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Clerks is a 1994 American black-and-white comedy film written and directed by Kevin Smith, who also appears in the film as Silent Bob. Starring Brian O’Halloran as Dante Hicks and Jeff Anderson as Randal Graves, it presents a day in the lives of two store clerks and their acquaintances. Shot entirely in black and white, Clerks is the first of Smith’s View Askewniverse films, and introduces several recurring characters, notably Jay and Silent Bob. The structure of the movie contains nine scene breaks, signifying the nine rings of hell as in Dante Alighieri’s Divine Comedy, from which the main character, Dante, clearly derives his name.

Clerks was shot for $27,575 in the convenience and video stores where director Kevin Smith worked in real life. Upon its theatrical release, the film grossed over $3 million in theaters, launching Smith’s career.

A pilot for a live-action TV series was produced in 1995. It was produced by Touchstone Television. The pilot only referenced the character names and starred none of the cast from the original film, contained no foul language, and did not feature Silent Bob. The character of Jay was featured, prompting Smith to point out that he owned the character rights to both Jay and Silent Bob (for the purposes of featuring them in separate films). The producers’ solution was to change the character’s name to Ray. Kevin Smith was unaware of the production of the series until casting was underway. Smith had been in production with Mallrats at the time and attempted to become involved in the series but became disheartened quickly as an episode he had written for the series was shot down. He would later use the script for an episode of Clerks: The Animated Series.

The unaired pilot for the attempted 1995 “Clerks” TV pilot. Long thought to have been lost, but recently discovered.

There’s a newly discovered Dr. Seuss book for sale called “What Pet Should I Get?” It’s believed the book was written between 1958 and 1962, and because it was penned so long ago, Jimmy Kimmel thought it could use a modern twist. So they enlisted the help of friend Tyler, the Creator to do just that.

The Zappa Family Trust has partnered with Universal Music Enterprises (UMe) for a long-term, global licensing agreement for Frank Zappa’s entire recorded catalog, as well as rights management participation across the rest of the visionary cultural icon’s creative canon. The partnership spans Frank Zappa’s vast music and film Vault for new product releases, trademark licensing, film and theatrical production.

“This is literally an opportunity of a lifetime for me,” says Gail Zappa. “I am universally thrilled with this partnership because the fans will have unparalleled access to Frank Zappa’s Works-the doors to the Vault are now officially WIDE open. I’m especially grateful to announce that Ahmet, my personal Music Sherpa, worked directly with Bruce Resnikoff in creating this relationship and will be taking over the daily operations of the family business.”

“Stepping into this partnership with Bruce Resnikoff and Universal means we get to expand the business and continue to maintain the integrity of Frank Zappa’s entire body of Work,” says Ahmet Zappa. “The fans of Frank Zappa will have more music and more access-when they want it and how they want it. With Universal as our partner, I look forward to bringing to life Joe’s Garage, The Musical, the release of The Roxy Movie, the release of the Disney Hall performance of 200 MOTELS under the baton of Esa-Pekka Salonen and so many more projects of this caliber. I couldn’t be more excited about the future. It has been a privilege working with Gail and I’m passionate about what this opportunity with Universal means for our family moving forward. It is an honor to be stepping into my new role.”

“Frank Zappa is one of the most important and influential artists in music history,” says Bruce Resnikoff, President/CEO, Universal Music Enterprises (UMe). “An artist and composer, his prolific body of work, includes breakthrough and unforgettable rock ‘n roll concept albums. With his legacy protected and guided by Gail Zappa and the Zappa Family Trust, we are privileged and look forward to collaborating and bringing his creative legacy in various forms to his new and longtime fans.”

The first Zappa Records/UMe release under the new agreement will be a remastered 40th Anniversary Edition of Frank Zappa and the Mothers of Invention’s One Size Fits All album, to be released August 14 on 180-gram vinyl. Originally released in 1975, it was Zappa’s final album with the Mothers of Invention line-up, featuring guest vocals by Johnny “Guitar” Watson on two tracks, “San Ber’dino” and “Andy.” Additional releases confirmed for 2015 will be announced.

In 2012, when the rights to the pioneering composer’s masters reverted back to Zappa Records and the Zappa Family Trust-headed by Zappa’s widow, Gail Zappa-the family made his entire recorded catalog available on iTunes for the first time and began remastering the albums from the original analogue masters for reissue on vinyl. Presented with proper care and attention to detail, the releases honor the iconic legacy of the composer, guitarist, bandleader, filmmaker and irrepressible wit.

Kids! Kids! Led Zeppelin is going to perform, so don’t move, and if you look bored, that’s even better! Ready?

Lou Reed’s TV Commercial for “Sally Can’t Dance” from 1974

The Mad Magazine TV Special Too Crude To Air Back In 1974

Bikini Kill To Reissue 1991 Cassette ‘Revolution Girl Style Now’

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The 1996 Internet Reacts to Tupac’s Death

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Universal Releases Five-Year Development Plan; Lucian Grainge Stays On Until At Least 2020

MASH Notes: The Story Behind “Suicide is Painless”

Video: Parrot Sings The Lego Movie’s ‘Everything Is Awesome’

Full Video: Horton Hears A Who! (CBS, 1970)

7 actors who’ve played Batman in tv and the movies

I wonder if there aren’t as many young black musicians devoting themselves to the blues. Do you worry about the future of blues music?

I worry about the future of blues music whether you are black or white. If they don’t hear it like I did and listen to it and don’t know about it — you ever been to Louisiana where they cook all this gumbo?

I have. I love it.

I do, too. [Laughs.] So if you never tasted it, you wouldn’t love it. That’s what’s happening with the blues. Now, the young people don’t know nothing about it unless — I know satellite [radio] do play blues, but we need more than that. I tell everybody I would love to hear Muddy Waters twice a week. I’m not telling you to play him all day, all night; just play him. Let the young people know where it all started.

For the younger people who don’t know much about the blues, what’s the case that you would make to go buy a Muddy Waters album as soon as they can?

If you don’t have the blues and don’t know about the blues, just keep livin’.

What do you mean by that?

[Laughs.] At least, you’re gonna see a better time or a worser time in life. Just listen to what I’m sayin': Just keep livin’. Even if you get in the middle of the expressway and your car quit runnin’, you got blues.

Via NPR

More than 50 years after your first album, you are back with a new one, Power in the Blood. Morrissey asked you to tour with him this year and you’re getting great reviews. How do you explain your longevity?
I didn’t get into the music business because somebody made me take piano lessons, you know. I got into music because I was a natural writer and had a lot of curiosity about sound. And in the 1960s there was an open window into what people call the music business. It’s really been a lot of luck. Actually, when I first got famous in the 60s, I got a little too famous and in order to escape showbusiness I moved to Hawaii. I’ve always had that attitude about my career: it’s something that I do but it’s not my whole life. I have a real life, a personal life: I’ve got a lot of chickens, I’ve got a horse, I’ve got a kitty-cat, I’ve got a lot of goats, I’ve got animals all over the place.

You were part of the Greenwich Village folk scene of the 1960s, with Bob Dylan, Joan Baez and many others. Where did you fit in to that scene?
I kind of didn’t fit in, in a way, but that was a time when misfits could have a career. I didn’t really sing folk songs like Joan Baez and Pete Seeger, and I didn’t come from a business family like Bob Dylan, or a music family like Judy Collins. But where I fitted in, I think, was that I didn’t think I’d last, so it’s not as though I was risking anything. And I think it was because of my uniqueness.

Unique in what way?
I was writing about everything. I was writing pop songs such as Until It’s Time for You to Go, which was later recorded by Elvis, Barbra Streisand, Neil Diamond and everybody. I was writing about Native American things and I had written Universal Soldier. I think it was just very surprising and that’s why I got away with it. Even in this new album – similar to all of my other albums – it’s much more diverse than almost any singer you can think of.

Via The Guardian

INXS hope to become the new sensation of the world’s theatre stages with a musical based on their hits to open in Sydney in 2017.

With their music still commanding the album charts more than 100 weeks after they restored their legacy with the INXS: Never Tear Us Apart mini-series last year, manager Chris M Murphy has set up a theatre company to mount INXS The Musical.

Murphy remains tight-lipped about his backers for the project but insists he has some of the international theatre world’s biggest “creatives” coming on board to write and produce the musical for the stage.

The band’s longtime manager set up Murphy Theatrical to orchestrate the band’s next move to exploit their extensive catalogue of hits recorded by Michael Hutchence, Andrew, Tim and Jon Farriss, Kirk Pengilly and Garry Gary Beers, after reacquiring the rights to their music a few years ago.

The phenomenal success of the mini-series, which was watched by more than two million Australians and sold internationally, gave Murphy the impetus to forge ahead with the stage musical.

INXS: Never Tear Us Apart provoked a fan frenzy for their music with the The Very Best hits compilation giving the band their first No. 1 album in Australia in 24 years and spending 102 weeks in the charts and counting.

Via News.com.au