This time that awesomeness is Nick Richards. He is best known as the founder and lead vocalist for the band Boys Don't Cry and their memorable 1986 hit single "I Wanna Be a Cowboy". It came together while Richards owned one of the biggest and most popular studios in all of London, the Maison Rouge. The band is generally considered a one-hit-wonder, but has more recently resurfaced due to Richards' organizing other 80s artists to join him for Boys Don't Cry and Friends 80s Parties. Find out more about how it all started, how their big hit song came to be, what he's up to now and much more as we get on to some selections from my interview with Nick Richards...

Q: When did you know you wanted to be a musician and singer? How did you get your start in the music industry?

Nick: When I was 15, I formed my first band whilst at boarding school in England. Band was called ACID 4 piece. I was singer. It was 1975. I knew then I wanted to be a performer.

Q: Please discuss your personal musical influences and who molded and inspired your voice, songwriting and career.

Nick: Bowie and Jagger were everything I wanted to be.

Q: In 1983, you purchased the Maison Rouge Recording Studios in London. How and why did you buy this studio? Please give us some historical perspective on who has been recorded there especially from the 80s.

Nick: By 1983, I did not really feel that I was going to make it as a singer/songwriter and started to look in to other ways to stay in music. I had just formed a small indie label called Legacy Records. I then saw an ad in a London newspaper saying that a large freehold building with a recording studio in Fulham (where I lived) was for sale. It was owned by Ian Anderson (Jethro Tull). Ian wanted out, so he could move to Scotland and fish for the rest of his life. It was a great deal to buy the building in central London; I would have two studios and offices for the label. I borrowed $600,000 from my father, who was an investor, and bought it within a month of meeting Ian. The studios were fairly run down at the time and I was one of the first ever studios to go totally digital by 1984, a huge risk at the time. Our first big project was the Wham! album (Fantastic). It was huge, as you know, and we quickly became the hippest studio in London. We marketed the Maison Rouge on the back of the Wham! album and sold out both rooms easily from then until I sold out to Robin Miller, Sade's producer, in 1992. Our biggest acts to record there were Duran Duran, Wham!, Queen, Culture Club, Tears for Fears, Level 42, Grace Jones, Shakin Stevens, Paul McCartney, Jeff Lynne, Genesis, Mike + the Mechanics, Frankie Goes To Hollywood, Trevor Horn, Bananarama, Nile Rogers, Escape Club, a-ha, and so many more I could go on forever!

Q: How and when did Boys Don't Cry come together as a band?

Nick: BDC came together in 1984 and were basically the in-house studio band. We recorded in dead time at the studio, which was very rare as it was always so busy. Sundays were the normal days when it was quiet.

Q: Many people assumed the band's name came from the song by The Cure originally released in 1979. What really inspired the band's name?

Nick: We got the band's name from a line in the 10cc song "I'm Not In Love" not the Cure song! [the whispered line, "be quiet... big boys don't cry"]

Q: When and how was the band discovered and signed to Profile Records (the same label as Run-DMC) for the U.S. market? What role did Paul Oakenfold play in that happening (I have read where he is credited with discovering the band)?

Nick: Paul Oakenfold was hired by me to promote 12 inch records released by my label, Legacy, at clubs. He did not discover the band, but dropped off a white label promo copy of "I Wanna Be a Cowboy" at the Limelight night club in New York City. The head of A&R at Profile Records heard the song there one night and traced it back to me in London! After a phone call, the deal was done and Profile had signed Boys Don't Cry for no money, but if "I Wanna Be a Cowboy" became a hit, they would pay a great advance for an album... which they eventually did!

Q: Please take us back to when "I Wanna Be a Cowboy" was conceived and written. What is the back story and what inspired the song? How long did it take to write? Were the lyrics written after the music?

Nick: I had spent a Saturday night watching Clint Eastwood cowboy movies like For a Few Dollars More. We had the next day Sunday booked in studio and I had this saying in my head, "I wanna be a cowboy and you can be my cowgirl". Everybody loved it and we decided to put it to a piece of music that Brian Chatton had written a year earlier. I had failed to come up with a lyric for it before. I wrote the new lyrics with help and ideas from Nico Ramsden (guitars) and Jeff Seopardie (drums) within an hour and recorded it straight away. I was not very happy with myself singing all four verses as it sounded too boring. So Jeff's girlfriend, Heidi Lea, who was with us at the time, performed verse two. We mixed it that day in about 3 hours. It was never mixed again!

"I Wanna Be a Cowboy" became a surprising hit song in 1986 driving Boys Don't Cry out of obscurity and on to the charts reaching #12 on the Billboard Hot 100. It is described as a "spaghetti western of song" and took on a life of its own becoming a hip and kitschy cool (far from traditional) pop/dance track. Madonna even mentioned it as being her favorite new song that year. Profile Records hit the jackpot in 1986 with the success of this single as well as the success of Run-DMC's Raising Hell album and their crossover hit cover of Aerosmith's "Walk This Way" in the same year. Here is the video for "I Wanna Be a Cowboy" by Boys Don't Cry...

Q: Is there an intended meaning behind this song? Was it supposed to be serious or novelty?

Nick: The song was meant to be a joke and to make people laugh, but also we thought it would make a great dance track. That turned out to be true.

Q: When you actually recorded the song, did you feel you had something special? Could you have ever anticipated the success it would end up having?

Nick: We never ever thought that the song would go on to do what it did - never!

Q: What changed for you personally and for Boys Don't Cry after the huge success of this single?

Nick: Not much really. I was surrounded by superstars at the studio all day long. All it meant was that I felt very proud of the song and that my label had a huge hit as did the studio. I was already panicking about a follow-up record!

Q: When you have a mega hit song like that, do you (or did you) ever get sick of playing it?

Nick: I have never gotten sick of it ever. I am very proud of it, really!

Q: Your video received frequent airplay on MTV and this exposure had to have helped the song's success. What are your thoughts on the impact that MTV had on music in the 80s, especially in the U.S.?

Nick: Actually, Martha Quinn, who is a great friend of mine now, told me that MTV hated the video as it was not rock n roll enough! But they had to play it due to massive demand. MTV was great in many ways, but the fact that you now had to make a video as well as a record was terrible for small labels like ours. Videos were so expensive and could be crippling to an indie label.

Q: Your follow-up single "Cities On Fire" was quite a departure from "I Wanna Be a Cowboy". It received some early attention from MTV, but never captured the audience. Please tell us about the challenges of living up to the novelty perception that your first hit created for the band. Was it frustrating and/or disappointing when your follow-up single did not have success like your first?

Nick: The head of Profile Records decided that "Cities On Fire" should be the next single as he did not want us to be a novelty band. We had recorded it months later because we were one track short of finishing the album. I had disagreed with him over this choice, as radio was starting to play "Hearts Bin Broken" from the album, which is what the promo team was pushing. I fell out with him very badly over this matter and it caused the split between Legacy and Profile. He had made a huge mistake and cost us huge amounts of album sales. The album only peaked at #55, when another hit from it would have made me a lot of money!

Q: I don't personally look at the term "one-hit wonder" as a negative because it is one more hit than most artists ever get to have. What are your feelings about that moniker?

Nick: One-hit-wonder is now a cool term, well that's what I tell everybody!

Q: Please describe the circumstances surrounding the break up of Boys Don't Cry in 1988 just 2 years after having a hit single. 

Nick: After a failed next album with Atlantic, we all went our separate ways. We did not feel that Boys Don't Cry could go any where else, and Legacy was starting to struggle financially. I was working on new talent every day.

Q: Some 80s pop superstars "run away" from the 80s and some embrace the success and fans from that decade. From what I can tell, you certainly seem to do more of the latter. How do you personally deal with and keep the 80s alive and in perspective?

Nick: It is just fashion and timing. Nostalgia is a huge weapon in this industry. The 80s will live on for years - people love to dance and the 80s was all about dancing!

Q: After nearly three decades in the business, from your perspective, how has the music industry changed over that time?

Nick: The music business has changed because records do not exist any more. It is cheaper to work new talent and there are many ways to promote through the internet. But there is huge overkill and, to me, touring is the only fun thing to do anymore.

Q: Tell us all about your Boys Don't Cry and Friends 80s All-Star Party. Why did you begin organizing these? How has the experience been so far performing at these?

Nick: I put the show together because I knew that people did not remember Boys Don't Cry, just "I Wanna Be a Cowboy". I have so many friends from the era that it made sense to get them on stage with me. Everyone is an addict for playing live! That has proved to be the case. We only had one hit, so performing some of the biggest hits of the 80s makes it a better show for the crowd.

Boys Don't Cry and Friends 80s All-Star Benefit Concerts include the original stars from the original bands performing their biggest hits. Many have been held to benefit children and schools. In addition to Nick Richards and Boys Don't Cry, the line-up has included Terri Nunn from Berlin, Martha Davis from The Motels, Roy Hay from Culture Club, Deon Estus from Wham!, Fee Waybill from The Tubes and many, many more. Here's a promotion video telling you more about Boys Don't Cry and Friends...

Q: What else is Nick Richards up to now? Tell us about any new music being released by Boys Don't Cry.

Nick: We have put out a new single in March on my label microrich. I wrote it with my eldest son James, who is also in the new line up. Mike Licata is on drums, Aaron McLain is on guitars with James and Doug Gild is on bass. The new single is called "Don't Go Jumping With Frogs". Our brand new website is now up www.boysdontcryandfriends.com too. [You can hear the new single at the website and can purchase it on iTunes!] We are working on bringing the Boys Don't Cry and Friends 80s Party to a residency in Las Vegas right now. Fingers crossed! This would be my ultimate ambition.

I am so pleased that Nick took some time to answer my questions so I could share them with you here. I really hope I get a chance to see one of the Boys Don't Cry and Friends 80s Party shows. Please stay up to date at the new official website www.boysdontcryandfriends.com. I want to take this opportunity to again thank Nick Richards for his contributions to 80s pop culture especially through Boys Don't Cry's "I Wanna Be a Cowboy" and, even more, for going back to the 80s for a little while with us here as well.

That wraps up another 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: Here is a morbid yet fun reminder of classic video games. It is a video montage by boingboing of untimely deaths from 69 such games and is set to an 8 bit version of "Mad World" by Tears for Fears. It includes some of my 80s favorites like Space Invaders, Asteroids, Missile Command, Zaxxon, Galaga, Joust, Pacman, Star Wars and Defender among many more (some more memorable than others). See how many you remember...

Quote of the day: "The bravest are surely those who have the clearest vision of what is before them, glory and danger alike, and yet notwithstanding, go out to meet it." -Thucydides

This time that awesomeness is Catherine Mary Stewart. She is especially remembered by 80s fans as a beautiful actress on both television and in film. Soap opera watchers might remember her on Days of Our Lives as "Kayla Brady" from 1981 to 1983. In 1984, she would go on to star in two films that would become cult favorites, The Last Starfighter and Night of the Comet. Those two films really endear her to many 80s fans, but then she would also wrap up the decade co-starring in 1989's Weekend at Bernie's. You will find out about how she got her start and much more about her memories from those classic 80s films as we get on to some selections from my interview with Catherine Mary Stewart...

Q: I read that you had been a dancer before becoming an actor. When and how did you change directions into acting? At what point did you decide that acting/performing would become your career? From there, how did you go about pursuing that career?

Catherine: I started in Edmonton, Canada as a dancer and began serious training at 14. At 16, I was a member of a jazz dance company called "Synergy". The first time I performed on stage professionally, I knew on a visceral level that performing is what I wanted/needed to do. When I graduated from high school I traveled to London, England to study at a performing arts school focusing on dance and including acting and singing. One day on my way to class, I bumped into a couple of classmates headed to an audition that they had heard about for a movie that needed dancers. I decided to tag along. As it turned out, it was for a "futuristic rock musical" called The Apple. I was completely unprepared for the singing/acting part, as you were supposed to have something ready to perform for the director and producer, but I could dance. Surprisingly, the director pulled me from the dance audition and asked me to sing a song from the movie and read from the script for the lead female character. I ended up with the part and thus began my career as an actress! After shooting The Apple and armed with a lead role credit on my resume, I headed to Los Angeles to test the Hollywood waters.

Q: How did the role of "Maggie Gordon" in 1984's The Last Starfighter come your way? What were your expectations of the film and role when you first began?

Catherine: I was a regular on Days of Our Lives when the audition for The Last Starfighter came along. I auditioned for it and for the callback was coupled with Lance Guest. We instantly liked each other and apparently worked well together and were cast. Fortunately The Last Starfighter shot at night and Days of Our Lives shot during the day, so I managed to do both.

I don't remember having specific expectations of The Last Starfighter, in terms of its success. I know that I liked the script a lot and Nick Castle, the director, and everyone involved were so positive and passionate about the project and you really felt that on the set. It was truly a wonderful experience. I remember seeing it for the first time on screen and getting caught up in the story and forgetting that I was actually in it, so I suppose that's a good sign.

The Last Starfighter is a science fiction adventure about a teenage boy ("Alex Rogan" played by Lance Guest) recruited by aliens to help them fight an interstellar war because of his skills playing a particular video arcade game. While he is gone, an android is left in his place, which adds some comic relief to the film. Stewart plays Alex's girlfriend "Maggie". It also starred Robert Preston in what would be his final film role. The movie was released in July of 1984 and would be successful grossing over $28 million, but has gone to even gain popularity as a cult classic. Here is the original trailer for The Last Starfighter...

Q: What other memories do you have of making this Sci-Fi favorite?

Catherine: I remember being excited to go to work each night. There is a lot of "down time" when you're shooting movies and I remember spending a lot of time in my "honey wagon" (very small dressing room), trying to rest but being too excited to. I remember the coldest part of the night was just before the sun rose. I remember the wonderful actors in the trailer park, many of whom have now passed, and the upbeat, supportive feeling on the set. It was a special time for me.

Q: The film was directed by Nick Castle who had played "Michael Myers" in the 1978 original Halloween and co-wrote 1981's Escape from New York. What do you remember about your experience working with Castle?

Catherine: Nick is like a big kid, even to this day. I saw him recently and he hasn't changed at all! The Last Starfighter was his baby, so his enthusiasm permeated the set, and he treated us like gold. He's been trying to get a sequel made for some time that would involve Lance and I and the next generation. It's a wonderful idea! Let's get the message out that there are tons of "Starfighter" fans that would love to see that happen!

Q: What can you tell us about your co-star Lance Guest and your experience working with him?

Catherine: Lance and I are still good friends. In fact, he is now living in New York where I'm living, and doing a hugely successful play on Broadway called Million Dollar Quartet. It's absolutely fantastic! Anyone visiting New York must go see it. Check it out at www.milliondollarquartetlive.com/broadway-cast.html. I couldn't have asked for a better partner in The Last Starfighter. He was passionate about this role and challenged me to be a better actress opposite him. I love Lance!

Q: What were your feelings about it when the film was released in 1984? Were you proud of your performance and what you helped create? What changed for you personally after the success of the film?

Catherine: As I said earlier, I could separate myself from the film when I watched it, which is not easy when you're so big on the screen. I figured that was a good sign.

I think The Last Starfighter definitely helped establish me in L.A. A friend called me one time and said she was auditioning for a role that was described as a "Catherine Mary Stewart type"... We had a good laugh over that. We thought it would be funny if I went in and auditioned for it. What if I didn't get it...?

Q: What are your feelings about The Last Starfighter now over 25 years later?

Catherine: I think it's such a lovely, inspiring story. You really get to know and empathize with the characters. I think kids are able to relate to them because they are ordinary kids. They just happen to be in an extraordinary situation. The message is inspiring and relatable to young people as opposed to just trying to over stimulate their senses at every turn. I think it's a timeless message.

Q: Also in 1984, you starred as "Reggie Belmont" in Night of the Comet. How did that role come your way?

Catherine: Again, I auditioned for the film. This was before The Last Starfighter was out, so I didn't have a whole lot of clout. I remember at the callback for Night of the Comet, I was paired with another actress as my sister, and Kelli Maroney was paired with a different actress auditioning for the role of "Reggie". We were paired with actresses that looked more physically like us, but we ended up together. It's funny how that can happen.

In Night of the Comet, most of the world has been wiped out by a comet except for a select few. Stewart plays "Reggie", a rebellious tomboy, who is one that survived and now has to battle zombies and others to help save the planet. The film was a moderate financial success, but again has grown into an incredible cult classic over the years. Here is the original trailer for Night of the Comet...

Q: What drew you to that character? What were your original thoughts on the subject matter? What memories do you have of making this film?

Catherine: I was attracted to Night of the Comet because I loved the character of "Reggie". It was and still is unusual to find lead, powerful female characters to play. I also thought it was a unique script. It was scary with a twist, very tongue in cheek. I shouldn't really speak for him, but I think for Thom Eberhardt, who wrote and directed Night of the Comet, it was a kind of salute to the old horror genre films.

"Reggie" was a nice departure from the "Maggie" character for me. I had so much fun playing the tough, independent teenager, shooting Mac 10's and fighting zombies. "Reggie" is probably closer to who I really am. The shoot was bare bones in terms of budget so there was a real collaboration amongst everyone that worked on it. We were asked to shoot at some strange times and in odd places at times, but we were all in it together. There was some discussion on whether or not it would be a serious horror movie or stick with Thom's original vision, so we shot some scenes two different ways. Fortunately, in my mind, Thom's vision prevailed.

Q: What were your feelings about the final version of Night of the Comet when it was released in 1984? What are your feelings about it now over 25 years later?

Catherine: I think it's great and camp and I'm proud of it. I've had lots of women come up to me and tell how much they loved it as a kid and how it influenced them in some way. Again, I think it's a character driven fantasy that illustrates that women/girls can be powerful and independent. We don't see that very often. LOTS of guys loved it to, which only goes to prove that these kinds of characters work across the board. I'm proud of it.

Q: 1989's Weekend at Bernie's has always been an under-rated comedy favorite of mine. How did the role of "Gwen Saunders" come your way? What were your original thoughts on this unusual script when you first read it?

Catherine: I hate to sound redundant here, but I auditioned for it. This time, however, my first read was with Jonathon Silverman who was already cast. I remember coming out of the audition thinking I'd blown it completely and called my manager railing about what a mess I'd made of it. To my surprise I was cast as "Gwen".

Honestly, I thought it was a little silly. I didn't get the sophomoric, guy humor. I thought the scene where poor Bernie was dragged behind the boat banging into buoys was horrifying! Boy was I wrong! For most people I've talked to, that's their favorite scene.

In case you don't remember, Weekend at Bernie's stars Andrew McCarthy and Jonathan Silverman as two guys who find their boss deceased at his fabulous beach house and, believing that they are responsible for his death and that a hitman won't kill them if "Bernie" is around, they attempt to convince people that he is still alive. Stewart plays another co-worker who becomes the romantic interest of Silverman's character. Despite the morose subject matter, the film was very successful in theaters and even had a 1993 sequel. Also similar to her first two films, Weekend at Bernie's has developed into sort of a cult classic. Here is the original trailer for Weekend at Bernie's...

Q: Andrew McCarthy and Jonathan Silverman were the stars of the film. They really had good chemistry together and both displayed some fine comedic timing. What do you remember about working with McCarthy and Silverman?

Catherine: Jonathon was an absolute sweetie. We had a lot of fun and he was always really kind to me. I saw him about a year ago and he was just the same. Andrew kept more to himself. I didn't get to know him very well but he's hilarious in the movie and such a talented actor.

Q: The film was directed by the great Ted Kotcheff. What can you tell us about Kotcheff and your experience working for him?

Catherine: Ted, a fellow Canadian, was terrific. He can be a bear, but I mean that in the best way. Mostly a "teddy".

Q: Any interesting stories about making Weekend at Bernie's that you can share with us?

Catherine: I remember watching Ted's very pregnant wife walking up and down the beach while she was in labor during the shoot. Wow! That is one powerful woman. Then the message came that she was on her way to the hospital. Everything stopped and I'd never seen Ted move so fast to be with her. It was a beautiful thing.

Terry Kiser was a real trooper playing "Bernie". When they were shooting the scene where the boys discover him at his desk and realize he's dead, it was really Terry sitting there and he had to hold his breath while they shot the scene. Ted let the camera role after the scene had ended as a joke to see how long Terry could last. He slowly turned red and eventually gasped for breath. Everyone had a good laugh at his expense. Terry also suffered a back injury in the scene where he's in the back of the boat bouncing up and down just before he went flying out. He bounced badly once and ouch!

We shot in North Carolina. We were supposed to be in the Hamptons on Long Island. The house we shot in was literally built from the ground up on the beach, including the swimming pool to make it look like it was in the exclusive destination. It was really cool!

Q: What were your feelings about the final version of Weekend at Bernie's when it was released in 1989? Did you enjoy the comedy that you helped create? What are your feelings about it now over 20 years later?

Catherine: Weekend at Bernie's is a classic! It was even "Monica's" favorite movie on Friends! Gotta love that! To this day it's the most recognizable project I've been involved in.

Q: You worked with Kelly Preston and Jami Gertz in 1985's Mischief. What do you remember about making that film (which was set in the 50s) and what can you tell us about working with those two young actresses?

Catherine: We had so much fun working on that movie. We were a just a bunch of kids having the time of our lives! Lots of in-jokes and high jinx on the set and off! I loved that it was a period piece. It was so much fun dressing up in the wardrobe and interpreting what I perceived a young girl of that era might be like.

Kelly Preston was the sweetest thing. I haven't seen or spoken to her in years, but she seems the same. It must have been a challenge for her to play someone who was not necessarily likeable. I was in awe of her style and her beauty. Jami Gertz was so funny in the film and to watch work. She is a true comedienne. Very talented.

Q: Then in 1987, you worked with Jon Cryer in Dudes. What can you tell us about this lesser known film and your experience working with Cryer?

Catherine: Dudes was like a fantasy movie for me to do. I was a big fan of Westerns growing up and I always fantasized about galloping full out across the plains on horseback. I got to do that in Dudes and as well as some serious gun play! I was a tough gal in this! Jon Cryer and Dan Roebuck were a pleasure to work with. Again, redundant, but so talented!! I've been so lucky with the people I've worked with.

Q: In 1991, you were in the Disney movie Perfect Harmony. You played the daughter of Darren McGavin who I am a huge fan of from his role in A Christmas Story. What can you tell us about Darren McGavin and your experience working with him?

Catherine: Well, what an honor. Darren McGavin is a legend! I've worked with so many legendary actors of that generation including Robert Mitchum, Karl Malden, Angie Dickinson, Anthony Hopkins, Rod Steiger (twice), Jean-Pierre Aumont, Celeste Holm, Fred Gwynne, Kevin McCarthy, Charles Bronson, etc. I mention them because so many of these amazing actors are gone and so is an era of actor that I am in awe of and learned so much from.

Q: Are there any 80s roles (TV or movies) that you auditioned for and did not get that would be surprising or particularly interesting especially looking back now?

Catherine: Well, ya! In retrospect, there are many projects that had I been involved with them, my path most likely would have changed dramatically. My life has been plenty surprising and interesting, so I have no second thoughts or complaints.

Q: After over three decades in the industry, from your perspective, how has it changed both for the good or bad?

Catherine: It certainly has changed!! While I was raising my children, I was less involved in the business. When I decided to jump back in, I certainly noticed how things had changed. It seems to be less personable, colder, more cut-throat in a way. It seems to me that there are huge productions with massive budgets that stick with uninteresting formula themes and hire huge stars in the hope that the combination will make tons of money. On the other hand, I've been lucky to be involved in some smaller productions where the directors and producers are less jaded and the scripts are interesting to me. Sadly, there is very little money involved and making a living as an actor for me is challenging to say the least. The one thing that is encouraging is that smaller productions are getting some recognition, so hopefully the trend will shift.

Q: What role do you feel you get remembered most for? Do you still get recognized in public a lot? For which role do you get recognized most?

Catherine: There are different kinds of recognition. Days of Our Lives, of course, had a huge following. A different and separate group would be sci-fi/horror genre fans that know me from Starfighter and Comet. Guys of a certain age, I would say are synonymous as fans with Bernie's, and a lot of stuff I've done lately for Lifetime or Hallmark have a whole different fan base. I live in New York, so people give you a lot of space, but I do get the occasional nod here and there.

Q: Between 1993 and 1999 you did not have any acting roles that I could find. I assume this was the time when you were starting your family. How have your priorities changed since back in the 80s? How do you balance family and work now?

Catherine: I was focusing on my family to be sure. Certainly my priority is my family. I'm fortunate to be married to a man who is willing to take over if I'm on location. I have also spent some extended periods in L.A., but I will fly home often. The kids are older now, so it's not as challenging.

Q: Have your children watched your early 80s movies like The Last Starfighter or Night of the Comet yet?

Catherine: A few years ago, both my children decided to have a sleepover with a bunch of their friends for their birthdays. They celebrated by "screening" some of my movies. It was totally their idea, but I can't say that I wasn't tickled. It was pretty cute, especially when the girls screamed at the scary bits during Comet.

Q: What has Catherine Mary Stewart been up to more recently? Both acting and otherwise? Any remaining ambitions or regrets?

Catherine: I feel like I've been busier than ever! It's great and I'm trusting in the theory that work begets work. My ambition at this point is to produce and direct. That would be very interesting to me. Regret is a waist of energy. There is so much left to do!

I am delighted that Catherine took some time to answer my questions so I could share them with you here. It was very cool to find out more about films like The Last Starfighter, Night of the Comet and Weekend at Bernie's which I have found to be favorites to so many. I hope the rumored sequel to The Last Starfighter does get made as long as the original players are all involved. I want to take this opportunity to again thank Catherine Mary Stewart for her contributions to 80s pop culture especially with her roles in those classic films and, even more, for going back to the 80s for a little while with us here as well.

That'll do it for another 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: Do you remember all of the sweaters that Dr. Huxtable wore on The Cosby Show? Bill Cosby's colorful sweaters have become something of a phenomenon in and of themselves. The Cosby Sweater Project, highlights the best - and worst - of this favorite TV family's unforgettable knitwear. The Cosby Sweater Project, whose creator has been identified by several blogs as Kelly Tucker, intends to highlight one garment from each episode of the eight-year series. She is still in progress, but there is enough there to entertain you with many, many more to come. Click on the link to check it out and you can reminisce about one of the best television series of all time.

Quote of the day: "The gift of fantasy has meant more to me than my talent for absorbing positive knowledge." -Albert Einstein

This time that awesomeness is Marv Ross. He is a guitarist, songwriter and producer best remembered by 80s fans as a founding member of Quarterflash. In 1981, with his wife Rindy who was a vocalist and saxophonist, he formed the band which would go on to produce four albums resulting in more than 2 million records sold. This includes their award-winning platinum debut album, which featured the hit single, "Harden My Heart". You will find out more about Marv and Rindy Ross, how Quarterflash came together and their big 80s hit single as we get on to some selections from my interview with Marv Ross...

Q: How did you & Rindy meet each other? Was there immediate chemistry between you? When did you start performing music together? How did Seafood Mama come about?

Marv: Rindy and I met as juniors at Madison High School in Portland, Oregon. Yes, there was a mutual attraction and we started dating soon after we met. We didn't perform together until over a year after we met. We were 18 when we played our first "gig" together as an acoustic duo. Seafood Mama was our 3rd band and we put that group together in 1977. We had known the bass player (Blaine Moody) and drummer (Morrie Woodruff) from previous bands and the fiddler (Bruce Sweetman) was my violin teacher.

Q: When and how did Seafood Mama evolve into Quarterflash? How and why was that name chosen for the group? What were your expectations and goals when you started out?

Marv: Seafood Mama broke up in 1980. Rindy and I started working on the first Quarterflash album without a band or a band name. It was just the two of us with Los Angeles studio musicians. The album took almost a year to record and during that time we found the other musicians (Jack, Brian, Rich, Rick) all playing together in a North West band called, "Pilot". We got the name Quarterflash from a book about early Australian slang phrases. In the early 1900's, Australians would refer to newcomers to the country as being "one quarter flash and three parts stupid". Our goal was to make the best record we could. We didn't know what to expect, honestly.

Q: Please take us back to when "Harden My Heart" was conceived and written. What is the back story and what inspired the song? How long did it take to write? What is the intended meaning behind the song? Was it personal at all?

Marv: A friend of mine gave me the title. I came up with the lyrics very quickly. The title came first and I don't really remember how the rest came about. I usually write the music and words simultaneously. It wasn't a personal story - just made it up. The chords are simple but voiced so as to make it sound more complex than it is. The whole song is really the groove which we called a shuffle in those days. Rindy came up with the sax line. The whole thing was written in less than a week and recorded in our basement for the Seafood Mama version. It sold 10,000 copies in Portland and Seattle and was the key to us getting signed to Geffen records.

Q: When you first recorded it in 1980, did you feel you had something special? How did it feel when you first heard it on the local Portland radio?

Marv: We thought it sounded like a hit song, but you never know, of course. It was very fun to hear it on the radio - we'd always turn it up when it came on.

Q: How did this initial exposure lead to Quarterflash getting signed to Geffen Records?

Marv: "Harden My Heart", "Find Another Fool", and "Right Kind of Love" were all on our demo that Geffen and other labels got from our manager. I think the combined strength of all those tunes led us to getting signed, but certainly the local success of "Harden" was the key.

Q: A re-recorded "Harden My Heart" was included on your debut album in released in 1981. What was changed, if anything, on this re-recorded version?

Marv: My guitar solo was changed (for the better, I believe), but that was the only thing really changed. Of course, it was recorded at the Record Plant in L.A. instead of in our basement in Portland, so the sounds of everything were better (drums, bass, etc.)

Quarterflash released their self-titled debut album in October of 1981. In less than a year, the album would be certified platinum selling over a million copies. This was achieved on the strength of "Harden My Heart" which would reach #3 on the Billboard Hot 100 in January of 1982 and hit #1 on the Billboard Mainstream Rock chart as well. The song was written by Marv Ross and features the vocals and saxophone of Rindy Ross. The lyrics describe a situation where the singer finds strength to leave her man and is determined to do it without getting all emotional. The album also included the single "Find Another Fool" which would later reach #16 on the Billboard Hot 100. Here is the video for "Harden My Heart" by Quarterflash...

Q: It is surprising to many that in addition to the lead vocals, it is Rindy who provides the outstanding saxophone in this song. It is unusual to see a lead singer (especially female) who also plays the saxophone. I'm interested to find out how you write the sax into your songs. When writing the song, do you plan on putting the sax in it right from the start?

Marv: The sax parts usually come last. Sometimes I have a vague idea of a melody that Rindy refines, but usually it's her creation, her melody. She has a gift for coming up with hooky, powerful sax lines.

Q: Saxophone solos were much more commonplace back in the 80s and were included in some of the best songs of the decade. What are your feelings on the saxophone solos in 80s music? And why it is not featured in pop music much anymore?

Marv: I don't know why it is not featured anymore; it is such a cool sound. And yes, the 80s had so many great sax riffs. I think Rindy was influenced most by Clarence Clemons with Bruce Springsteen's E Street Band, but she had been playing for years. I think Clarence played tenor lines that were not jazzy, but simple and emotional and rock. That's what Rindy did, too.

Q: The single would reach #3 on the Billboard Hot 100 and become one of the most popular songs of 1981. Could you have ever anticipated the success it would end up having? What changed for you personally and for Quarterflash after the huge success of this single?

Marv: We knew it had a good chance because it was a regional hit. We did not anticipate it being such a big hit. We got lots of publicity, TV shows, great tours like with Elton John, and a nice "bump" in our income.

Q: When you have a mega hit song like that, do you (or did you) ever get sick of playing it?

Marv: No, we do not. We like the song and people love hearing it.

Q: What are your feelings about "Harden My Heart" today 30 years later?

Marv: I feel so lucky to have had a hit song that everyone knows.

Q: The music video for "Harden My Heart" includes many random images. This was a time when music videos were just becoming mainstream. How was the concept for the video developed? Do the images signify anything or have any symbolic meaning in particular or are they just random interesting images?

Marv: Well, it wasn't developed. It was a Fellini-esque concept that the director (whose name I forget) just sort of "winged" in half a day with a very small budget. They were just random weird images. Rindy hated it, but I thought it had "moments".

Q: Your video received frequent airplay on MTV being released the same year that MTV went on air. What are your thoughts on the impact that MTV had on music in the 80s?

Marv: It changed everything and the artists like Michael Jackson and Madonna who had great videos became the biggest stars in that era for better or worse.

Q: Please discuss the circumstances surrounding getting dropped by your label and disbanding in 1985. At the time, did you feel like you would ever perform and record as Quarterflash again?

Marv: The circumstances were that Geffen wanted us to be a Top 40 singles band and we were looking for new directions to explore. We wanted off the label and they let us go. The band breaking up had nothing to do with the label switch. There were personal artistic differences within the group that led to the split. I thought we might be done, but Rindy believed in the group and rallied us to keep going.

Q: Some 80s pop superstars "run away" from the 80s and some embrace the success and fans from that decade. (If at all) How do you personally deal with and keep the 80s alive and in perspective?

Marv: I'm happy for the success we had in that decade and thankful for all our fans. Our music evolved and changed and so we went on to record music that does not sound like that era, of course. When we play in concert now, we do at least half the material from that time.

Q: I have to ask you about being married and working together like you do. Has this ever been a challenge? Has it gotten easier or harder over the years? Are your accomplishments even sweeter since you shared the experiences and conquered them together?

Marv: Yes, naturally there have been challenges. It has gotten easier over the years, for sure. It's helpful to have someone go through the good and band with you - someone who understands what you are going through and can relate to the highs and lows.

Q: It certainly is unusual (and admirable) for a couple like you to make it work for so long. If you don't mind me asking, what is the secret to maintaining both your professional and personal relationship at the same time?

Marv: We keep them separate and that's the key. We fell in love and dated for nearly two years before we played professionally together, so the relationship came first and will always remain so.

Q: After over three decades in the business, from your perspective, how has the music industry changed over that time? How do you see the future?

Marv: The music industry is "in the tank" right now and I thank my lucky stars that I''m not in my twenties today trying to make it in the biz. I think the internet has hurt musicians as much as helped. The industry needs passionate driven young artists that are not from the American Idol mold. They are out there, but it is harder to find an audience and a platform for new music.

Q: How have your priorities changed over the years compared to back in the 80s? How has this affected your music, if at all?

Marv: Well, I'm not concerned with what my label thinks. These days, it's really about writing the best songs we can and finding the gigs that will be the most fun. It has freed me to write in any style about any thing.

In 1991, Marv and Rindy formed Ross Productions to create music for North West audiences. Their first project was a commission from the state of Oregon to produce a musical based on diaries of immigrants on the Oregon Trail. From that project came The Trail Band and nine CDs of traditional Americana music. You can find out more about them at the official website: www.trailband.com Also, the Rosses gained a deep interest in Native American music and Marv began to write his second play, "The Ghosts of Celilo" (pronounced Suh-Lie-Low), a Broadway-styled musical featuring Native American music and culture. You can find out more about that project at www.ghostsofcelilo.com.

Q: Quarterflash released a new album, Goodbye Uncle Buzz, in 2008. What are your feelings regarding this album?

Marv: I love this record, but it is a dark collection of songs. This was us exploring our families growing up and we both had some pretty dark times. It was kinda like therapy for us creating that CD.

Q: Can we continue to expect more new music from Quarterflash? What inspires you to continue writing and recording new music after all these years? Where do you feel that Quarterflash fits within the contemporary musical landscape?

Marv: Yes, we are working on a new batch of tunes right now. I love the process and it's still a thrill to hear a song develop and played back through speakers in a good studio. Not sure we do [fit in the contemporary landscape], but there are a lot of folks not that different from us and if we write what we feel, chances are other folks will feel it, too.

I am very happy that Marv took some time to answer my questions so I could share them with you here. You can stay up to date with Quarterflash at the official website www.quarterflash.net/ I want to take this opportunity to again thank Marv and Rindy Ross for their contributions to 80s pop culture especially with Quarterflash's "Harden My Heart" and, even more, for taking a walk down memory lane with us here as well.

That's all for another 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: In my continued search for humorous and/or ironic signs, I came across another gem. This time there is even an 80s connection with a nod to "Hello", the 1984 hit single by Lionel Richie...

Quote of the day: "Music is forever; music should grow and mature with you, following you right on up until you die." -Paul Simon

This time that awesomeness is John Wetton. He is the bassist, keyboardist, singer and songwriter best remembered by 80s fans as the frontman and principal songwriter of the supergroup Asia. The band formed in 1981 and, in addition to Wetton who formerly belonged to King Crimson and UK, included Geoff Downes and Steve Howe from Yes and Carl Palmer from Emerson, Lake & Palmer. Asia's debut album was one of the most commercially successful of the entire 80s decade and the band would play to sold out arenas full of adoring fans. Asia certainly had the love of the record-buying public as well as the respect of their peers. You will find out a little more about how the supergroup came together, the origination of some of their biggest hits and the ups and downs that have led to the original line-up reunited and heading out on tour again as we get on to some selections from my interview with John Wetton...

Q: Did you always know you wanted to be a musician and performer?

John: Yes, I was musically minded as a child, learning the piano (my first instrument) from the age of six, my elder brother being an organist and choirmaster. While I was growing up, my influences were hymnal and European church.

Q: What is the story of how the supergroup Asia formed in 1981? How and why was the band name "Asia" chosen?

John: I had become the protege of John David Kalodner, from Atlantic records. He had been "grooming" me for a band of my own for many years (since 1976). When he moved to Geffen records, the time was right. I had recently moved management from EG (with King Crimson and UK) to Brian Lane. It was Brian who suggested the name "Asia". No-one particularly liked it except me, I persisted, and it became our name. I liked it ---four letters, four people.

Q: How were you chosen to be lead vocalist for the group?

John: I had been lead vocalist with King Crimson and UK. They were my songs, why would I not want to sing them?

Q: At that time, was there a preconceived effort to commercialize the bands' progressive rock roots and target mainstream pop success?

John: Not particularly--- listen to Caught in the Crossfire, my solo album for EG directly prior to the formation of Asia . It tells you the direction very clearly.

Q: In 1982, Asia's amazing self-titled debut was released becoming a massive worldwide success and the #1 album of the entire year. When you recorded this album, did you feel it was going to be something special? Could you have ever anticipated the incredible reaction this album would have worldwide?

John: We knew it was special, but we had no idea that it would be quite so stratospheric. The singles, plus recent MTV video promotion, put times ten on our sales. The image of the group was perfect for MTV, and we sounded terrific on the radio (courtesy of Mike Stone), so we had a lot going for us.

Asia released its self-titled debut album in March of 1982. The album would go 4x platinum selling over 4 million copies in the U.S. and over 10 million worldwide. It would spend 9 weeks in the top spot on the Billboard album chart and would ultimately become Billboard's #1 album for 1982 on the year-end chart. The album included two big hits with the first being "Heat of the Moment" which would reach #1 on the Billboard Mainstream Rock chart and peak at #4 on the Billboard Hot 100. The lyric "incidents arose from circumstance" is one of my all time favorites. Here is the video for "Heat of the Moment" by Asia...

Q: The first single from the album, "Heat of the Moment" became a huge hit. You and Geoff Downes are credited with writing this song. Please take us back to when you wrote and recorded that song. Is there any back story to its creation? What inspired it? Did you expect it to be such a pop hit?

John: The lyrics are an abject apology for my dreadful behavior towards a particular woman (the woman I would eventually marry, but divorce 10 years later), the chorus began its life as a 6/8 country song, but when Geoff and I started writing together, we moved the time signatures around, and "Heat of the Moment" emerged. No-one else particularly "got" the song, and it was the last song to be recorded for the album. This was the case with the next two albums (that the last song recorded was to be the first single---I think it's because Geoff and I are very, very focused by the end of recording) with "Don't Cry" and "Go".

Q: Your next hit single, "Only Time Will Tell" is a personal favorite of mine. Again, please take us back to when you wrote and recorded that song. Is there any back story to its creation? What inspired this one?

John: It's fairly self explanatory. It's my lyrics again; a very personal one about the end of a relationship, and it's my verse, Geoff's chorus ("Heat of the Moment" is the other way around). I had been stockpiling songs during the leadup to Asia, and a lot of my lyrics were about personal experience--Joni Mitchell is one of my all-time heroes, and she is undisputed queen of the confessional.

"Only Time Will Tell" was the third single released from the album and would peak only at #17 on the Billboard Hot 100 while reaching #8 on the Mainstream Rock chart. Here is the video for "Only Time Will Tell" by Asia...

Q: When you have mega hit songs like those, do you (or did you) ever get sick of playing them?

John: I never tire of playing any biggie. I am grateful that it chimed with so many people, and the "hits" (whether they be Asia, King Crimson, UK) are my tattoos.

Q: Asia videos received heavy rotation on MTV which surely helped exposure and popularity. What are your thoughts on the music video medium and the impact that MTV had on music in the 80s?

John: I think I mentioned earlier that MTV turned the record industry into a multi-million selling industry ----songs were being paired with movies, movie clips were being used in promotional videos, and records were selling 10 times as many as before.

Q: Would you be willing to take us through what happened back in 1983 when you were briefly replaced in the band by Greg Lake? This was surprising timing since you were not there for the big "Asia in Asia" concert in December of that year which was covered live from Tokyo by MTV. Then in early 1984 you reunited with the group to start work on another album. How did that all go down?

John: I was expelled from the group in a Machiavellian conspiracy. Management and the record company combined to oust me "for personal reasons". They said I drank too much. True. That I was arrogant. True. That I wasn't a team player. True. But did I deserve to be expelled from the group that I started? No. Would the public accept this blatant travesty? No.

Q: How did your song "Gypsy Soul" end up on the soundtrack to the 1987 Sylvester Stallone film Over the Top? You worked with Giorgio Moroder on that song, correct? What can you tell us about that experience?

John: It wasn't my song. I just sang it. I spent a week in California with Tom Whitlock and Giorgio Moroder. I was supposed to sing "Winner Takes It All", and did---but ended up in the film Over the Top just with "Gypsy Soul". Tristar preferred Sammy Hagar's "Winner". I still like mine better---it sounds more "Asia", more controlled, with perfect harmonies, but they liked the Rock 'n Roll of Sammy Hagar.

Q: Some 80s pop superstars "run away" from the 80s and some embrace the success and fans from that decade. (If at all) How do you personally deal with and keep the 80s alive and in perspective?

John: I love the people that still follow me from the 80s. Asia toured with Yes two years ago, and it was obvious that their core audience is a good ten years older than ours---I prefer the way we are. Also the gap is not too drastic for younger listeners.

Q: What led to you leaving Asia again in 1991, this time for a prolonged time?

John: I've never left this band! I decided to do a solo album (Battle Lines) and Geoff decided to carry on without me. You be the judge of that decision, not me.

While Wetton was focusing on that solo album, John Payne joined the band as vocalist and bassist and would front Asia for about 14 years until 2006. After Wetton returned, an agreement was reached which allowed Payne to continue performing as "Asia Featuring John Payne" while the original members would also begin performing as Asia as well.

Q: What is the deal with the "Asia Featuring John Payne"? What are your feelings about another band out there performing your beloved classics?

John: Anyone, any tribute artist, can play my songs---it's legal, and does not bother me. However, someone trying to pretend they originally performed or wrote that material does. I don't lose any sleep over other bands staying within the law on this point.

Q: After over four decades in the business, from your perspective, how has the music industry changed over that time? And how do you see the future?

John: I don't care to dwell on the past, or look too far into the future. I try to keep my mind firmly in today, this moment.

Q: Asia just released the album Omega in 2010. What are your feeling regarding this particular album? Where do you feel that Asia fits in to the contemporary musical landscape?

John: I don't know, Geoff and I just do what we've always done---write and produce quality material---prog/pop, if you will. People still seem to like it. When they don't, we'll stop.

Q: What else is John Wetton up to nowadays? Musically and otherwise? Any remaining ambitions or regrets?

John: No unfulfilled ambitions or regrets---everything that happened so far has been for a reason. I've just finished my next solo album, Raised in Captivity with Billy Sherwood producing in California . I'm going on the road with Eddie Jobson, Marco Minneman and Alex Machacek in April as UK's 30^th anniversary, and Asia is back on the road in May, recording later this year.

I am very honored that John took some time to answer my questions so I could share them with you here. Special thanks to Patzi Cacchio for helping to coordinate the interview. To find out more and keep up with everything he is doing, please be sure to visit the official website at www.johnwetton.com and you can also visit the official Asia band website at www.originalasia.com/. I want to take this opportunity to again thank John Wetton for his contributions to 80s pop culture especially with Asia and, even more, for taking a moment to reminisce about the 80s with us here as well.

That will do it for another 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: As regular readers surely know, I like to share signs that I find humorous and/or ironic. Here is a sign that I came across regarding the drinking water in this location...

Quote of the day: "Achievement is largely the product of steadily raising one's level of aspiration and expectation." -Jack Nicklaus