene im about to play a medium named Tangena played by Zelda Rubinstein tells the parents of the little girl that the spirits wont leave their daughter alone lets listen theres one more thing！
aterable presents is in there with her so much range， so much betrail never sensed anything like it i dont know where have is over this house but it was strong enough to punch a hole into this world take your dog away from you， he keeps caroli and very close to it and away from the spectra light it lies its thingsonlya childcanunderstaying his been used in her to restrain the others， there it simply is another child！
to us is the beast that was a scene from the nineteen eighty two movie polder guyce written by Steven Spilberg and will get to the director situation a little bit later but Chris um is it true that pulter guys in et were kind of like two sides of the same coin they were kind of like an embrio that split into twin yeah， OK！
thats a better way the good and the evil twin yeah， um， yeah they both sort of emerged from the same idea its interesting the movie began as a science fiction story about an alien visitation um and how the align starts yeah， yeah， exactly and um along the way it sort of evolved into the story about about spirits the supernatural um and you know i think thats probably a good thing i dont know that that spilberg would have wanted to have two science fictions in the its uh movies in the same summer um well！
how did they even how did it even come to be that they both came out the same summer？
because i dont think ive ever heard of that before yeah！
spilberg im im telling you spilberg at that point in time was this prolific energiser Bonnie who just wanted to wake up and go to a movieset shoot a movie go to bed repeat the next day and so for him making et was obviously a full time job but he had this great idea and he wanted to make it now um so you know directors guild rules prevent someone from directing two movies of the same time um so he signed on to palter guysis just the producer he also coral descript but uh so he really had two movies going at the same time and he hired a director is it Toby yeah Toby Hooper yeah， uh he had directed the Texas change some asiker um which you know anyone who hears the title immediately thinks that thats the most sort of um satanic movie thats ever been made but its really a work of art you know its its if your into genre cinema， um Texas change some masker is a is a work of art its a beautifully made movie um its been inducted into the museum modern art you dont have to yeah i dont have to sell you on Texas chance but its funny to hear it in that same context no he works he really its a great movie and i think a lot of movies makers at the time really thought that he was someone to to bed on Tobehoober but there was a bit of a you know what what would you call it between Tobehoober and Steven Spilberg because Steven hired him to be the director of polter guys right！
but really he never directed it well。
thats that is a questionmark OK um i that theres a lot of speculation about this um some people who were involved the making of the movie feel that spilberr spilbert was on the set every day but three days of the making of of palter guised even though he was just a producer um there are a lot of people who say that he really took over the directing of the film from tobehooper maybe tobehober wasnt up to directing um such a big major studio movie um or that he didnt have a forceful enough personality to sort of make the movie the way it should be made other people say that no Toby whober did directed um it seems to me after the people ivespoken to and what ive read and the off factoriof come down on the side of the Steven Spielberg was a very hands on producer and Steven Spilberg do not help himself out by making some statements uh after during the time of the films release， um implying that he was a much larger， he had a much Lark， he had a much larger role and directing the film then then he made me he want it credit for it， he did and i think thats what it boils down to is that that was a story that that really came from him and i think he had a hard time giving up credit because he said about holder guys he says holder guys is what i fear and et is what i love one is about suburban evil and theother is about suburbin good and both of these stoys live in my heart yeah yeah i mean thats thats exactly yeah and i think you know they are two sides of him one is the merry prankster who used to like you know scared the width out of his sister and the other one is someone whois interested in making heartwarming you know entertainment uh for kids because he deep down he is a kid and um you know i think that pulterguised or the the sort of scandle that arrupted from it over this people two different people taking sort of credit as the director um was really the first public black eye that he had ever 哼， gotten um his career had been charmed up to that point and its been charmed ever since but there was this this brief hickup right where he had a bit of a public relations nightmare on his hands about these movies did he ever share with you uh the impact of that year or those movies in particular about his career and artistic choices from that point on yeah， i mean i think he told me that that is is one of his most personal and favorite movies um and he also mentioned the fact that working with the kids was really the highlight um including a very young drew， Barry， more thats right and um it really uh he had been sort of a loner single guy for a lot of his life and making this movie with these kids every day really um sort of made him want to be a dad um what shes done several times over since then our guest today is author Chris Natiowaddy were talking about his new book the future was now mad and maverix and the epic scifi summer of nineteen eighty two will be right back after a short break im tinymostly and this is freshshare supportforthis pidcast in the following messagecomefromwise the app that makes managing your money in different currencies easy withyou can send and spend money internationally at the midmarket exchange rate。
no guesswork and no hiddenfees learnmoreabout how wise could work for you adwise dot com you cant bring every bookyou own with you to the beach so how the heck are you gonna choose what to read the summer npiers booth the day podcast is got you covered with all the interviews from across the npr network you can find the right bookforyournext summer read listen to nparsebookthedaypodcast！
wherever gitchapodcasts and wait wait we ask very well know people about things that people dont know about them like what was melaliusefsidoing when she heard sheed want the Nobel peace prize i went to my physics class。
i said i have to finish my school day because when you get the Nobel peace prize for education。
you have to finish your school day apetersegle for the real secrets of the richin famus listen to the waitwaitdont tell me podcast from npr hey！
im robots with compliant money and this summer we are bringing you the entire history of the world at least the economics part its planet moneysummerschool every weekly invite in a Brilliant professor and play classic episodes about the birth of money banks and finance there will be roads and revolutionaries and a lot of panics summerschool everyday to Labor Day on the planet twenty podcast from inpr theres also the emerging technology that im really fascinated by because when we think about the scifi and fanacy。
John were so much of the visual is really depended on theability to articulate visually um all thathappening Tron is a really interesting story that you write about but there was this movie in 1979 called the black hall so it was Disney stabb it scifi like to try to get at the star wars magic and it was a dud right like yeah what up yeah it was a dud um artistically it was certainly！
a dad commercial i think it probably broke even but it certainly wasnt the result that Disney was looking for without a doubt you know its funny because Lucas and spilber reportedly brought uh， i mean Lucas rather brought star wars to Disney yeah you know when he was trying to find someone to to bank url it and they pass they pass you know， you know yeah they got it later they got it later right today overpaid yeah， but its funny because um he got the last last day yeah they did it but Disney at the time you know， we think of Disney is sort of like this monolithic movie studio now that sort of like the alphadog yeah， among all of them um but back in nineteen eighty two uh this was a studio that was really on its last legs you know uh and what was it holding on to it was he talk about the executives at that time here yeah they were really of another generation they were and they were all sort of still living in in walt disneys shadow you know he he had died in 166 um after presiding over you know the biggest animation powerhouse in the history of movies um you know Disney was just the the greatest studio that you could imagine it in the forties and fifties and but by the you know the seventies it was just a place where they were you know release it re releasing old movies you know like oh you want to watch snowy again here it is bmb yeah bmb for example， um which i know you saw in the summer of nine to eighty two that was actually， a movie that was outduring that year thats right it was you know they put out a lot they were released a lot of those those golden age movies but in terms of like fresh ideas this was not the place to go an agency new that its not like they were gonna like shop go to Disney to you know to get a good deal Disney was notoriously cheap and they wert making good movies and so they knew because of star wars that this was their chance to get into the the major studio， sandbox and try to make some money and they had this property the black hall and they rolled the dice on it and paid a lot of money to make it and it just it didndo that well， it didnt do that well？
well， a couple of years later， then theres Tron， which is about a computer hacker who was obducted and to the digital world um what did Disney learn from the black hole that then maybe helps them with the success of trine？
yeah！
i mean i think it learned that it has to gamble in order to stay alive um and yes， black hall had been sort of an unsuccessful gamble or at least a push um， but they knew that this is the way they had to go um in order to stay relevant and to stay in business and so when it was time for Tron to happen， they didnt fully get the ideas that the director of trans Steven lessburger had in mind for this movie because it was made in a very new process um， which is uh call back let animation um， which makes you know the images look like is there s their backlit by neon it was trying to to look like video game it was yeah and and in a way it was perfectly timed because um you know if you were kidding at that age at that time video games were you know they were it i mean we used to go to the arcade with a role accordance and just spend all planning defender or you know senipeed um it was a glorious time and they try to caching on that with this radical idea， uh， which with an almost experimental movie um and you know in a way it was too ahead of its time it was too perfectly timed because that audience would eventually be there people would eventually go to see these movies about video games but not they wert ready yet they were ready yet they were ready so Tron was not is successful its was a break even movie it was a break wait is it true that um Disney used so much power it caused a prow now in the city of your bank to yeah to film this movie thats right they had to the way they had to lite a sound stage in order to make this digital process work required a huge amount of lighting um so much so that uh in Los Angeles the the presents that there and uh there was ub round out and the uh the power company had you know！
had to go to Disney and and be like you got a cool it if youre just joining as my guest is writer chrisnatie were talking about his new book the future was now Madmen Maverics and the Epic scifi summer of nineteen eighty two the book chronicalls in 8 weekperiod in moviehistory when 8 science fiction in fanacyfilms were released within 8 weeks of each other it charts out these films helps set the stage for high concept films with a rabbit fan base merchandizing poditial and sequence will continue our conversation after short break this is freshshare on this week episode of wild card musically icon on a differing out i get a lot of you know i love you in the 九十 you know！
so a lot of high in the high school you know were both fifty sheletmeon the secret to reinventing yourself when you feels stuck in a certain box thats on the wildcardpodcast， the game where cards controlthe conversation on this weekepisode of whilecard socker legend Abby wangbox says the transitioned from professional athlete to normal person can be tough theres this innate narcissism that is almost required in order to be a highlevel apply im ready to Martin join this for npirs， while cardpodcast， the game where cards control the conversation？
for a while now youve probably been hearing about bookbands hothergain momentum everywhere in Texas， in Missori， Florida and pensovenue on the code switch podcast were taking a look at why where so many books suddenly considered so dangerous to kids listen to our new series on the code switch pockest from mpr？
you know ithinking about this time period of nineteen eighty two in the context of today and there are so many remakes in reboots and were used to them coming in going and some of them are really good and some of them are not you write about star track and uh the attempt to remake a movie that was made a few years before nineteen eighty two 嗯哼 um so start track is we know was a show and then a movie was made in the late seventies it was horrible right it wasnt that good i i think its horrible yeah it people did not like it yeah and then um studios decidedthough that its still deserved another chance at a movie yeah so there we had wrath of con， which was a success um so much so that forty years later， i mean the um franchise is still a success yeah what have been during that time period to really actually save it yeah its it there we really probably still wouldnt be talking about startrack if it wasnforthe wrath of con！
the second movie that did come out in summer of nineteen eighty two its its interesting because the first star track movie was made， because you know paramout had the sort of rights to this franchise because of the tv show and they had been playing the show with William chatner from the sixties incentication and it was you know doing yeah， it was doing really well， i mean people loved it had this cult following and people really liked it so they you know they knew that this was a real potential gold mind that they had why not turn it into a movie so they did a nineteen seventy nine with star trek the motion picture and its terrible its got really great special effects um which were cutting edge for the time not look a little cheesy but the movie is just not good its long it it it doesnt have any other things that we want to see in a starter movie especially after that long hiatus from what from the tv show uh you wanna check back in with the people that you love spark you know sullu all you know all these carc yeah， you really want to like see the interplay between the and its really its just this excuse for a lot of expensive， special effects and the stories louse and so the movie it did OK uh it actually made money the first one because it you know the merchandizing and all of that uh and people were curious， but no one liked the movie even startric fans did not like the movie uh critics certainly didnlike the movie umm what made them wanna do it again they try again with right because they made money on it yeah and they saw the potential they didnt want like anyone else they didnt want to leave money on the table they thought there might still be some life in it but if they did a second one it was going to have to be made differently i mean the first one went way over budget um and it just there was no real quality control on it so i think they felt that they should do a sequel it should be made less expensively so there was less exposure and they needed to have more quality control on it um and so thats what they set out to do now the problem was is that lenard name way spark probably the most iconic character you know， uh what may be along with carc in in the whole show and the whole franchise neemoy did not want to come back he hated the first movie he had sort of a love hate relationship with the character even that was the most iconic thing he had ever done it was something that he didnt like be he felt like a like a and you can have a movie without him you cant i dont see how yeah and um so they had to really wow him to get him involved um you know， but it was really one sort of nightmare after another on the making of this movie and um， its its just feels to me like our terrific story especially if your you know a star trick fam， which i am i think that this movie delivers everything you want from a star track movie its got a great filin um in con play by record on mount its got uh the effects dont overwhelm the you move the movie。
but theyre very good the story is terrific its about grappling with age and mortality something that all the actors were doing and it sounds like all of the actors and everyone involved were really they were really motivated to make sure that this one was good yeah cause they theyd already experienced the really it was tramatic for them to yeah i went the other time its yeah its the thing that theyre identified with right and to put out a you know a lackluster version of it after fifteen years away from the tv show it really stung so they wanted to get a doover and thats what they got with rathicon members of the cast that year that summer then went on to go to comicon right yeah and i i think this is so fascinating when we talk about um just the fandom that then grew and built from this time period that we know today so comicon was just over a decky oh yeah right during that time period um so much money is put into fandom hmm um in merchandizing and other types of things and in reading your book i just wondered if the success of nineteen eighty two was more about teaching hollywould executives how to cache and versus the art of it we did have art that came out of it but what is your takeaway you？
you stop short of yeah bringing down like the lessons learn from that time period yeah i mean id like for people to maybe draw i maybe thats laziness！
but may i do well i like people to draw their own lessons from what happened my big takeaway from this is that you know there it was about caching in but at the same time， the reason i like the story is because it really paralless whats going on with Hollywood right now OK， youve got the studios under thread OK now right now the studios are under thread from the streamers um and a lack of theactrical attendants after covid it never really pick back up entirely， there are still movies that are doing well， but as a whole the industry is is sort of soft right now and the studios are freakin out and the same thing was going on in nineteen eighty two there was obviously change a foot because of start star words and they all needed to get into that game of making event movies and they didnt know how to do it or if they did do it， they those movies were so expensive that they really needed them to hit now i feel like in nineteen eighty two the studios were really creative and took gambles to get out of the hall they were in OK they made movies like the ones that are covered in this book， which regardless of whether or not you like them you know i obviously love them but regardless of whether or not you like them they are ambitious uh they make statements theyre well made theyre original um and right now i feel like thats the exact opposite of whats happening howi would i feel like the studios are sort of curling into a fatal ball and hoping that the world like all of these problems just disappear and blow passed like a tornado um and that they wont get too devastated during the tornado um and i just dont think thats the right way to the one take the opportunity， take the moment of opportunity right and also。
though the one difference is they had star wars as a proof of concept yeah， then jazz as a proof of concept， but what is the proof of concept today to say heres the thing that you should take the leap on well。
i think that its streaming， and i think that you know a lot of there are a lot of big studios um， and giant companies that are betting on streaming um， and are going to fail um i think that they think that the Netflix model of work will work for all of them and that um there will be room for all of them at the table and there wont theres just no way that that the environment can nurture and sustain seven or eight different streaming services you know， people are not going to pay an invisible ten dollars a month for eight different services forever， you know。
so well！
see a construct i think so yeah will that make our choices better i doubt it then it never does monopoly is never never make your choices better um i think that uh i mean i dont wanna get to you know gloomy doom about it but i do think that um the studias are going to have to get smarter and more creative and rescrier about getting out of the situation that theyre in they need to make better movies and they need to get people to come to the theater and its not by making sequence and prequels inside quols and whatever you know its just not its got to be something new its got to be an openhimer or a barby and its those need to come out more frequently um in order for a rebound um， but the thing i like about nineteen eighty two is that um there were movie studios being a run by people who werent in different businesses you know what i mean they wert cogs in a conglomerate um they were being run by people who loved movies not all of them but i mean you need to get my point like theres there was more less of a business its felt like less of a business and more of an art well。
this was really fun going down memory lane and also learning all of this background information that we didnt about these movies that are enduring movies that that still stand the test time chrisnatie thank you so much thank you for having me chrisnatie is a writer， editor and former film critic for entertainment weekly his new book is called the future was now madmen Maverrix and the Epic scifi summer of nineteen 82 coming up rock credit cantucker continues a series of albums celebrating their fifties anniversary this year within too much too soon from the new yorkdolls this is foreshare new from the embedded podcast female athletes of always needed grit and talent but for decades theyve also needed a certificate there was chat chat about is that really a woman and even now theyre still being checked and questioned their story is the newest series from cbc and nprs embedded itcalled tested listen wherever you get your podcasts theyre all over the internet and bumping out of peoples cars theyre the songs of the summer and this year includes the domination of Charlie xcx and Brat summer shes really tapping into this moment where we are all chronicallyonline but also chronically outside we are talking about the songs of the summer and why theyre so catchy an inescapable listen to the popculture happyhourpodcast from mpr i just dont want to leave a mess on bolsithe great dan acroi talks about the bluesbrothers。
Ghostbusters， and his verydetailed plans about how he will spend his afterlife i think im Gonna Roam in a few places yes， im Gonna manifest on Rome all that and more on the both ipodcast for maximum。
puntyorg and npr this is freshare and as part of the summer series on albums celebrating their fiftyeth anniversary rock credit can Tucker is reviewing the new yorkdolls is 1974 record in too much， too soon it was the second album by the band fronted by lead singer， David Joe Hanson the New York dolls are now considered to be one of the four runners of Punk rock but as can explains and 74 it was sometimes a lonely situation to be a dolls fan？
me where do i come from with my base up in the mirror first thing i know！
the New York dolls in too much， too soon is the least known and lease appreciated i know this partly from experience the final copy of it that i possess was given to me fifty years ago by my friend， the novelist Tom daven not as a gift but as something he wanted out of his house takedhetold me holding it anarmslength i hated， he said at the time this second out by the dolls was receiving a rapturous reviews， minimal sales and audience indifference bordering on hostility the album thrilled me and i still grin upon hearing the opening goofiness of the dolls version of archibalon the drills theres going to be a showdown， to begin with theres Davio hansons taxicab honk of a voice as New York as the bandsname while he later went solo as a widty cruner under the stagename， busterpoindexter as a doll Joe Hanson was all about singing to compete with or compliment the clator in chaos of Johnny。
thunderscarish lead guitar and now youre just back a template tall。
and the terse noise of the remoes who would follow them arrogant slappy and plagued by substance abuse the band was a slap in the face no onesid of a smash hit at a time when John Denver in the eagles top the charts Paul Nelson， the pioneering rock Critic turned anr man had to spend months convincing his bosses at Mercury records to sign the band Ellen willless another inventor of rock criticism wrote in the new Yorker about being blown away by the band in the lower Manhatton space that became their launch pad the mercer art center describing Joe Hanson as a quote nineteen year old Bizaro in his rumpled Prince valiant hair style， lipstick， high healed boots and leather pants radiating a sulky succuality thehighpoint of the salblem is its final song human being its poignant that the dolls would feel they had to tell us that they wert freaks are superheros but plain old humans rapping the sentiment in their fiercest rock music， redolls first selftitled album had been produced by toddrungrin in hopes of giving it some popmusic flair for the second album， the band made a surprising choice shadow Morton best knownforhisworkwritinginproducing 60 hits like leaderothe pack for the shangle laws he turned out to be great for the group playing up their hard rock swagger， while also highlighting the sense of humor that could get lost in the noise steering them toward material like sunny boy williamsons， 150 bluesip dont startme talking， less than a year after this album the dolls broke up in a combination of commercial failure and personal misbehavior the best sumation may have been offered by the late Paul Nelson when asked why he worked so hard to get the dolls， a record contract it was a wonderous thing， he said to see a group play rockenroll with the enthusiasm of five people who felt enacted as if they had justinvented！
rochestuckerrevisited the nineteen 74 album in too much， too soon by the new yorkdolls tomorrow on freshere Brittney Howard she became known as the powerhouse singer in guitarist fronting the band Alabama shakes now she has a solo career and a new album called what now well talk with her about her new album writing and singing breakup songs and how her life is changed i hope youjoinus i want to be found our interviews in reviews are produced in edited by Phyllis Myers， Sang Brigger， Lorne Cringsel and Maribaldonado Teresa， Matn， Monique Nazara they are challenge Susan accande and Joel will from with cherry growth on Tony mostly！
2024 is the first year ever the Olympics will have the same member of lets competing in women sports as men， which sounds like a big wind for gender equality right there are more athletes competing in women sports than ever before a and were also seeing a rise in policing who was eligible to compute listen to the its benefit podcast from mpr new from the embedded podcast elite femalrunners are being told they cant compete becauseof their biology not only can you not compete youre not actually female here about the hundredyear history of sex testing in women sports and the hard choices these athletes are facing now listen to tested a new series from cbc and nprs embedded podcast。
