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Soundtrack Saturday: “Times Square”

There are many weeks when I sit at my computer and lament the fact that I have no fucking clue what I’m going to write about for this column. The list of movies and soundtracks I want to write about is a mile long, but finding complete soundtracks, whether they were once in print or never at all, is a daunting task sometimes.

The frustrating thing is that I have some soundtracks on vinyl that I’d love to share, but I haven’t been able to invest in a quality USB turntable that would allow me to rip them into MP3 format myself. Some are soundtracks to movies I’ve never seen that are out of print on DVD, VHS, or both, but the albums looked so great I had to buy them. This week’s movie was just such a case until a few days ago.

On one of my many visits to Chicago last year, my home away from home, I found a used copy of the double-LP soundtrack album for Times Square (1980) that was in really great condition. I’d never heard of the movie, but the record’s front cover immediately grabbed my attention, because listed among the names of the featured artists was the Ruts — and I love the Ruts. A lot.

I flipped the soundtrack over and read the entire track listing. Despite the fact that I already had many of the songs, I bought the album anyway, because I had a feeling it might be kind of rare (the $3.99 price tag didn’t hurt, either). It turns out I was right — it’s way out of print, and new or used, good- to mint-condition copies go anywhere from $15 to $100 on sites like eBay and Amazon Marketplace.

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Soundtrack Saturday: “A Chorus Line: The Movie”

I started off 2010 writing about the soundtrack to a television series for the first time. And now it’s time for another first: a movie musical. You’re so excited I can hear you squealing with joy all the way from my couch.

I know my choice of A Chorus Line: The Movie (1985) will be a bit controversial, particularly for fans of the stage show, but I don’t care. I grew up watching this movie and, since this column is (mostly) not a democracy, I’m going to write about whatever I want.

I will start out by telling you that I’ve never actually seen A Chorus Line on stage — Broadway or otherwise. I know that’s  a bit ridiculous, since it was one of the longest running Broadway shows in history, which also had a touring production that probably made its way through my neck of the woods several times. I always wanted to see it, but it just never worked out for me.

I do, however, have the album of the original 1975 Broadway cast recording and I’ve listened to it many, many times. So while I can’t speak from first-hand experience about the differences between the movie and the stage show, I can at least speak about the differences in the songs.

I know I’ve told you several times that I have an unhealthy obsession with 1980s dance movies, and director Richard Attenborough’s film adaptation of the successful Broadway musical came out right at the height of my interest in this genre, so of course I was immediately obsessed with it. I watched it over and over on cable, even taping it onto a blank VHS tape, which I proceeded to wear out. I eventually bought the soundtrack on cassette with birthday money when I was 10 years old and played it to death on my boom box. I actually still have that cassette and, until recently, it was the only way I could listen to the now out-of-print soundtrack album. I finally got my hands on a CD of the album and now you get to benefit from my find (well, some of you might think you’re benefiting).

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Soundtrack Saturday Special Edition! Best Original Song, 2000

Welcome to the final installment of Soundtrack Saturday Special Edition! Best Original Song. I hope you’ve enjoyed these past few weeks as we’ve explored various Oscar nominees for Best Original Song. And if you haven’t … well, I guess you can’t please everyone.

I considered writing about a group of nominees from the ’70s this week to close out the series, but I ultimately chose the 2000 Academy Awards (for those of you just tuning in, I go by the year the Oscars were handed out, not the year the films were released) because, to be honest, it was the year Aimee Mann was nominated, and I love Aimee Mann.

The first Academy Awards of the 21st century (cue someone telling me that, technically, 2001 was the first year of this century) were dominated by the Alan Ball-penned, Sam Mendes-directed American Beauty, which was nominated for eight awards and won five. The 2000 telecast was the first to receive a TV-14 rating, allegedly because of “risque” clips from American Beauty that were shown.

It was also the year that shit getting lost made headlines. First, more than 4,000 Oscar ballots got lost in the mail, which forced the Academy to send out a new batch and extend the voting deadline by two days. Then 55 Oscar statuettes disappeared on their way to Los Angeles from the manufacturer in Chicago, R.S. Owens. The weekend before the ceremony, all but three of the statuettes were found by a salvage worker near a trash bin in L.A.’s Koreatown neighborhood. He was given a reward by the trucking company that shipped the Oscars and was invited by the Academy to attend the ceremony.

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Soundtrack Saturday Special Edition! Best Original Song, 1988

Welcome back to another week of exploring the Academy Awards Best Original Song nominees. This week’s column is dedicated to our own Jason Hare. Keep reading to find out why.

I almost wrote about the 60th Academy Awards last week, but I didn’t want to do two posts in a row dedicated to the ’80s, lest you think I’m biased toward that decade for some strange reason. Next week will be the last of these Oscar-related columns, so I’ll either be covering a year from the ’70s or one from the first decade of this century.

When I look at the nominees and winners from the ‘88 ceremony (as a reminder, I’m going by the year the awards were given out, not the year the movies came out) I’m actually quite impressed –  I don’t think there’s a single nominee in the major categories that I disagree with.

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Soundtrack Saturday Special Edition! Best Original Song, 1997

Here we are again with another Best Original Song special edition of Soundtrack Saturday.

Those of you who actually read last week’s column didn’t seem to disagree with the 1981 winner, “Fame,” so I’m curious to see how you feel about the winner from the next year I’ve chosen: 1997.

I almost wrote about a different year from the ’90s this week, but I decided on 1997 because two actors nominated for Best Actor in 2010 costarred in two of the films containing 1997 Best Original Song nominees: George Clooney, who’s nominated for Up in the Air this year, in One Fine Day, and Jeff Bridges, a nominee for Crazy Heart, in The Mirror Has Two Faces.

Also,  my Oscar obsession really began with the ‘97 awards ceremony. I had watched the telecast almost every year previously, but this was the first time I was truly interested in how things would play out. And I find this year fascinating because so many of the nominated films were independent — in fact, there were so many independent films nominated that the media had dubbed it the “year of the independents.” Yet, if you look at the films from which we get the Best Original Song nominees, most are pretty mainstream — and so are the songs.

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TV on DVD: “Small Wonder: The Complete First Season”

Hi-ee, everybody!

For years the answer to the question “Is Small Wonder on DVD?” has been “No no no no no no!” But Shout! Factory has made dreams (nightmares?) come true for fans of the syndicated, cult-classic ’80s sitcom by releasing the entire first season on DVD.

I admit it — I was giddy with anticipation when I first read the announcement many months ago that Small Wonder was finally coming to home video. And when the package containing my review copy arrived in the mail, I was even more excited.

Sadly, life and other stuff got in the way of me watching the four-disc set until this past week. I know Jeff Giles was very disappointed that I didn’t immediately pop the first disc into my DVD player the moment I ripped the shrink-wrap off the brightly colored (yet surprisingly thin) packaging.

Trapped in my house by one of the many snowstorms Cincinnati’s had in the past few weeks, I decided it was time to let V.I.C.I. and the Lawson family back into my life.

Before I go any further, let me give you the 411 on Small Wonder’s premise: Ted Lawson (Dick Christie) is a genius cybernetics engineer who works at a robotics firm in California. One day he brings home his latest top-secret invention, a robot he calls a Voice Input Child Identicant — or V.I.C.I., for short (Tiffany Brissette) — who looks like a ten-year-old girl.

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Soundtrack Saturday Special Edition! Best Original Song, 1981

I love awards season. It’s my version of the playoffs in sports. The first big game is the Golden Globes, and the Super Bowl or World Series or whatever the fuck other big championship-game analogy you want to come up with is the Academy Awards.

I take awards season very seriously. I see as many nominated films as I can. I keep track of all the winners at the different awards ceremonies and use that information to hone my Oscar predictions, because I often participate in Oscar pools. Some involve money, some don’t.

I get into heated discussions with fellow film buffs about the nominees and our projections for the winners. And I make a special dinner for Oscar night, complete with a bottle of champagne. As my friend Stacey would say, “This is not a game.” OK, maybe it is, but it’s a far more entertaining game for me than any sport.

In honor of my favorite time of year, I decided to do a special series of Soundtrack Saturday posts centered on one of my favorite — and one of the most frustrating — Oscar categories: Best Original Song.

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Soundtrack Saturday: “Don’t Tell Mom the Babysitter’s Dead”

I’m going to say this without an ounce of shame: Don’t Tell Mom the Babysitter’s Dead is one of my favorite movies of the ’90s. (Notice I didn’t say it’s among the best of that decade, just that it’s one of my favorites.)

I was never much of a Married … With Children fan, and in 1991 that was the only work of Christina Applegate’s I’d ever seen, so I wasn’t terribly interested in her first big-screen comedy when it hit the theaters. But a few of my friends went to see it and told me I’d love it, so I relented. I’m glad I did.

Don’t Tell Mom the Babysitter’s Dead, directed by Stephen Herek (Bill & Ted’s Excellent Adventure, Mr. Holland’s Opus), came out the summer I turned 13. At the time its story about five kids, most of them teenagers, getting to spend an entire summer alone, unsupervised, sounded more like a fantasy film than a comedy. My brother and I hadn’t been left alone for more than a weekend, so we were extremely jealous of the Crandell kids and their good fortune (though we weren’t heartless enough to be glad that an old lady incidentally died for their freedom).

With their divorced mother (Concetta Tomei) in Australia all summer, the Crandell siblings — recent high school grad and aspiring fashionista Sue Ellen (Applegate), who’s the oldest; burnout stoner metalhead Kenny (Keith Coogan); girl-crazy Zach (Christopher Pettiet); tomboy Melissa (Danielle Harris); and TV-addicted Walter (Robert Hy Gorman) — fantasize about a fun-filled summer without mom around to nag them. Their dreams are quickly dashed, however, upon the arrival of the elderly babysitter who’s been hired without their knowledge, the seemingly sweet Mrs. Sturak (Eda Reiss Merin).

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Get to Know… You, You’re Awesome

“A long time ago there were dinosaurs, and dinosaurs loved making music.” —Yusef Quotah, on how his band, You, You’re Awesome, got started

I don’t think I’ve ever been more excited about the great music originating from my hometown: incredible bands like Heartless Bastards, Wussy, the Seedy Seeds, Bad Veins, and, last but not least, You, You’re Awesome are making me very proud to be a music lover living in Cincinnati. With many national acts choosing to skip the ‘Nati the past few years, it’s comforting to know that on almost any weekend I can go to a local club and hear some incredibly talented local musicians do their thing.

I have to admit that of all the amazing music coming out of here, the electronic/live drum sound of You, You’re Awesome is among my favorites. Named after a song by the band Do Make Say Think, YYA is Kevin Bayer (drums) and Yusef Quotah (keys/synths/Atari/anything he can get his hands on that’ll produce the sounds he wants to make). The pair met several years ago on the message boards of the independent, now Internet-only radio station WOXY (fun fact: that’s where I met them as well before meeting Yusef in person, followed by Kevin a few years later).

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Soundtrack Saturday: “Satisfaction”

Last summer I wrote about one film starring a Family Ties cast member as a struggling rock musician. Now I bring you another. That’s right, girls and boys, it’s time to get some Satisfaction (1988).

Retitled Girls of Summer for TV, Satisfaction is probably most notable for being the feature-film debut of two of its stars, Justine Bateman and Julia Roberts.

While Bateman already had a successful television career, having starred as Mallory Keaton on NBC’s Family Ties since 1982 as well as in several TV movies, Satisfaction was Roberts’s first big acting gig (she had previously only appeared in an episode of Crime Story, another NBC series, and a dinky little movie called Firehouse, in an uncredited role).

Also starring Trini Alvarado (Little Women), Scott Coffey (Shag), Britta Phillips (of rock duo Dean & Britta), and Liam Neeson, the movie centers on Bateman’s character, Jennie Lee, a recent high school grad who’s also the lead singer of an all-girl rock band called the Mystery. After convincing her older brother — the head of the household, since their parents are dead — to allow her to spend the summer with the band, Jennie Lee and the Mystery — bassist Daryle (Roberts), drummer Mooch (Alvarado), guitarist Billy (Phillips), and newly recruited male keyboard player Nickie (Coffey) — head off to audition for a gig as the house band at a beachfront bar.

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