I could not be more delighted that interviews are something I have finally made a part of this little blog of mine! When the opportunity presents itself to ask a few questions to someone who contributed to the awesomeness of the 80s, I want to continue to share those answers with you right here. Again, lucky for me (and hopefully you), I do get to share a little more awesomeness with you.
This time that awesomeness is Richard Page. He is best known as the lead singer and bassist for the band Mr. Mister. Page was joined by Steve Farris, Steve George and Pat Mastelotto to form one of the most popular bands of the mid-80s. Their 1985 album Welcome to the Real World would feature three top 10 singles (two of which reached #1). To prove how big they were, the band was even mentioned in one of the biggest songs of 2010, Train's "Hey, Soul Sister" in the lyric: "Hey, soul sister, ain't that Mr. Mister on the radio, stereo." After releasing just three studio albums, the band broke up in 1990. Page continued on as a solo artist and songwriter. You will learn more about him and Mr. Mister as we get on to some selections from my interview with Richard Page...
Q: When did you first realize you wanted to be a musician? How did that end up becoming a reality for you?
Richard: My parents were both musicians, so as kids my siblings and I had no choice. As a teenager, I loved the Beatles and all the other great artists of the time and only wanted to write and play music. Eventually, my songs were heard by a record executive and the rest you know.
Q: After over three decades in the business, from your perspective, how has the music industry changed over that time? And how do you see the future?
Richard: The business is always changing. Styles and sounds are evolving constantly. But the last few years have seen the most change with the digital age and with file sharing. Artists and writers are now wondering how they will make enough money to continue to deliver quality music. I don't know what the future will bring but I know it's always interesting.
Q: How did Mr. Mister come together? How was the band name chosen?
Richard: Steve George [keyboardist and Richard's childhood friend] and I put the band together. At the time, we all liked the band Weather Report and their album Mr. Gone was a favorite. I think that had something to do with our name.
Q: I read that you were offered the opportunity in 1984 to replace Bobby Kimball as lead singer of Toto and also offered Peter Cetera's place in Chicago and you refused both offers. This was before the band's big breakthrough, so can you take us through what must've been a difficult decision?
Richard: I think a lot has been made about that. It's kind of been blown out of proportion. At that time, because both Toto and Chicago were living and recording in the LA area, they were aware of me and there were some informal talks about me joining them. That's all.
Q: Then in 1985, you released Welcome to the Real World and the whole planet took notice. Did you know you had something special when recording this album? Could you have ever anticipated the popularity and attention it would get? How did things change for you personally and for Mr. Mister, both good and bad, after this success?
Richard: I never thought the album would be as successful as it was. As a matter of fact, I thought "Broken Wings" and "Kyrie" were really good songs, but not hits. So I was surprised when it took off. Obviously things changed radically for us. I can't think of anything that wasn't great about it except that it took me away from my wife and two very young daughters. That was hard.
1985's Welcome to the Real World was the band's second studio album. It charted highly all around the world, went Platinum in the U.S. and reached #1 on the Billboard album chart in March of 1986. The album featured two #1 singles and a third which peaked at #8. It would receive several Grammy nominations and garner the band a nomination for Best Pop Performance by a Duo or Group (which they lost to the USA for Africa ensemble). Richard's cousin, John Lang, is the one who actually wrote many of the lyrics for the songs from this album.
Q: Almost exactly 25 years ago, "Broken Wings" was the #1 song on the Billboard Hot 100. Why do you feel this song created such a positive reaction the whole world over? I read that John Lang was inspired by a book of the same name and there might be some reference to The Beatles' "Blackbird". What do you remember about your process of creating this beautiful song?
Richard: The reference to "Blackbird" was totally unintended. We didn't even notice until someone pointed it out to us after it had become a hit. Had I thought of it, I would've changed it not wanting to copy something so iconic, but it happened and the song took on a life of its own. John [Lang] was inspired by the Kalil Gibron book of the same name. The song was written quite quickly. It just poured out.
"Broken Wings" was released as a single in September of 1985 and would reach #1 on the Billboard Hot 100 in December staying there for two weeks. An interesting note about the song is that the hissing sound during the intro was created by the sound of a crash cymbal played in reverse. The video features a cool scene with Richard sitting in a church when an eagle soars in through a window, landing next to him on the pew and they exchange a gaze. Here you can watch the entire video for "Broken Wings" by Mr. Mister...
Q: You followed that up with another #1 single in "Kyrie". If you translate the lyrics, the song seems to essentially be a prayer to God. Can you believe a song about that could have such pop success? Do you think if more people would have known the translation that it would've enjoyed the same success?
Richard: It obviously didn't matter to people what it meant. I was against using "Kyrie" as the title thinking that we would be pegged as a Christian band. The song just evolved to the point where there was no turning back so we went with it. I was surprised that it caught on so.
"Kyrie" reached #1 on the Billboard Hot 100 in March of 1986 and would hold the spot for two weeks. In case you did not know, "Kyrie, eleison" means "Lord, have mercy" in Greek. Back then, I know I had no idea what they were singing about when I used to hear it on the radio, but that didn't prevent me from enjoying it. I remember I had a friend who was dead certain that he was singing "Carry a raisin" (instead of "Kyrie eleison). Either way, it was a huge hit and here is the video for "Kyrie" by Mr. Mister...
Q: With "Kyrie" as a primary example (as well as "Healing Waters" from your next album), are the not-so-hidden references to Christianity in Mr. Mister's music intentional? Or were those references just intended as a metaphor for other things? Would you go as far as to consider Mr. Mister a Christian rock band?
Richard: Mr. Mister was not a Christian rock band. If our music inspired people to think spiritual thoughts, then great. If not, great too.
Q: What are your personal favorites of the Mr. Mister songs? In addition to the two that almost everybody knows, I have always been partial to "Is It Love" myself.
Richard: I'm not partial to any of them really. Once an album is finished for me, I'm on to the next thing. Looking back, there were some tracks that I don't love so much.
"Is It Love" is the hit song which did not make it all the way to the top of the charts. It peaked at #8 in June of 1986. It would end up being used during the end credits of the 1987 film Stakeout. Here is the video for "Is It Love" by Mr. Mister...
Q: When you have a mega hit songs like that, do you (or did you) ever get sick of playing them?
Richard: Yes, but you have to remember that people love those songs and probably don't know much more about Mr. Mister than those hits. That's how it is, and I'm fine with it.
Q: Your 1987 follow-up album Go On... was not a commercial success (though it did go Gold in Canada). Can you explain how you can be one of the hottest groups with constant radio airplay one year and then barely crack the charts the next year? Are you surprised that Mr. Mister was not able to have prolonged success after the sensation you had become?
Richard: My opinion is that we changed our direction too radically from Welcome to the Real World to Go On. In retrospect, I think we would've had more success with Go On had we used more of the sounds we introduced on the previous album. Also, I don't think the record company thought we had a hit to promote. That hurt the most.
Something inconceivable just four years earlier, Mr. Mister would be dropped by their label in 1990 and the band decided to break up. Each member would continue to work in the music industry. Steve George would work as musical director with Kenny Loggins and Jewel. Steve Farris went on to work with Rod Stewart, Whitesnake and others. Pat Mastelotto recorded hits with several artists and, since 1994, has been a member of King Crimson. Richard Page has released some solo projects and continued songwriting for other artists. In 1993, he co-wrote what would be a hit song for Madonna.
Q: Even though it is not an 80s tune, I have to tell you that I have always appreciated the Madonna song "I'll Remember" from the film With Honors. How did you get involved with that project?
Richard: Patrick Leonard, who produced and wrote many of Madonna's songs was a friend of mine. He asked me to write a song with him for a movie. Madonna heard it, and loved it. She added her writing to it and we sang background vocals together and that's it.
In addition to Madonna, Richard Page has written songs for Celine Dion, Josh Groban, Tupac, Kenny Loggins, Donna Summer, Chaka Khan, Dionne Warwick, The Pointer Sisters, Meat Loaf, Patti LaBelle and Hall & Oates among others. He has released two solo albums with the most recent, Peculiar Life, being released earlier this year on his independent label and website called Little Dume Recordings. www.littledumerecordings.com
Q: Tell us about creating Little Dume Recordings and using your website to release music to the public.
Richard: The technology now exists for artists to take their careers into their own hands. I started Little Dume because, between my partners and I, we have all the skills we need to bring the music directly to the fans, so why not? It's a lot of hard work and it's going to take time to build, but it's very rewarding. I produce the music, Rob [brother Rob Page] handles web/video/social media and George [manager George Ghiz] keeps the place from falling apart.
In addition to his solo work, Page has also been able to make available Pull, the previously unreleased fourth album by Mr. Mister which was recorded back in 1989-1990. One track was included on a 2001 greatest hits collection. The album was remastered by Bob Ludwig at Gateway and was released on the Little Dume website in November 2010. You can download it or the CD is available to order.
Q: Do you ever foresee recording and releasing new music with Mr. Mister?
Richard: With regards to Mr. Mister - there's always the possibility that we will do something again. Who knows?
If coordinating the releases of Pull and Peculiar Life was not enough. During the summer of 2010, Richard was invited to join Ringo Starr's 11th All-Star Band and embarked on a 32 date U.S. tour. I'd say he is keeping pretty busy.
Q: What else is Richard Page up to now?
Richard: Enjoying my family, my incredibly blessed life and trying not to take anything for granted.
I appreciate that Richard took the time to answer my questions so I could share them with you here. I also want to thank his brother, Rob Page, for helping coordinate the effort. Be sure to visit the Little Dume website to keep up with what's going on with and support Richard and Mr. Mister. I want to take this opportunity to again thank Richard Page (and Mr. Mister) for his contributions to 80s pop culture and for reminiscing about them for a little while with us here as well.
That will do it for this special issue of Kickin' it Old School. Thanks as always for reading and hope you are enjoying the interviews as much as I am. If you want a summary of all of my Back to the 80s Interviews posted thus far, please click on that link. If you are interested in reading any of my other 80s related issues, please click there for a summary of those. You can also always click on the Archives in the upper left hand column or use the Google Search Box at the top of the right hand column to find any other issues you may have missed. If you are a fan of Kickin' it, PLEASE CLICK ON THE FACEBOOK LOGO in the upper right hand column. This will take you to the Fan Page where I ask you to then click on the "Like" button. Even if you are not a Facebook member yet, please consider joining and registering as a fan at that page. You can also follow @OldSchool80s on Twitter by clicking on the FOLLOW ME ON TWITTER LOGO also in the upper right hand column. This will take you the page and you can just click on the box that says "Follow". I am sending daily 80s tweets, so sign up to get those. Let other 80s fans know about it as well! Peace and much love.
Check this out: With winter firmly upon us, I thought I'd share this cartoon that made me chuckle...
Quote of the day: "We cannot solve our problems with the same thinking we used when we created them." -Albert Einstein
Each holiday season, I do special issues recalling my most memorable Christmas songs, television specials, commercials and movies from the 80s. I've already shared an issue this year on a Christmas song, Christmas commercial and Christmas TV special. Now I will finish this year with a favorite Christmas movie. Over the last two years, I have published holiday movie issues on National Lampoon's Christmas Vacation and Scrooged. That will make this the 34th official issue of my 80s Movie Trailer of the Week which I call "Preview Review." Since this is a special holiday issue, I will include the usual "Check this out" and "Quote of the day" sections at the end, though normally Preview Review issues do not.
This year, I will cover another cherished holiday classic, 1983's A Christmas Story. The film, directed by Bob Clark, is based on the book In God We Trust, All Others Pay Cash and other short stories by author Jean Shepherd who also happens to be the film's narrator. The movie follows the Parker family as Christmas approaches and primarily revolves around 9-year-old Ralphie's obsession with getting a particular BB gun that year. It is a charming story supported by outstanding acting performances by Peter Billingsley as "Ralphie", Melinda Dillon as "Ralphie's Mom and especially by Darren McGavin as "Ralphie's Dad". Here is the original trailer for A Christmas Story...
Even though the movie was made in the 80s, it obviously does not take place in the 80s. The film is not specifically about a given year, it is about a particular time in American family life. The film appears to be set roughly around the tail end of the Great Depression but before the U.S. involvement in World War II. There are references throughout the film that viewers enjoy linking to particular years, and if one connects a reference to a particular year, the movie can be dated as being as early as 1935 or as late as 1947. Though this is well before I was born, the film still resonates strongly with me. I make sure to watch it at least once each December and likely several times thanks to the 24-hour marathon on TBS starting Christmas Eve.
Here are some other bits of trivia about A Christmas Story, which you may find interesting:
-The real house used during filming can be found at 3159 W 11th Street in Cleveland, Ohio. It is now open to the public for tours and has a museum/gift shop for the film open across the street.
-TNT first aired the 24-hour A Christmas Story marathon in 1997 showing it 12 consecutive times between Christmas Eve and Christmas Day. This continued each year until 2004, when it was moved to TBS.
-Director Bob Clark's success with the teen-sex comedy Porky's in 1982 allowed him the ability to make a movie he wanted to make. Without Porky's there would have been no A Christmas Story.
-Ralphie says that he wants the "Red Ryder BB Gun" 28 times during the movie.
-According to the Daisy Air Rifle manufacturers on the history of the Red Ryder BB Gun, the gun did exist except for one error in the story: The gun did not have a compass and sundial as mentioned in the movie. According to the historians, writer Jean Shepard confused the Red Ryder gun with another rifle that did have those features. But because the story and screen play were scripted to have the compass and sundial, guns had to be specially made for the movie. The compass and sundial were placed on the opposite side of the stock due to Peter Billingsley being left-handed.
-For the scene when Flick's tongue sticks to the flagpole, a hidden suction tube was used to safely create the illusion that his tongue had frozen to the metal. No tongues were harmed in filming. Looks pretty real if you ask me. Here is the video of that particular scene; I triple-dog-dare you watch it...
-A sequel was actually made in 1994 called My Summer Story. With the exception of Ralphie's teacher (played by Tedde Moore) and Jean Shepherd as the narrator, it featured an entirely different cast.
-The "major award" leg lamp was actually based on an illuminated Nehi logo.
-The film's setting is a town in Indiana, but was actually filmed in Cleveland, Ohio. The street the Parker's live on is called "Cleveland Street".
-The same kid, Yano Anaya, plays both "Grover Dill" the toady in A Christmas Story and the paperboy who wants his $2 in Better Off Dead. Anaya also plays the young Michael Anthony in the Van Halen video for "Hot For Teacher."
-Jean Shepherd, the narrator and author, makes a cameo as the irate man waiting in line to see Santa at the department store. Bob Clark, the director, makes a cameo as the neighbor Swede who comes over to admire Mr. Parker's major award.
-As an actor, Peter Billingsley is best known as "Ralphie" and also "Messy Marvin" from a long-running series of Hershey's commercials. As an adult, he has gone on to collaborate often with Jon Favreau and Vince Vaughn including directing 2009's Couples Retreat and as Executive Producer on 2008's Iron Man, 2006's The Break-Up and 2008's Four Christmases among others.
-Billingsley has recently written a musical adaptation of A Christmas Story that opened in Seattle during the second week of December 2010 which he hopes will be done in other cities in the future.
-Some of the snow used during the scenes between the kids and the bullies was actually soap flakes and fire fighters foam. When the filmmakers were finished, they reportedly left some locations covered in artificial snow.
-Jack Nicholson was considered for the role of Ralphie's dad. However, director Bob Clark didn't learn of this until later and the studio didn't want to pay Nicholson''s fee anyway, which would have doubled the budget. Regardless, Clark says that Darren McGavin was still the better choice and was born to play the role. (I whole-heartedly agree!)
-According to Peter Billingsley, the nonsensical ramblings that Ralphie exclaims while beating up Scut Farkus were scripted, word for word.
-A Christmas Storyreportedly inspired the creation of The Wonder Years television series. One major similarity is the adult-version of the young character being the narrator. The narrator for The Wonder Years was Daniel Stern.
-When the character of Scut Farkas first appears, the "Wolf" music from Sergei Prokofiev's "Peter and the Wolf" plays in the background. The name "Farkas" is derived from the Hungarian word for "wolf."
-An elaborate fantasy sequence - in which Ralphie joins Flash Gordon to fight Ming the Merciless - was filmed but dropped from the final cut.
As I have done in each of my Christmas Movie issues, I wanted to highlight some of the hilarious dialogue featured in this film. There are so many great lines to choose from, but here is OLD SCHOOL'S TOP 10 FAVORITE LINES FROM A CHRISTMAS STORY (+ Bonus 10):
20. "I want an official Red Ryder, carbine action, two-hundred shot range model air rifle with a compass in the stock and that thing that tells time."
19. "You used up all the glue on purpose!"
18. "My old man's spare tires were actually only tires in the academic sense. They were round, they had once been made of rubber."
17. "Now it is well known throughout the Midwest that the old man is a turkey junkie. A bona fide Gally Turkicanus freak. A few days before Christmas his eyes would begin to gleam with a wild and ravenous light."
16. "We plunged into the cornucopia quivering with desire and the ecstasy of unbridled avarice."
15. "Only one thing in the world could've dragged me away from the soft glow of electric sex gleaming in the window."
14. "Deck the harrs with bawrs of horry, fa ra ra ra ra, ra ra ra ra."
13. "He looks like a deranged Easter Bunny."
12. "In the heat of battle my father wove a tapestry of obscenities that as far as we know is still hanging in space over Lake Michigan."
11. "If we don't hurry, we're gonna miss all the good trees!"
10. "Be sure to drink your Ovaltine. Ovaltine? A crummy commercial? Son of a bitch!"
9. "Scut Farkus staring out at us with his yellow eyes. He had yellow eyes! So, help me, God! Yellow eyes!"
8. "Now it was serious. A double-dog-dare. What else was there but a triple dare you? And then, the coup de grace of all dares, the sinister triple-dog-dare."
7. "Some men are Baptists, others Catholics; my father was an Oldsmobile man."
6. "Ohhh, FUUUUUDGE! Only I didn't say fudge. I said THE word, the big one, the queen-mother of dirty words, the F-dash-dash-dash word!"
5. "You'll shoot your eye out."
4. "It's a Major Award!"
3. "He worked in profanity the way other artists might work in oils or clay. It was his true medium; a master."
2. "Not a finger!" (pronounced Naddafinga!)
1. "Fra-gee-lay. That must be Italian."
Any of your favorites that I left off my list? Leave them in the comments section below. Be sure to catch the movie at least once during the 24-hour marathon starting Christmas Eve on TBS.
After all of the scenes with hilarious and nostalgic moments, I think my favorite part of the entire film is about 40 seconds long and often overlooked. It takes place after they get home from the Chinese restaurant and the Mom comes down after checking on the sleeping boys. She turns on the radio and with "Silent Night" softly playing, the Mom and Dad have a special moment together sitting by the light of the Christmas tree watching the snow fall outside. As surprising as it may seem, those 40 seconds, which could've easily been edited out, take the film to another level for me personally. They are included in this video clip here, so if you have overlooked it before, here is your opportunity with a link to appreciate this special scene.
What a special movie they made! And I am proud that it was made in the great decade of the 80s. I want to take this moment to wish you and yours the happiest of Christmases. May we have peace on earth and true goodwill to all.
That'll put a wrap on this holiday issue of Kickin' it Old School. Thanks as always for reading. If you are interested in reading any of my other 80s related issues, please click there for a summary of those. You can also always click on the Archives in the upper left hand column or use the Google Search Box at the top of the right hand column to find any other issues you may have missed. If you are a fan of Kickin' it, PLEASE CLICK ON THE FACEBOOK LOGO in the upper right hand column. This will take you to the Fan Page where I ask you to then click on "Become a Fan". Even if you are not a Facebook member yet, please consider joining and registering as a fan at that page. You can also follow @OldSchool80s on Twitter by clicking on the FOLLOW ME ON TWITTER LOGO also in the upper right hand column. This will take you the page and you can just click on the box that says "Follow". I am sending daily 80s tweets, so sign up to get those. Let other 80s fans know about it as well! Peace and much love.
Check this out: This video always puts me in the Christmas spirit. It just missed being an official part of the 80s, but I remember it well enough from the 80s so I am going to count it. John Denver and the Muppets: A Christmas Together was both a 1979 television special as well as the soundtrack album featuring 13 Christmas songs. The most memorable of these songs is "The Twelve Days of Christmas" and here is the video of that performance (Fozzy Bear cracks me up in particular)...
Quote of the day: "Christmas gift suggestions: To your enemy, forgiveness. To an opponent, tolerance. To a friend, your heart. To a customer, service. To all, charity. To every child, a good example. To yourself, respect." -Oren Arnold
I could not be more pleased that interviews are something I have finally made a part of this little blog of mine! When the opportunity presents itself to ask a few questions to someone who contributed to the awesomeness of the 80s, I want to continue to share those answers with you right here. Again, lucky for me (and hopefully you), I do get to share a little more awesomeness with you.
This time that awesomeness is Keith Coogan. He is probably best known by 80s fans as "Brad Anderson" from 1987's Adventures in Babysitting. He comes from a Hollywood family with his grandfather being Jackie Coogan who was "The Kid" in the 1921 Charlie Chaplin film and probably best remembered as "Uncle Fester" on The Addams Family among his 67 year career. Keith started his professional acting career in 1978 at just 8 years old and worked steadily as a child actor. Now, at the age of 40, Coogan has a rather notable resume and is still adding to it. You will find out more as we get on to some selections from my interview with Keith Coogan...
Q: How was it being raised in an "acting family"? I assume that helped you choose acting as a career?
Keith: It was certainly a desire that seems to be in the blood. I really just wanted to be on the kid's television shows I was watching at 4 years old. Never made it on Sesame Street though. I am bummed.
Jackie Coogan earned millions of dollars as a beloved child actor only to discover, upon reaching adulthood, that his parents had spent almost all of his money. He helped force a bill to be passed back in 1939 by the State of California designed to safeguard a portion of child performers' earnings for when they enter adulthood. It is called the California Child Actor's Bill, but is sometimes referred to as the Coogan Act.
Q: You were a successful child actor yourself. Interesting and fortuitous that your grandfather was involved in making the California Child Actor's Bill a reality?
Keith: Fortuitous in that it may have been harder to squander my earnings given the last name of the family. Not impossible... just harder... as we were more likely to be asked about my trust fund.
In the 1981 Disney animated feature film The Fox and the Hound, many people know that Mickey Rooney provides the adult voice for "Tod" the fox and that Kurt Russell provides the adult voice of "Copper" the hound. What you might not know is that the voice of young "Tod" is actually Keith Coogan and young "Copper" is Corey Feldman.
Q: How did the voice role of "Young Tod" in The Fox and the Hound come about? What are the challenges of only doing the voice of an animated character?
Keith: Don't remember how the role came about, but I do remember recording the little fox dialogue on the sound stages of Disney in Burbank. The hardest part is coming up with grunts and odd bits of sounds that a character makes when doing something physical, that you can't really act out with headphones on. Also, you never really get to work with the rest of the voice cast, usually just the director and maybe a reader for all the other parts. Rarely would we even run into other cast members as they would schedule our sessions on different days.
Q: Fellow child actor Corey Feldman did the voice for young "Copper". Did you ever become friends with Corey then or over the years?
Keith: I have known and worked with Corey for many, many years. He is a dear friend... possibly one of the only other people I can talk to about working and growing up in the industry who truly understands. I have great respect for Corey.
When looking at the list of TV series that a young Coogan had small roles in between 1979 and 1989, you will see a list of many of the most popular TV shows of that time. Here is that list: The Love Boat, Eight is Enough, The Waltons, Fantasy Island, Laverne & Shirley, Little House on the Prairie, Mork & Mindy, Knight Rider, Fame, CHiPs, Growing Pains and 21 Jump Street. He won the 1983 Young Artist Award of Best Young Actor Guest on Series for his role on Knight Rider.
Q: You had roles in episodes of many of the most iconic TV series of the 80s. How did the audition process work for those? Once you appeared in a couple, did it become easier to get other roles? How did you like working in TV compared to movies back then?
Keith: Once you get rolling with a particular producer, you do find it becomes easier to keep booking roles on their shows. Without Bill Blinn, Jerry Thorpe, Paul Asselin, Aaron Spelling, and Stephen J. Cannell, I probably wouldn't have worked half as much as I did. And features were the ever elusive "brass ring" that I had been reaching for since the beginning. Although I worked quite a bit in television as a kid, it wasn't until I was 16 and got the part in Adventures in Babysitting that my goal to "be in the pictures" had finally been met.
Q: Any of those TV roles particularly memorable to you? Any interesting stories from your time on any of those shows? Robin Williams on Mork & Mindy? KITT on Knight Rider? Johnny Depp on 21 Jump Street?
Keith: No Johnny Depp, as he was on the set of Cry Baby at the time. KITT was just David's [Hasselhoff] overactive imagination coupled with dry line readings by the script supervisor. Had a bunch of fun on Fantasy Island and Love Boat... was dismayed they filmed on sound stages and not on location at exotic locales. That episode of Mork & Mindy also happens to be the last one of the series. Same with CHiPs. I had done several episodes of CHiPs, including the last one shot.
That brings us to 1987's Adventures in Babysitting. This is a comedy directed by Chris Columbus and starring the lovely Elisabeth Shue. I have publicly admitted my 26-year crush on her, so I am extra jealous of Keith getting to work with her. I have already done a Preview Review issue on this film and you can find out more about it there. You can see the trailer for Adventures in Babysitting there or, for your convenience, I have included it here as well...
Q: In Adventures in Babysitting, how was it working with Elisabeth Shue?
Keith: Lisa (That's what the cool kids call her!) was a doll. Lisa was a huge star in the making... and attacked her role as "Chris" with complete gusto. Even going so far as to stand toe-to-toe with Jeffrey Katzenberg when it came down to editing the trailer. Very private, but very generous.
Q: How about being directed by Chris Columbus? The young cast just looked like you were having a blast making the film, so was that in fact the case? Is this the role you are most often remembered/recognized for?
Keith: Chris was so great at working with the kids as if they were adults. He had great respect for our choices, and so earned our respect back. AIB was sooooooooooo much fun making. It really was a wild ride around the city at night just like you see. And no... I tend to get made as "Kenny" from Don't Tell Mom more often.
Q: One of your more memorable scenes is the confrontation with the gang on the train where you end up with a knife stuck in your foot. What do you remember about filming that particular scene?
Keith: When we were rehearsing the Gang on the Train scene, I said why don't we just put the knife in, then pull it out with monofilament and then run the film backwards? And that's exactly how we did it. One other side note about the El-Train sequence... we had to do some pickup shots because of a focus issue and there weren't any Metro reps to let us in at 3:00AM. So our stunt coordinator picked the lock to the platform, we got our shots and no one seemed to be the wiser.
If you watch that scene, you can definitely tell that they used some trickery when filming the part with the knife being thrown down into his foot. Now that Keith explained it, you can see exactly how they did it...
Q: It was not an 80s movie, but in 1991's Toy Soldiers you worked with a couple other 80s child stars in Wil Wheaton and Sean Astin. Did you know these guys before joining that cast? What are your best memories from making that film?
Keith: I did know those guys prior to blowing up a small chunk of the State of Virginia. And once again... running around dodging helicopters, guns and grenades is just as exciting as it appears on screen. My condolences to the police car that got a rocket propelled grenade shoved down its throat... you will be missed.
Q: I'm sure you've been asked this many times, but what's up with babysitting movies? You also co-starred in 1991's Don't Tell Mom the Babysitter's Dead which is a bit of an under-rated movie in my opinion. To compound my jealousy, you had the opportunity to work with Christina Applegate in this one. How was that? Any special memories about this film?
Keith: No comment on the babysitting or babysitter trend. Here's hoping for more... Christina was also someone I'd known before shooting, and had/have great respect for. That one was really just like Summer Camp for adults and kids... with the cameras running. So much fun wrecking that house!!! I could have done without the gross odor that emanated from the kitchen... all that funk was the real deal. I was so glad when we finished with the messy parts and the art department cleaned it all up!
Q: Are there any 80s roles that you auditioned for and did not get that would be surprising or interesting especially looking back now?
Keith: E.T., Gremlins, Goonies, Explorers, Dream a Little Dream (really bummed I didn't get on that one...), Dead Poets Society, Sixteen Candles, 3 O'Clock High, etc, etc, etc....
Q: You just turned 40 this year and have spent the majority of those years in the industry. How have you seen it evolve (or devolve) over those years?
Keith: The rhythms of shooting have changed with the advent of digital capture methods. Now, instead of 20 or so shots a day, you're looking at nearly 40 setups. The lighting can be touchy, but ultimately requires less light, and therefore fewer crew and shorter down times. Also, with the cheap cost of memory, you usually find yourself shooting rehearsals, staying on a role, improvising and generally always staying "in character" and "in the story." It's gotten crazy... but I like it!
Q: With your incredible first hand experience (or the experience of those you've known/observed), what are the positives and negatives of being a child actor? I have heard that there is a lot of rejection you have to deal with as a working actor, so that has to be even more difficult to deal with as a child? How does being a successful child actor affect your ability to be a successful adult actor?
Keith: I feel it may be the same as any art/sport/career that any child might undertake. Pressure, rejection, thrills, boredom, excitement, competition, sense of achievement and pride. I don't feel that the rejection is that bad as a child... kids let stuff roll off of them very easily. If all of that is something that you really crave/strive on... then by all means, continue doing such into your adult years. Just like Hockey, Football, Chess, Science, Language, and Lemonade Stands.
Q: My blog started out of a New Year's resolution to keep me writing (which I have always enjoyed, though it has never been my paid occupation). I think your "Monologue a Day Project" is very cool. Tell me how this "project" came about, your motivation and what it has meant to you over the course of this year.
Keith: It's much more difficult than I imagined. Very tough to find material. Yet I keep plugging away. I keep learning about what makes me tick as an actor and I keep challenging myself to try different things and stretch a little. The support and feedback has been tremendous, and I look forward to the day I can look back on all 365 and feel proud for the work that went into the project.
This project has Keith learning and performing a new monologue from a movie nearly every day (as inspired by the book and film Julie & Julia). He then posts them and you can see them at his Monologue A Day blog and his YouTube channel www.youtube.com/hollywoodkids . Surprisingly entertaining and an impressive undertaking!
Q: Lastly, other than "Monologue," what is Keith Coogan up to nowadays acting or otherwise?
Keith: Look for me to play "Fred Henderson," a child-abducting, fear-inducing, beard-wearing psycho in Jordan Alan's Cats Dancing on Jupiter starring Amanda Righetti. Here's a link where you can check out some early posters, and fresh shots from the set!
I am delighted that Keith took the time to answer my questions so I could share them with you here. One of my favorite things I learned is that Elisabeth Shue actually went by the name Lisa. You can follow Keith on Twitter (@keithcoogan) or at his regular blog. I want to take this opportunity to again thank Keith Coogan for his contributions to 80s pop culture and for reminiscing about the great decade for a little while with us as well.
That wraps up this special issue of Kickin' it Old School. Thanks as always for reading and hope you are enjoying the interviews as much as I am. If you want a summary of all of my Back to the 80s Interviews posted thus far, please click on that link. If you are interested in reading any of my other 80s related issues, please click there for a summary of those. You can also always click on the Archives in the upper left hand column or use the Google Search Box at the top of the right hand column to find any other issues you may have missed. If you are a fan of Kickin' it, PLEASE CLICK ON THE FACEBOOK LOGO in the upper right hand column. This will take you to the Fan Page where I ask you to then click on the "Like" button. Even if you are not a Facebook member yet, please consider joining and registering as a fan at that page. You can also follow @OldSchool80s on Twitter by clicking on the FOLLOW ME ON TWITTER LOGO also in the upper right hand column. This will take you the page and you can just click on the box that says "Follow". I am sending daily 80s tweets, so sign up to get those. Let other 80s fans know about it as well! Peace and much love.
Check this out: Winter is upon us and we have already had a couple snow storms. In fact, here is a picture of the "2 feet of snow" that we just got today...
Quote of the day: "People often say that motivation doesn't last. Well, neither does bathing - that's why we recommend it daily." -Zig Ziglar
Each holiday season, I do special issues recalling my most memorable Christmas songs, television specials, commercials and movies from the 80s. I've already shared an issue this year on a Christmas song and Christmas commercial. Now I am going to feature a holiday TV special which turned out to be groundbreaking. Over the last two years, I have published holiday TV Special issues on Pee-Wee's Playhouse Christmas Special and A Very Brady Christmas. This year's Christmas TV Special is "Simpsons Roasting on an Open Fire" which turns out to be the first ever full-length episode of The Simpsons to air in the United States.
Exactly 21 years ago today (December 17, 2010), Fox aired this episode of The Simpsons and 473 episodes later and counting, The Simpsons has become iconic and (as of 2009) is now the longest-running American primetime entertainment series. It was created by Matt Groening and began as a series of animated shorts used on Fox's The Tracy Ullman Show beginning back in April of 1987. After three seasons there, The Simpsons was developed into a half-hour primetime series. The Fox network was nervous about the show because they were unsure if it could sustain the audience's attention for the duration of the episode, but the producers gambled and it paid off. Groening has said his goal in creating the show was to offer the audience an alternative to what he called "the mainstream trash" that they were watching and he certainly succeeded.
"Simpsons Roasting on an Open Fire" was not originally intended to be the series' premiere episode. Production problems, particularly with the first produced episode, "Some Enchanted Evening," saw the show delayed from its planned October debut until late December, thus dictating that this Christmas-themed episode (actually the eighth one produced) was the first to be broadcast. "One Enchanted Evening" was eventually broadcast as the last episode in the first season. The characters are still a little raw and there have been much funnier episodes of the show, but you can see the beginnings of what was to become a pop culture phenomenon and one of the greatest series in television history.
Right here you can watch episode 7G08 of The Simpsons, better known as "Simpsons Roasting on an Open Fire"...
This episode was viewed by 13.4 million homes during that first airing (which was the second highest rated show on the Fox Network up to that point) and finished 30th in the weekly ratings. It has surely been seen many millions of times more since then over the years. The episode was critically acclaimed and would end up being nominated for two Emmy Awards. It was written by Mimi Pond (who surprisingly never wrote another episode after) and directed by David Silverman (who would go on to direct at least 22 more episodes as well as The Simpsons Movie from 2007). Despite all of the silly things happening, the "Simpsons Roasting on an Open Fire" episode ultimately focuses on the importance and value of Family (as most episodes of The Simpsons do) which is especially relevant around the holidays. The series is still going strong now in its 22nd season and it all started with this Christmas episode at the end of the great decade of the 80s.
That'll do it for this holiday issue of Kickin' it Old School. Thanks as always for reading. If you are interested in reading any of my other 80s related issues, please click there for a summary of those. You can also always click on the Archives in the upper left hand column or use the Google Search Box at the top of the right hand column to find any other issues you may have missed. If you are a fan of Kickin' it, PLEASE CLICK ON THE FACEBOOK LOGO in the upper right hand column. This will take you to the Fan Page where I ask you to then click on "Become a Fan". Even if you are not a Facebook member yet, please consider joining and registering as a fan at that page. You can also follow @OldSchool80s on Twitter by clicking on the FOLLOW ME ON TWITTER LOGO also in the upper right hand column. This will take you the page and you can just click on the box that says "Follow". I am sending daily 80s tweets, so sign up to get those. Let other 80s fans know about it as well! Peace and much love.
Check this out: The Futureheads are a band from Sunderland, England who have a song that caught my attention for obvious reasons. Here is their video for "Christmas Was Better in the 80s"...
Quote of the day: "The joy of brightening other lives, bearing each others' burdens, easing other's loads and supplanting empty hearts and lives with generous gifts becomes for us the magic of Christmas." -W. C. Jones
This time of year, I do special issues recalling my most memorable holiday songs, television specials, commercials and movies from the 80s. I've already shared an issue this year on a Christmas song. Commercials are also legitimate pop culture contributors with Christmas commercials especially so. Last year's holiday commercial issue was on the Folgers "Peter Comes Home" spot which began in 1986. This year's holiday commercial is the Hershey's Kisses Christmas Bells.
Hershey's Kisseswere first introduced in 1907 and have become one of the most popular candies in the United States. As of 1989, the chocolate drops wrapped in foil were the 5th most popular chocolate in the U.S., spawning sales that topped $400 million. People love Kisses not just because of their chocolate taste, but because of positive associations the candy has had in moments in their lives such as getting them as parts of a gift. This is a brand that became an American staple, had been passed down for generations, and that people could remember enjoying as a kid. Some of this positive connection is due to TV commercials.
Since Hershey began marketing its products nationally in 1969, its message has been as consistent as the chocolate recipe that made the Pennsylvania company the largest candy maker in the United States. That's because by 1969, nearly seven decades after Milton S. Hershey launched his chocolate empire, the Hershey's Milk Chocolate Bar was one of the most identifiable products in the country and TV ads could simply pitch it as America's favorite candy bar. The strategy worked, and company executives have rarely dared to deviate from it since. This goes for Hershey's Kisses as well with TV advertising for Kisses changing remarkably little since the 1960s.
This brings us to one particular Hershey's Kisses commercial that began airing in the mid-80s (though I have not been able to confirm the exact year) and has stood the test of time since it is still being used even this year. It is simple yet elegant and entertaining all packed into a 15 second spot. It begins with eleven Kisses in the shape of a tree. They become animated when the song "We Wish You a Merry Christmas" begins and are transformed into Christmas bells. At the end, the words "Happy Holidays From Hershey's Kisses" appear and the intended sentiment is precisely communicated. Again, all this impressively happens in 15 seconds. You can watch the original spot here...
Brilliant and magical! New York City's Ogilvy and Mather was the advertising agency handling Hershey's at this time. The commercial was apparently directed by animation expert Carl Willat (you can find more of Willat's work at www.carlsfinefilms.com/home.htm). The fact that the commercial is still evoking the same sentimental response over 20 years later is a testament to its greatness. I know I personally appreciate it each year when the holidays come. It might even deserve to be considered one of the most effective 15 second commercial spots ever created.
Hershey's Kisses have been produced continuously since 1907, except for the period of time between 1942 and 1949 due to rationing of aluminum foil used for the wrappers which was a scarce commodity during World War II. More than 80 million Hershey's Kisses are produced each day at the company's two factories. So the candy has been being produced and sold for over 90 years yet, to me, its most endearing commercial is a product of the great decade of the 80s. Happy Holidays From Kickin' it Old School.
That's all for this holiday issue of Kickin' it Old School. Thanks as always for reading. If you are interested in reading any of my other 80s related issues, please click there for a summary of those. You can also always click on the Archives in the upper left hand column or use the Google Search Box at the top of the right hand column to find any other issues you may have missed. If you are a fan of Kickin' it, PLEASE CLICK ON THE FACEBOOK LOGO in the upper right hand column. This will take you to the Fan Page where I ask you to then click on "Become a Fan". Even if you are not a Facebook member yet, please consider joining and registering as a fan at that page. You can also follow @OldSchool80s on Twitter by clicking on the FOLLOW ME ON TWITTER LOGO also in the upper right hand column. This will take you the page and you can just click on the box that says "Follow". I am sending daily 80s tweets, so sign up to get those. Let other 80s fans know about it as well! Peace and much love.
Check this out: One of the most surreal moments in pop culture holiday history is when a duet took place between David Bowie and Bing Crosby. Though it did not happen in the 80s, they sang "Peace on Earth/Little Drummer Boy" on a special in 1977, the single wasn't released until 1982 so it kind of counts. It has always been one of my favorite Christmas songs. Will Ferrell and John C. Reilly did a version recently that was more creepy than funny. On College Humor, Jack Black and Jason Segal did an animated version which is actually more good than funny. I will share the good one with you here. Enjoy...
Quote of the day: "Christmas is not a time nor a season, but a state of mind. To cherish peace and goodwill, to be plenteous in mercy, is to have the real spirit of Christmas." -Calvin Coolidge
Now that interviews are actually becoming a significant part of Kickin' it Old School, here is a summary with links for each of those brushes with 80s pop culture greatness. When the opportunity has presented itself to ask a few questions to someone who contributed to the awesomeness of the 80s, it has been my privilege to share those answers with you right here. There is a permanent link in the left-hand column that takes you back to this summary any time you need to. Check back often because new interviews are being posted regularly.
As I always say, lucky for me (and hopefully you), here is the awesomeness I have been able to share so far...
I am sincerely thrilled that interviews are something I have finally made a part of this little blog of mine! When the opportunity presents itself to ask a few questions to someone who contributed to the awesomeness of the 80s, I want to share those answers with you right here. Again, lucky for me (and hopefully you), I do get to share a little more awesomeness with you.
This time that awesomeness is Gary David Goldberg. In case you don't recognize the name right away, he is not an actor or musician. He is the creator of Family Ties, one of the best loved and most successful television sitcoms of all time. After getting his start at MTM Enterprises (Mary Tyler Moore) working on such programs as The Bob Newhart Show, The Tony Randall Show and Lou Grant during the late 70s, Goldberg founded his own company, UBU Productions, in 1981. Under the UBU (named after his pet Labrador Retriever) banner, nine television series were created including Family Ties which ran on NBC from 1982-1989.
In my opinion (which happens to be shared by many others), simply put, Family Ties is some of the best television ever produced. And we have Gary David Goldberg to thank for much of that. Unfortunately, they just don't make shows like that anymore. Family Ties helped launch the career of Michael J. Fox and then they re-teamed again in the 90s to make Spin City which ran for six seasons on ABC. Among numerous honors, Goldberg has won multiple Emmy awards and Golden Globe awards. He has written, produced and directed several films including 1989's Dad which starred Ted Danson, Jack Lemmon, Ethan Hawke and Olympia Dukakis. You will get to know him better as we get on to some selections from my interview with Mr. Gary David Goldberg...
Q: I read that you got your start in television writing because you were watching an episode of The Bob Newhart Show one day, thought to yourself that you could write a script for that show, wrote your own script, sent it off to the producers, and then were hired as a writer for the show? Is that how it really happened? Do you believe in destiny?
Gary: Not exactly. Although Newhart was my first "official" writing job where I felt I was actually in show business. I was a 30 year old college student at San Diego State University in 1974. I took a writing class with a visiting lecturer, Nate Monaster, who was a professional writer, past president of the Writer's Guild and Academy Award nominee for That Touch of Mink with Cary Grant and Doris Day. It was Nate Monaster who encouraged me to be a writer. He introduced my work to an agent who signed me which led to my very first paying job on a briefly-lived show The Dumplings, created by [Don] Nicholl, [Mickey] Ross and [Bernard] West of Three's Company fame. That led to the Newhart job. Yes, I believe in destiny. But, only if you work hard to make it come true.
Q: What did/do you have that made you a natural for comedy writing? Is it something that you can turn on and off or is it always on looking at every situation through that writer's eye?
Gary: I have a good comedy "ear," as it turns out. And a good "ear" for dialogue. And, a bizarre ability to insert myself into scenes as I'm writing them. It is hard to turn off the comedy "gene." And, it makes for some awkward moments socially if you're around people not used to looking at the world through that prism.
Q: You started UBU Productions in 1981 and I believe your first venture was Family Ties which would go on to run for seven seasons on NBC. How did Family Ties originate and become a reality?
Gary: The first UBU venture was actually a short-lived [lasted only about a month], well-reviewed show (they often go together), Making the Grade, starring James Naughton and also introducing George Wendt ["Norm" on Cheers] to America. Family Ties actually began at CBS where it was turned down. I brought it over to NBC and Brandon Tartikoff. Brandon nurtured it and really made it happen. It was based on our family and families of friends I knew with similar backgrounds.
Family Ties debuted on September 22, 1982. The sitcom reflected the move in the United States from the cultural liberalism of the 1960s and 1970s to the conservatism of the 1980s. This was particularly expressed through the relationship between young Republican "Alex P. Keaton" (played by Michael J. Fox) and his former-hippie parents, "Elyse and Steven Keaton" (played by Meredith Baxter and Michael Gross). Alex also had two younger sisters "Mallory and Jennifer" (played by Justine Bateman and Tina Yothers) and younger brother born in Season 3 (played beginning in Season 5 by Brian Bonsall). Here is the opening sequence set to the series theme song "Without Us" performed by Johnny Mathis and Deniece Williams...
Q: When did you really know that you had a legitimate hit show that would end up being something extra special? Starting in 1984, you had The Cosby Show as a lead-in. How much do you feel that impacted the Family Ties jump in the ratings that same season? Now with so many choices to watch, I don't think programs will ever come close to getting the national attention (25+ million households!) that those shows received back in the 80s.
Gary: We were really starting to come into our own at the end of our second year. And, Michael Fox was already becoming something of a phenomenon. We had a big supporter in Brandon Tartikoff, the president of NBC. We were up against a mega-hit in Magnum P. I. starring Tom Selleck and finishing a distant second and sometimes third. But, Brandon was willing to hold on and he predicted that ratings would start to pick-up during re-runs when 1 hour shows traditionally falter. He also predicted that we would, given the research he was seeing, begin to pull even with and maybe even surpass Magnum in the all important big city markets. That summer we regularly beat Magnum. And, one week we were #1 of all shows in the New York City market.
In fact, when Brandon called to say we were being moved out of that time slot and would be following a new show starring Bill Cosby I was initially very upset. Cosby had failed in previous TV efforts and was doing Jell-O commercials at the time. Then I saw the pilot (written by Ed Weinberger and directed by Jay Sandrich, two friends from my MTM days), and I quickly shut up. Best pilot I'd ever seen.
And, we were lucky to become a part of that great Thursday night "must-see" viewing block with Cheers, Night Court and Hill Street Blues.
I don't think that can ever be repeated given the fragmentation of the audience. When we were part of that, there were only 3 network options and we usually averaged 1/3 of the country and close to half the people watching TV at that moment. [That's mind-boggling considering an event like the Super Bowl averages between 40-50% of the households each year.]
Q: I read that the show was originally supposed to focus on the parents and that the audience reaction to Michael J. Fox's "Alex P. Keaton" character changed that direction. I also read that at first you needed convincing by casting director Judith Wiener that Fox was right for the character. In Fox's 2002 book Lucky Man, it quotes you as saying, "I know what I want and I know what I don't want. And I'm telling you, I don't want Michael Fox playing Alex Keaton." Then his second audition changed your mind and you had to convince Brandon Tartikoff that he was, as it turned out, perfect for the role. You had outstanding writers and an outstanding cast, but looking back, would Family Ties have worked to the same level (or at all for that matter) without Fox playing "Alex P. Keaton"?
Gary: Yeah. That just shows you it's better to be lucky than smart. I have a defense of my initial reaction to Mike, but it's a little self-serving. Moving to the more important question could Family Ties have succeeded without Michael Fox - I don't think so. Mike as Alex was just magic. And, just so compelling. Even now if I look at those re-runs, his work it takes my breath away. I think the "lucky man" there may have been me.
Q: You have to know Michael J. Fox as well as almost anybody. He is a special actor, a special person. What makes him so endearing in everything he does?
Gary: Michael is the person I most admire in the world. He is, as you point out, a special actor. And, a special person. Mike is authentic. He's whip-smart which sometimes gets lost. He's brave. He's compassionate. He is authentic. A loveable and loving human being. Sometimes they walk among us. Any more and it's going to get embarrassing.
Q: Take us through the Back to the Future time. I'm sure, at the time, this had to be a curse and a blessing. A blessing because it took Fox to a superstar level which would provide even more exposure for the show. A curse because it was probably a difficult schedule for the show during filming of the movie. Were you ever concerned that Fox would leave television and the show once he became a big-time movie star?
Gary: Back to the Future was only a blessing. The work schedule did get a little more complicated - mainly for Mike. But, it was easily handled. Not only was it an obvious boon to the show to have him become a major movie star, but it was also thrilling to watch him get that chance to expand his talent. I never wanted anything he did on Family Ties or that contract he had signed to hold him back from all the places which that great heart and great talent could take him.
Q: How were you able to create the balance of being one of the funniest shows on television yet still deal with some real serious topics at the same time?
Gary: When we worked out the stories, I would always ask "what's the last scene about?" If we couldn't answer that question with some compelling reason for the audience to have allowed us into their homes for half an hour, it usually meant it wasn't a good story for us to pursue. Being funny was the easy part. And, I took that challenge seriously. I used to say in TV Guide it says, "Family Ties - Comedy." And, we had to provide that. But, our audience had given us permission to delve into the intricacies of family life and that obligation had to be met as well.
Q: I am so disappointed with the choices for FAMILY sitcoms especially on network television today. Back in the 80s, there were so many that were quality entertainment. I know ratings ultimately dictate the programming, but are you surprised and/or disappointed in the lack of family sitcoms on television today? Is this indicative of our society today that wholesome family sitcoms aren't as prominent in the network lineups? One of my favorite shows on TV now is ABC's Modern Family which is fresh and funny, so I hope that show's success might lead to more family shows down the line.
Gary: I'm not really "up" on what's playing on TV these days. Or even what's playing in the theatres. We've more or less "dropped out" of the current popular culture. And, it's comforting in a similar way to what it was like for us in the '60s being part of that terrible and useless word - "the counterculture" - this time our "counterculture" involves the books we were supposed to read in college, long walks in the woods and our dogs.
Q: I just recently interviewed Billy Vera about "At This Moment" which is actually one of my favorite songs of all time. The first time I heard it, like much of the country, was on Family Ties. What a phenomenon that was. I couldn't think of a better song especially for that moment the following season when Alex and Ellen break up. Billy said it was Michael Weithorn who discovered and proposed it for the show. Were you involved in choosing that song at all? What feelings, if any, do you have about that song now?
Gary: Michael Weithorn is solely responsible for the Billy Vera song, "At This Moment," being on Family Ties. He had written the episode that featured Alex and Ellen (Michael and Tracy) and one night he was walking by a club on Wilshire Blvd in Santa Monica and he heard the song coming from within. He fell in love with it. He gave me a tape of it. I played it in the car on the way home and I actually had chills when I heard it. It seemed so perfect. I played it over and over again on the ride home. And, then in the morning we bought the rights to use it. Still get chills when I hear it.
Q: Regarding your production company tagline, is that you saying "Sit, Ubu, Sit... Good Dog" and Ubu actually barking?
Gary: Yeah that's my voice saying, "sit Ubu sit." The "bark" is actually one of the sound engineers fooling around. We decided to keep it in.
Here is a quick video clip of the iconic UBU Productions tagline...
Q: Spin Citywas another series (1996-2002) with simply outstanding writing and an outstanding ensemble cast. Michael J. Fox was fantastic as usual, but Charlie Sheen was up to the task as well when he took over in Season 5. I really enjoyed the "Stuart" character played brilliantly by Alan Ruck who I have been a fan of ever since he played Cameron in Ferris Bueller. He has brilliant comic timing and his nonverbals are hilarious. I am interested in how Ruck was cast in that role and how it was working with him for six seasons.
Gary: Alan Ruck came in to read for the part and Michael Fox, Bill Lawrence and I all just immediately knew he was "the guy." Alan is one of the hardest working, most professional, lovely and talented actors I ever had the good fortune to work with. But, everyone in that cast was that way. Just a dream.
Q: In your 2005 film Must Love Dogs, you worked with the incredible John Cusack and Diane Lane among a dream cast [also including Christopher Plummer, Stockard Channing, Elizabeth Perkins and Dermot Mulroney]. Cusack had roles in some iconic 80s films and I am a big fan of much of his work since then. I am very interested to know how it was working with Cusack in particular.
Gary: On Must Love Dogs John Cusack was an absolute delight to work with (all the actors on that film were). John loves to improvise and so do I, so I would often just leave the camera rolling at the end of scenes to see what he might do. He's also an excellent writer. And, I would guess that at least a third of what John did and said in that film was his creation.
Q: Tell us about your 2008 book Sit, Ubu, Sit: How I Went from Brooklyn to Hollywood with the Same Woman, the Same Dog, and a Lot Less Hair. I have to believe that it is a gratifying and therapeutic experience writing your own memoir?
Gary: The book was great fun to write. And, interesting (for me anyway) to kind of re-trace the path I ended up taking. I meant it as a love poem to my wife and to Michael Fox. And, of course to Ubu. Three "people" who I loved and who changed my life.
Q: What is Gary David Goldberg up to these days? Are you officially retired from Hollywood?
Gary: I'm a full-time grandpa now. And, while I'm not "officially" retired it's just about inconceivable to picture myself back in show business. I had a great time. But, truth is I've never been happier than I am right now.
I am honored that Gary took the time to answer my questions so I could share them with you here. I feel truly special to receive this kind of generosity from an industry icon. I highly recommend buying his book. As one reviewer described it, "A refreshingly likeable memoir about a guy who made it to the top without stepping on or over anyone else." I want to take this opportunity to again thank Gary David Goldberg for proving that nice guys don't always finish last, for reminiscing some about the 80s with us, but even more for giving us the gift of Family Ties which is some of the best television the 80s or any other decade has to offer. Sit, Ubu, Sit. Good dog. Woof.
That wraps up this special issue of Kickin' it Old School. Thanks as always for reading and hope you are enjoying the interviews as much as I am. If you are interested in reading any of my other 80s related issues, please click there for a summary of those. You can also always click on the Archives in the upper left hand column or use the Google Search Box at the top of the right hand column to find any other issues you may have missed. If you are a fan of Kickin' it, PLEASE CLICK ON THE FACEBOOK LOGO in the upper right hand column. This will take you to the Fan Page where I ask you to then click on the "Like" button. Even if you are not a Facebook member yet, please consider joining and registering as a fan at that page. You can also follow @OldSchool80s on Twitter by clicking on the FOLLOW ME ON TWITTER LOGO also in the upper right hand column. This will take you the page and you can just click on the box that says "Follow". I am sending daily 80s tweets, so sign up to get those. Let other 80s fans know about it as well! Peace and much love.
Check this out: One of the topics I often share in this section is signs that amuse me for being silly, ironic or just plain unnecessary. Grave stones are a kind of sign, I guess. Here are a few that made me chuckle...
Not anymore.
That's why we bury them.
I hope that's not what killed her.
Where did they bury the rest of him?
Sorry for your...
Quote of the day: "The only way to enjoy anything in this life is to earn it first." -Ginger Rogers
I am ecstatic that interviews are something I have finally made a part of this little blog of mine! When the opportunity presents itself to ask a few questions to someone who contributed to the awesomeness of the 80s, I want to share those answers with you right here. Again, lucky for me (and hopefully you), I do get to share a little more awesomeness with you.
This time that awesomeness is Gary "Mudbone" Cooper. Funk fans should recognize him as a part of George Clinton's Parliament Funkadelic, P-Funk All-Stars and Bootsy's Rubber Band. 80s fans might recognize him as one half of the duo known as Sly Fox who had a huge hit with the single "Let's Go All The Way." I was privileged to get to interview this outstanding musician who just happens to be responsible for another one of my very favorite songs of the entire 80s decade. In addition, the Baltimore native has collaborated with artists such as Prince, Herbie Hancock, Keith Richards, Bob Dylan, The Ramones, Jimmy Cliff and Dave Stewart among others. That being said, let's get on to some selections from my interview with Gary "Mudbone" Cooper...
Q: When looking up the meaning of "Mudbone," I see that it is the name of an African tribe as well as a character in Richard Pryor's stand-up comedy. How did you get the nickname "Mudbone"?
Gary: By the way, I never knew it's the name of an African tribe. It was dropped on me jokingly by Bootsy Collins when he and I got together to start what became known as "Bootsy's Rubber Band" and it stuck. Every time he'd introduce me to someone he'd say, "This is Mudbone." They all went for it, and so did I (LOL). [If I ever get to interview Bootsy, I guess I will have to ask him why.]
Q: How did you first hook up with George Clinton and Parliament Funkadelic? What was the experience of being surrounded by all of those incredible musicians? What was your role in the group and did you actually perform on "Atomic Dog"?
Gary: When I moved to Ohio to connect with Bootsy, he had already been with Funkadelic so, I started recording simultaneously with Parliament/Funkadelic, starting with the Chocolate City album [1975] and all the hits until "Atomic Dog." Great feeling being amongst them and being one of them! I had influence doing many of their vocal harmonies and arrangements. I also played drums on quite a few recordings. I had left P-Funk briefly and returned by demand to play drums and sing backing vocals on "Atomic Dog," the biggest hit in the P's repertoire!
"Atomic Dog" is now regarded as one of the most iconic funk songs of our time. It was released in 1982 from George Clinton's Computer Games album. It reached #1 on the Billboard R&B chart in April of 1983 knocking Michael Jackson's "Billie Jean" out of the top spot. It would end up being the last #1 on that chart for the P-Funk collective. The song, often best remembered for the "bow wow" refrain, has been sampled dozens and dozens of times by other artists. Here is the video for George Clinton's "Atomic Dog"...
Q: How have George Clinton and Bootsy Collins impacted your musical style and your life?
Gary: I'll humbly say, we've impacted each other, but that really deserves a loooooooong answer, and more than likely will be answered in more detail in my autobiography that I'm writing.
Q: After nearly four decades in the business, from your perspective, how has the music industry changed over that time?
Gary: In my opinion, good content and melodies have weakened and are less apparent. Many songs today are just riffs. The only one that really mastered a riff/groove in song form was James Brown, King of the grooves. Today's music is like a fast food chain instead of a good home cooked meal. With all the sampling and devices, real musicians are becoming a dying breed so to speak, but that's my opinion.
Q: How did you begin working with Ted Currier and how was Sly Fox originally formed? Did you know Michael Camacho previous to forming Sly Fox? Did you consider yourself to be the driving force behind the group?
Gary: Ted Currier had a production deal with Capitol Records and signed George Clinton to do the project that birthed "Atomic Dog." I wasn't with the Funk at that time and was contacted by Clinton to come to Detroit to record but wasn't interested. After speaking for some time, he convinced me to come to Detroit. There I met Currier who was handling the production and his counterpart the budget for Clinton's project and Currier welcomed me. He then asked me what would I like to do and I replied to him I had interest in creating a duo. Currier and his partner introduced me to Michael Camacho after a few other attempts had been made to make the duo thang happen. We met at an ice cream parlor in Manhattan, which had a piano in it. Mike sat down started playing and singing. I joined in and immediately we both knew we had a unique quality and blend. I didn't know Michael prior, but found out that day he previously sang on a Levi's 501 Blues ad. Yes, I was a driving force [behind Sly Fox] because the deal and song was my idea.
Q: In 1986, "Let's Go All the Way" became a huge hit and received heavy rotation on pop radio stations. You are credited with writing the song. Many interpreted the song to refer to having sex because of the title or nuclear war because of the video. Others have construed it to imply a disillusionment with various aspects of modern life. Can you, once and for all, confirm your intended meaning behind this song?
Gary: For me, the song simply meant that whatever your goal, dream or vision, you should go all the way to get it. In other words, don't let anything stop you from achieving, especially yourself. Those that saw the video saw it had kids destroying weapons etc. I guess some wanted to relate it to sex, and it could be whatever you want it to be, kind of like funk in general....ha ha ha!
Sly Fox released the album Let's Go All the Way in 1985 and the title track would end up being a top 10 hit the following year. The single would reach #3 on the UK chart and peak at #7 on the Billboard Hot 100. I have always considered it a catchy song that you can't help but bounce a little to. Now, after hearing Gary's explanation of the meaning, I don't even have to feel dirty about liking it so much anymore. Here's the video for "Let's Go All the Way" by Sly Fox...
Q: Did you ever expect that song to have that kind of success? How did that success change things for you personally and for Sly Fox going forward?
Gary: I felt if the song had a fair chance to be played and be heard and it would be a major success. I wrote it (or it wrote me) in 5 minutes, but I knew something unique was there. I sung the riff to Currier over the phone and he immediately knew there was something, too. We never demoed it, just preproduction to make the record. I could hear all the parts, beats, sounds in my head. It proved that I didn't use George, Bootsy or P-Funk to get a hit recording and that I could stand on my own. It also confirmed that the duo concept was strong because Michael and I were actually the first [racially] integrated duo to make it on the major pop charts (then came the System, etc.). We did some great gigs, had a top 5 video on MTV for 6 months straight, but it was unfortunately short lived due to incompetent management and greed.
Q: Michael Camacho is often credited with vocals on this song. In the music video, it shows you both singing in harmony together. Are you actually singing harmony with Camacho or is it just his main vocals?
Gary: I wrote, arranged and came up with the melody for the song. Michael did an excellent job harmonizing with me. His visual and stage presence was very cool. We looked and sounded fantastic together.
Q: Who came up with the addictive drum beat that anchors the song? Do you actually play drums on this song?
Gary: I played drums on it along with a reverse kick. I was inspired by the Beatles "I Am The Walrus." [That a Beatles song helped inspire part of this song is one of the coolest things I learned!]
Q: There is one repetitive part of the song which I love personally and is especially memorable to many who have heard the song. Whose voice is actually singing the "zhum zhum zingininny" line and how did you create that unique sound?
Gary: It's my voice sampled many, many times doing the "zhum zhum zingininny, zhum zhum zingininny." I used to make drum sounds, guitars, horns with my voice like beat boxers but even before, back in the day. It was a reaction, a good reaction!
Q: I like to ask this of everybody. When you have a mega hit song like that, do you (or did you) ever get sick of playing it?
Gary: No, it's a blessing to have such hits.
Q: I don't consider the term "one-hit-wonder" to be a negative because it is one more hit than most musicians ever get. Are you proud of your one 80s pop hit? Are you surprised that Sly Fox was not able to have prolonged success after the sensation of "Let's Go All The Way"?
Gary: I'm very proud of "Let's Go All The Way." Also note it gave me an R&B hit by the same production company with a rap act called The Boogie Boys using the same groove in the song titled "A Fly Girl" which reached #6 on the R&B charts in 1985. "Let's Go All The Way" originally came out in ‘85 and re-released in 1986, so I had 2 hits with the same groove, kind of like a few of James Brown's songs! Sly Fox could have continued to be a major group but the act wasn't handled properly and unfortunately dissipated.
The follow-up single to "Let's Go All the Way" was "Stay True" which barely cracked the Billboard Hot 100 later in 1986. Unfortunately, with that and (according to Cooper) management issues, Sly Fox would come to a premature end. Both Camacho and Cooper would go on to remain in the industry working on other projects. Michael Camacho has concentrated on jazz and has released a solo album.
Q: Do you keep in touch with Michael Camacho? Do you two ever still perform together as Sly Fox? Could you ever imagine reuniting to create new music as Sly Fox?
Gary: Michael and I have spoken recently and would love to get together and do new music. We still have some great ideas, but the industry has changed so much. Unless an interested investor, producer or label gets involved, it's difficult but not impossible. I'm sure we'd be able to mash some serious tracks now.
Q: Some 80s pop superstars "run away" from the 80s and some embrace the success and fans from that decade. Another question I always ask, how do you personally keep the 80s alive and in perspective?
Gary: I'm open to it now and like to relive some of the energy and people from that era. Good music's good music, good people are good people. If it's the right situation, let the good times begin.
Q: I have to ask about working with Prince. What exactly have you collaborated with Prince on? Please tell me about that experience. I assume you are a fan of his as well?
Gary: I was requested by his manager at the time to play drums on a track for Graffiti Bridge. I also did an appearance at Paisley Park with George Clinton for a TV special called "The Ride Divine." I was told he liked "Let's Go All The Way" and invited me to play at his club, First Avenue, with Sly Fox. All I can tell you is, I LOVE PRINCE!
Q: Your released a solo album, Fresh Mud, in 2006. That had to be satisfying? You worked with the amazing Dave Stewart (of Eurythmics fame). How was the experience of working with Dave Stewart? Were you a fan of the Eurythmics back in the 80s?
Gary: Unfortunately, the album didn't get out properly and may be reissued with changes at some point. I love working with Dave, he's pure and uniquely interesting. Didn't know much of their music then, but loved what I heard. He and Annie [Lennox] are great artists and most of all....real deal people!
Gary has also said that Stewart turned him on to the blues. He said "Dave loves the blues and he turned my head! I'd never allowed myself to think about it before because I always associated it with older people, but here was this hip guy of my generation dropping the blues on me. It came out so natural and I got swept away with it. I could see how it could become part of today's music like soul and funk, rock and hip hop, and be brought up to date."
Q: What else is Gary "Mudbone" Cooper up to now? Musically and otherwise?
Gary: I'm still writing some good music and looking forward to getting together with my band top of the year. I'm writing to finish my book [autobiography] now so it can have its chance to go out and bother someone else (LOL). It's about my life from beginning to the Funk to now!
I am absolutely thrilled that Gary took the time to answer my questions so I could share them with you here. You can stay up to date on what he is up to at his MySpace page www.myspace.com/mudbone2 . I want to take this opportunity to thank Gary "Mudbone" Cooper for his outstanding contributions to 80s pop music and for reminiscing about the 80s for a little while with us. Zhum zhum zingininny.
That wraps up this special issue of Kickin' it Old School. Thanks as always for reading and hope you are enjoying the interviews as much as I am. If you are interested in reading any of my other 80s related issues, please click there for a summary of those. You can also always click on the Archives in the upper left hand column or use the Google Search Box at the top of the right hand column to find any other issues you may have missed. If you are a fan of Kickin' it, PLEASE CLICK ON THE FACEBOOK LOGO in the upper right hand column. This will take you to the Fan Page where I ask you to then click on the "Like" button. Even if you are not a Facebook member yet, please consider joining and registering as a fan at that page. You can also follow @OldSchool80s on Twitter by clicking on the FOLLOW ME ON TWITTER LOGO also in the upper right hand column. This will take you the page and you can just click on the box that says "Follow". I am sending daily 80s tweets, so sign up to get those. Let other 80s fans know about it as well! Peace and much love.
Check this out: I am a big fan of the "Savage Chickens" cartoons by Doug Savage. Here is one that is sort of a "Rickroll" with its individual scenes acting out the lyrics to "Never Gonna Give You Up" by Rick Astley...
Quote of the day: "Always dream and shoot higher than you know you can do. Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself." -William Faulkner
Each December, I do special issues remembering my most memorable holiday songs, television specials, commercials and movies from the 80s. This year I am going to start with my holiday issue on a Christmas song. Last year's holiday song issue was on the first A Very Special Christmas album from 1987 and the year before was on "Do They Know It's Christmas" by Band-Aid. I highly recommend you go back and enjoy those holiday classics again. That will make this the 50th official issue of my 80s Video of the Week which I call "Flashback Videos." Since this is a special holiday issue, I will include the usual "Check this out" or "Quote of the day" sections at the end, though normally Flashback Video issues do not.
When I interviewed Deon Estus (former Wham! bassist), I asked him about 1984's holiday single "Last Christmas." His response was, "Every artist has to do a Christmas song. It is one of my favorites to this day." Well, I think every artist wishes they could have a Christmas song (or any song for that matter) as successful as Wham!'s "Last Christmas" which was written by George Michael. It is not a traditional holiday song with your typical "celebrate the season" message. It's actually a very sad song with lyrics like, "Last Christmas I gave you my heart, but the very next day, you gave it away."
The single was released as a double A-side with one of my favorite Wham! songs, "Everything She Wants." Wham! was hugely popular at this time and this release was no exception. In a normal year, it would have been a UK #1 song for sure, but this was the same year that "Do They Know It's Christmas" was also released and that blocked "Last Christmas" from ever reaching the top of the chart. Not coincidentally, George Michael performs on both songs. The single sold well over a million copies and, in fact, became the biggest selling single in UK chart history not to reach #1. This week's Flashback Video is "Last Christmas" by Wham!...
Not sure if the melody to that song sounds familiar to you, but it did to Dick James Music who filed a lawsuit due to perceived similarities to "Can't Smile Without You" (made popular by Barry Manilow). The case was settled out of court and an agreement to donate the royalties to the Band-Aid charity was made.
According to the website Last-Christmas.com which has been in existence for 5 years, there have been 449 covers of Wham!'s "Last Christmas" which total over 31 hours in total length. These include covers by the cast of Glee, Carrie Underwood, Coldplay, Taylor Swift and Ashley Tisdale among many others. In Germany, the original song has re-entered the charts each holiday season since 1997 usually reaching the top 5 each year. Though it is not a traditional holiday song, it has become an annual holiday classic now in the U.S., the UK and many countries. And, just remember, it was first released in the 80s.
That's all for this holiday issue of Kickin' it Old School. Thanks as always for reading. If you are interested in reading any of my other 80s related issues, please click there for a summary of those. If you want to see the past issues of Flashback Videos, just type that into the Google Search Box at the top of the right hand column and it should give you a list of all of them. You can also always click on the Archives in the upper left hand column or use the Google Search Box at the top of the right hand column to find any other issues you may have missed. If you are a fan of Kickin' it, PLEASE CLICK ON THE FACEBOOK LOGO in the upper right hand column. This will take you to the Fan Page where I ask you to then click on "Become a Fan". Even if you are not a Facebook member yet, please consider joining and registering as a fan at that page. You can also follow @OldSchool80s on Twitter by clicking on the FOLLOW ME ON TWITTER LOGO also in the upper right hand column. This will take you the page and you can just click on the box that says "Follow". I am sending daily 80s tweets, so sign up to get those. Let other 80s fans know about it as well! Peace and much love.
Check this out: If you have young kids, you will definitely find this entertaining fun for them. Have you heard of Portable North Pole? You can visit the website at www.portablenorthpole.tv/home and with just a few clicks, this technological marvel will let your loved ones receive a personal message from Santa Claus, sent directly from his village in the North Pole. The personalized part is what makes it really special. Our daughter really loved it and the best part is that Santa reminds them to listen to their parents and be extra good. Share it with anyone who has young children, but there is also an option to send a message to grown-ups as well.
Quote of the day: "It is Christmas in the heart that puts Christmas in the air." -W. T. Ellis
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Kickin' it Old School - 80s Pop Culture
Page was joined by Steve Farris, Steve George and Pat Mastelotto to form one of the most popular bands of the mid-80s. Their 1985 album Welcome to the Real World would feature three top 10 singles (two of which reached #1). To prove how big they were, the band was even mentioned in one of the biggest songs of 2010, Train's "Hey, Soul Sister" in the lyric: "Hey, soul sister, ain't that Mr. Mister on the radio, stereo." After releasing just three studio albums, the band broke up in 1990. Page continued on as a solo artist and songwriter. You will learn more about him and Mr. Mister as we get on to some selections from my interview with Richard Page...
so as kids my siblings and I had no choice. As a teenager, I loved the Beatles and all the other great artists of the time and only wanted to write and play music. Eventually, my songs were heard by a record executive and the rest you know.
Mr. Mister come together? How was the band name chosen?
would be as successful as it was. As a matter of fact, I thought "Broken Wings" and "Kyrie" were really good songs, but not hits. So I was surprised when it took off. Obviously things changed radically for us. I can't think of anything that wasn't great about it except that it took me away from my wife and two very young daughters. That was hard.
was the #1 song on the Billboard Hot 100. Why do you feel this song created such a positive reaction the whole world over? I read that John Lang was inspired by a book of the same name and there might be some reference to The Beatles' "Blackbird". What do you remember about your process of creating this beautiful song?
If you translate the lyrics, the song seems to essentially be a prayer to God. Can you believe a song about that could have such pop success? Do you think if more people would have known the translation that it would've enjoyed the same success?
I was against using "Kyrie" as the title thinking that we would be pegged as a Christian band. The song just evolved to the point where there was no turning back so we went with it. I was surprised that it caught on so.
primary example (as well as "Healing Waters" from your next album), are the not-so-hidden references to Christianity in Mr. Mister's music intentional? Or were those references just intended as a metaphor for other things? Would you go as far as to consider Mr. Mister a Christian rock band? 
In addition to the two that almost everybody knows, I have always been partial to "Is It Love" myself.
Go On... was not a commercial success (though it did go Gold in Canada). Can you explain how you can be one of the hottest groups with constant radio airplay one year and then barely crack the charts the next year? Are you surprised that Mr. Mister was not able to have prolonged success after the sensation you had become?
I have to tell you that I have always appreciated the Madonna song "I'll Remember" from the film With Honors. How did you get involved with that project?
I started Little Dume because, between my partners and I, we have all the skills we need to bring the music directly to the fans, so why not? It's a lot of hard work and it's going to take time to build, but it's very rewarding. I produce the music, Rob [brother Rob Page] handles web/video/social media and George [manager George Ghiz] keeps the place from falling apart.
it obviously does not take place in the 80s. The film is not specifically about a given year, it is about a particular time in American family life. 
The film appears to be set roughly around the tail end of the Great Depression but before the U.S. involvement in World War II. There are references throughout the film that viewers enjoy linking to particular years, and if one connects a reference to a particular year, the movie can be dated as being as early as 1935 or as late as 1947. Though this is well before I was born, the film still resonates strongly with me. I make sure to watch it at least once each December and likely several times thanks to the 24-hour marathon on TBS starting Christmas Eve.
-Director Bob Clark's success with the teen-sex comedy Porky's in 1982 allowed him the ability to make a movie he wanted to make. Without Porky's there would have been no A Christmas Story.
the history of the Red Ryder BB Gun, the gun did exist except for one error in the story: The gun did not have a compass and sundial as mentioned in the movie. According to the historians, writer Jean Shepard confused the Red Ryder gun with another rifle that did have those features. But because the story and screen play were scripted to have the compass and sundial, guns had to be specially made for the movie. The compass and sundial were placed on the opposite side of the stock due to Peter Billingsley being left-handed.
-Prior to being "Flick," Scott Schwartz co-starred opposite of Jackie Gleason and Richard Pryor in 1982's The Toy directed by Richard Donner. 
With the exception of Ralphie's teacher (played by Tedde Moore) and Jean Shepherd as the narrator, it featured an entirely different cast.
-The same kid, Yano Anaya, plays both "Grover Dill" the toady in A Christmas Story and the paperboy who wants his $2 in Better Off Dead. Anaya also plays the young Michael Anthony in the Van Halen video for "Hot For Teacher."
Peter Billingsley is best known as "Ralphie" and also "Messy Marvin" from a long-running series of Hershey's commercials. As an adult, he has gone on to collaborate often with Jon Favreau and Vince Vaughn including directing 2009's Couples Retreat and as Executive Producer on 2008's Iron Man, 2006's The Break-Up and 2008's Four Christmases among others.
-Jack Nicholson was considered for the role of Ralphie's dad. However, director Bob Clark didn't learn of this until later and the studio didn't want to pay Nicholson''s fee anyway, which would have doubled the budget. Regardless, Clark says that Darren McGavin was still the better choice and was born to play the role. (I whole-heartedly agree!)
reportedly inspired the creation of The Wonder Years television series. One major similarity is the adult-version of the young character being the narrator. The narrator for The Wonder Years was Daniel Stern.
19. "You used up all the glue on purpose!"
9. "Scut Farkus staring out at us with his yellow eyes. He had yellow eyes! So, help me, God! Yellow eyes!"
1. "Fra-gee-lay. That must be Italian."
Keith started his professional acting career in 1978 at just 8 years old and worked steadily as a child actor. Now, at the age of 40, Coogan has a rather notable resume and is still adding to it. You will find out more as we get on to some selections from my interview with Keith Coogan...
Disney animated feature film The Fox and the Hound, many people know that Mickey Rooney provides the adult voice for "Tod" the fox and that Kurt Russell provides the adult voice of "Copper" the hound. What you might not know is that the voice of young "Tod" is actually Keith Coogan and young "Copper" is Corey Feldman.
This is a comedy directed by Chris Columbus and starring the lovely Elisabeth Shue. I have 
(That's what the cool kids call her!) was a doll. Lisa was a huge star in the making... and attacked her role as "Chris" with complete gusto. Even going so far as to stand toe-to-toe with Jeffrey Katzenberg when it came down to editing the trailer. Very private, but very generous.
The young cast just looked like you were having a blast making the film, so was that in fact the case? Is this the role you are most often remembered/recognized for? 
He had great respect for our choices, and so earned our respect back. AIB was sooooooooooo much fun making. It really was a wild ride around the city at night just like you see. And no... I tend to get made as "Kenny" from Don't Tell Mom more often. 
I said why don't we just put the knife in, then pull it out with monofilament and then run the film backwards? And that's exactly how we did it. One other side note about the El-Train sequence... we had to do some pickup shots because of a focus issue and there weren't any Metro reps to let us in at 3:00AM. So our stunt coordinator picked the lock to the platform, we got our shots and no one seemed to be the wiser.
with a couple other 80s child stars in Wil Wheaton and Sean Astin. Did you know these guys before joining that cast? What are your best memories from making that film? 
but what's up with babysitting movies? You also co-starred in 1991's Don't Tell Mom the Babysitter's Dead which is a bit of an under-rated movie in my opinion. To compound my jealousy, you had the opportunity to work with Christina Applegate in this one. How was that? Any special memories about this film? 
Here's hoping for more... Christina was also someone I'd known before shooting, and had/have great respect for. That one was really just like Summer Camp for adults and kids... with the cameras running. So much fun wrecking that house!!! I could have done without the gross odor that emanated from the kitchen... all that funk was the real deal. I was so glad when we finished with the messy parts and the art department cleaned it all up! 
with the advent of digital capture methods. Now, instead of 20 or so shots a day, you're looking at nearly 40 setups. The lighting can be touchy, but ultimately requires less light, and therefore fewer crew and shorter down times. Also, with the cheap cost of memory, you usually find yourself shooting rehearsals, staying on a role, improvising and generally always staying "in character" and "in the story." It's gotten crazy... but I like it! 
Very tough to find material. Yet I keep plugging away. I keep learning about what makes me tick as an actor and I keep challenging myself to try different things and stretch a little. The support and feedback has been tremendous, and I look forward to the day I can look back on all 365 and feel proud for the work that went into the project. 
After three seasons there, The Simpsons was developed into a half-hour primetime series. The Fox network was nervous about the show because they were unsure if it could sustain the audience's attention for the duration of the episode, but the producers gambled and it paid off. Groening has said his goal in creating the show was to offer the audience an alternative to what he called "the mainstream trash" that they were watching and he certainly succeeded.
not originally intended to be the series' premiere episode. Production problems, particularly with the first produced episode, "Some Enchanted Evening," saw the show delayed from its planned October debut until late December, thus dictating that this Christmas-themed episode (actually the eighth one produced) was the first to be broadcast. "One Enchanted Evening" was eventually broadcast as the last episode in the first season. The characters are still a little raw and there have been much funnier episodes of the show, but you can see the beginnings of what was to become a pop culture phenomenon and one of the greatest series in television history.
It has surely been seen many millions of times more since then over the years. The episode was critically acclaimed and would end up being nominated for two Emmy Awards. It was written by Mimi Pond (who surprisingly never wrote another episode after) and directed by David Silverman (who would go on to direct at least 22 more episodes as well as The Simpsons Movie from 2007). Despite all of the silly things happening, the "Simpsons Roasting on an Open Fire" episode ultimately focuses on the importance and value of Family (as most episodes of The Simpsons do) which is especially relevant around the holidays. The series is still going strong now in its 22nd season and it all started with this Christmas episode at the end of the great decade of the 80s.
were first introduced in 1907 and have become one of the most popular candies in the United States. As of 1989, the chocolate drops wrapped in foil were the 5th most popular chocolate in the U.S., spawning sales that topped $400 million. 
People love Kisses not just because of their chocolate taste, but because of positive associations the candy has had in moments in their lives such as getting them as parts of a gift. This is a brand that became an American staple, had been passed down for generations, and that people could remember enjoying as a kid. Some of this positive connection is due to TV commercials.
That's because by 1969, nearly seven decades after Milton S. Hershey launched his chocolate empire, the Hershey's Milk Chocolate Bar was one of the most identifiable products in the country and TV ads could simply pitch it as America's favorite candy bar. The strategy worked, and company executives have rarely dared to deviate from it since. This goes for Hershey's Kisses as well with TV advertising for Kisses changing remarkably little since the 1960s.
New York City's Ogilvy and Mather was the advertising agency handling Hershey's at this time. The commercial was apparently directed by animation expert Carl Willat (you can find more of Willat's work at 
UBU Productions, in 1981. Under the UBU (named after his pet Labrador Retriever) banner, nine television series were created including Family Ties which ran on NBC from 1982-1989.
Goldberg has won multiple Emmy awards and Golden Globe awards. He has written, produced and directed several films including 1989's Dad which starred Ted Danson, Jack Lemmon, Ethan Hawke and Olympia Dukakis. You will get to know him better as we get on to some selections from my interview with Mr. Gary David Goldberg...
Family Ties which would go on to run for seven seasons on NBC. How did Family Ties originate and become a reality? 
I brought it over to NBC and Brandon Tartikoff. Brandon nurtured it and really made it happen. It was based on our family and families of friends I knew with similar backgrounds.
How much do you feel that impacted the Family Ties jump in the ratings that same season? Now with so many choices to watch, I don't think programs will ever come close to getting the national attention (25+ million households!) that those shows received back in the 80s. 
supposed to focus on the parents and that the audience reaction to Michael J. Fox's "Alex P. Keaton" character changed that direction. I also read that at first you needed convincing by casting director Judith Wiener that Fox was right for the character. In Fox's 2002 book Lucky Man, it quotes you as saying, "I know what I want and I know what I don't want. And I'm telling you, I don't want Michael Fox playing Alex Keaton." Then his second audition changed your mind and you had to convince Brandon Tartikoff that he was, as it turned out, perfect for the role. You had outstanding writers and an outstanding cast, but looking back, would Family Ties have worked to the same level (or at all for that matter) without Fox playing "Alex P. Keaton"? 
I have a defense of my initial reaction to Mike, but it's a little self-serving. Moving to the more important question could Family Ties have succeeded without Michael Fox - I don't think so. Mike as Alex was just magic. And, just so compelling. Even now if I look at those re-runs, his work it takes my breath away. I think the "lucky man" there may have been me.
He is, as you point out, a special actor. And, a special person. Mike is authentic. He's whip-smart which sometimes gets lost. He's brave. He's compassionate. He is authentic. A loveable and loving human being. Sometimes they walk among us. Any more and it's going to get embarrassing.
The work schedule did get a little more complicated - mainly for Mike. But, it was easily handled. Not only was it an obvious boon to the show to have him become a major movie star, but it was also thrilling to watch him get that chance to expand his talent. I never wanted anything he did on Family Ties or that contract he had signed to hold him back from all the places which that great heart and great talent could take him.
I would always ask "what's the last scene about?" If we couldn't answer that question with some compelling reason for the audience to have allowed us into their homes for half an hour, it usually meant it wasn't a good story for us to pursue. Being funny was the easy part. And, I took that challenge seriously. I used to say in TV Guide it says, "Family Ties - Comedy." And, we had to provide that. But, our audience had given us permission to delve into the intricacies of family life and that obligation had to be met as well.
disappointed with the choices for FAMILY sitcoms especially on network television today. Back in the 80s, there were so many that were quality entertainment. I know ratings ultimately dictate the programming, but are you surprised and/or disappointed in the lack of family sitcoms on television today? Is this indicative of our society today that wholesome family sitcoms aren't as prominent in the network lineups? One of my favorite shows on TV now is ABC's Modern Family which is fresh and funny, so I hope that show's success might lead to more family shows down the line. 
was another series (1996-2002) with simply outstanding writing and an outstanding ensemble cast. Michael J. Fox was fantastic as usual, but Charlie Sheen was up to the task as well when he took over in Season 5. I really enjoyed the "Stuart" character played brilliantly by Alan Ruck who I have been a fan of ever since he played Cameron in Ferris Bueller. He has brilliant comic timing and his nonverbals are hilarious. I am interested in how Ruck was cast in that role and how it was working with him for six seasons.
you worked with the incredible John Cusack and Diane Lane among a dream cast [also including Christopher Plummer, Stockard Channing, Elizabeth Perkins and Dermot Mulroney]. Cusack had roles in some iconic 80s films and I am a big fan of much of his work since then. I am very interested to know how it was working with Cusack in particular.
2008 book Sit, Ubu, Sit: How I Went from Brooklyn to Hollywood with the Same Woman, the Same Dog, and a Lot Less Hair. I have to believe that it is a gratifying and therapeutic experience writing your own memoir?
It was dropped on me jokingly by Bootsy Collins when he and I got together to start what became known as "Bootsy's Rubber Band" and it stuck. Every time he'd introduce me to someone he'd say, "This is Mudbone." They all went for it, and so did I (LOL). [If I ever get to interview Bootsy, I guess I will have to ask him why.]
he had already been with Funkadelic so, I started recording simultaneously with Parliament/Funkadelic, starting with the Chocolate City album [1975] and all the hits until "Atomic Dog." Great feeling being amongst them and being one of them! I had influence doing many of their vocal harmonies and arrangements. I also played drums on quite a few recordings. I had left P-Funk briefly and returned by demand to play drums and sing backing vocals on "Atomic Dog," the biggest hit in the P's repertoire!
I wasn't with the Funk at that time and was contacted by Clinton to come to Detroit to record but wasn't interested. After speaking for some time, he convinced me to come to Detroit. There I met Currier who was handling the production and his counterpart the budget for Clinton's project and Currier welcomed me. He then asked me what would I like to do and I replied to him I had interest in creating a duo. Currier and his partner introduced me to Michael Camacho after a few other attempts had been made to make the duo thang happen. We met at an ice cream parlor in Manhattan, which had a piano in it. Mike sat down started playing and singing. I joined in and immediately we both knew we had a unique quality and blend. I didn't know Michael prior, but found out that day he previously sang on a Levi's 501 Blues ad. Yes, I was a driving force [behind Sly Fox] because the deal and song was my idea. 
the song simply meant that whatever your goal, dream or vision, you should go all the way to get it. In other words, don't let anything stop you from achieving, especially yourself. Those that saw the video saw it had kids destroying weapons etc. I guess some wanted to relate it to sex, and it could be whatever you want it to be, kind of like funk in general....ha ha ha!
I wrote it (or it wrote me) in 5 minutes, but I knew something unique was there. I sung the riff to Currier over the phone and he immediately knew there was something, too. We never demoed it, just preproduction to make the record. I could hear all the parts, beats, sounds in my head. It proved that I didn't use George, Bootsy or P-Funk to get a hit recording and that I could stand on my own. It also confirmed that the duo concept was strong because Michael and I were actually the first [racially] integrated duo to make it on the major pop charts (then came the System, etc.). We did some great gigs, had a top 5 video on MTV for 6 months straight, but it was unfortunately short lived due to incompetent management and greed.
by his manager at the time to play drums on a track for Graffiti Bridge. I also did an appearance at Paisley Park with George Clinton for a TV special called "The Ride Divine." I was told he liked "Let's Go All The Way" and invited me to play at his club, First Avenue, with Sly Fox. All I can tell you is, I LOVE PRINCE!
That had to be satisfying? You worked with the amazing Dave Stewart (of Eurythmics fame). How was the experience of working with Dave Stewart? Were you a fan of the Eurythmics back in the 80s?
I asked him about 1984's holiday single "Last Christmas." His response was, "Every artist has to do a Christmas song. It is one of my favorites to this day." Well, I think every artist wishes they could have a Christmas song (or any song for that matter) as successful as Wham!'s "Last Christmas" which was written by George Michael. It is not a traditional holiday song with your typical "celebrate the season" message. It's actually a very sad song with lyrics like, "Last Christmas I gave you my heart, but the very next day, you gave it away."
Wham! was hugely popular at this time and this release was no exception. In a normal year, it would have been a UK #1 song for sure, but this was the same year that "Do They Know It's Christmas" was also released and that blocked "Last Christmas" from ever reaching the top of the chart. Not coincidentally, George Michael performs on both songs. The single sold well over a million copies and, in fact, became the biggest selling single in UK chart history not to reach #1. This week's Flashback Video is "Last Christmas" by Wham!...
you will definitely find this entertaining fun for them. Have you heard of Portable North Pole? You can visit the website at 
