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Arrested Development Tag

Bottom Feeders is back! And this time, we’re going ’90s on your ass. If you missed the two ’80s editions, here’s the deal. Bottom Feeders takes a look back at every song that hit the Billboard Hot 100 charts, but only if they didn’t crack the top 40. It’s not meant to be a comprehensive review of each tune or each artist, but rather my view of the music I grew up loving. It’s meant to bring back all the great and really crappy songs that have faded into oblivion over time for one reason or another And, the series is designed to get discussions going about the music. I don’t have expert knowledge of every song posted here but I want to hear from you with your memories of the tunes, comments about a artist or general thoughts.

Section 1: The Ass End

Arrested Development
“Revolution” 1992, #90 (6 weeks) (download)
“Ease My Mind” 1994, #45 (12 weeks) (download)

Though certainly not the best song Arrested Development ever made, “Revolution” pretty much sums up their entire message in this one track coupled with its appearance in the Denzel Washington epic Malcolm X.

“Ease My Mind” was the only Hot 100 hit from their second record, Zingalamaduni which contained nothing as catchy as “Tennessee” or “Mr. Wendal.” They broke up after that and Speech released some sketchy solo records before the group reunited without Headliner in 2000 and have been releasing records that no one has heard since that point.

Oh, and I can’t forget, “A game of Horseshoes!”

Artie the 1 Man Party
“A Mover La Colita” 1995, #65 (19 weeks) (download)
“Esa Nena Linda” 1996, #74 (14 weeks) (download)

I think the singles officially were presented as DJ Juanito presents Artie the 1 Man Party although I’m not really sure why this Juanito cat needed to introduce another DJ, but anyway. The ‘90s were really the point when Latin dance and hip hop really took off and got airplay but I’d assume that certain areas of the country wouldn’t get anywhere near this while others played the shit out of it, hence the 33 weeks of total chart time. I’ve heard the name before but I’m almost positive Philadelphia was one of those areas that Artie the 1 Man Party never cracked.

Art N’ Soul
“Ever Since You Went Away” 1996, #72 (14 weeks) (download)

I have no idea what an Art N’ Soul album sounded like but I’m a little shocked that “Ever Since You Went Away” was their lone hit and it only reached #72. This is a fantastic little number that reminds me a lot of the groove Tony! Toni! Tone! gave off. Information on the trio is a bit difficult to come by but this had to be some kind of label failure rather than a measure of the quality of the group.

“Days Like These” 1990, #64 (7 weeks) (download)

After a five year absence from the chart, “Days Like These” stormed the charts, made little to no impact and disappeared. I have no problems with the song itself, but plenty with the bullshit Then & Now record from which it appears, which contained four new songs and six hits and yet even with so few hits, the 80’s bottom feeder, “Go” is missing from it. I get the concept – out of the public eye for years, going into the studio to record new stuff, let’s give everyone a refresher but shit, it didn’t really do anything for their success and they didn’t have another charting record in the US until 2008’s Phoenix. I’d rather have just seen an EP of the new stuff.

The year 2010 wasn’t necessarily the most groundbreaking in television, but it certainly wasn’t one that will soon be forgotten. With hit cable dramas like Mad Men, the farewell to one of the most innovative series in the past decade, Lost, and an obsession with singing sensations on Glee, there was unquestionably a lot to talk about at the water cooler. Take a look back at the year with some of my favorites.

Best Drama: Breaking Bad (AMC)

This was not an easy category to choose a winner. With great character dramas like Friday Night Lights, fantastic writing on shows like Mad Men, and edge-of-your-seat dramas like Sons of Anarchy, I ultimately landed on the show that encompasses all three: Breaking Bad. Bryan Cranston is superb as Walt, the humble chemistry teacher and family man that starts cooking meth to pay for his cancer treatments, and over time becomes the morally ambiguous big bad that we love watching so much. At his right hand is the underrated Aaron Paul as Jesse, the crass and profane former student that introduces him to this world. Each episode has an underlying slow simmer, a tension that builds over time into an explosive, and often bloody, final few minutes. Only Breaking Bad could base an entire hour of television on the idea that there is a fly loose in the lab, and turn it into a compelling mesh of breaking points, motivations, and secrets. Walt always has his identity and life on the line, running from the DEA, creepy Mexican twins, and the truth. I just hope he keeps on running; I’m hooked for the rest of his journey.

Best Comedy: Community (NBC)

Community stands out as best comedy this year because of its innovation. From the action-spoof hit episode “Modern Warfare” that featured a paintball game that goes awry on the community college’s campus, the show had a new identity. Following up with spoofs of gangster films, space expeditions, zombie epidemics, and a Claymation new Christmas classic, it quickly became the cleverest comedy on the air. TV for TV people, chock full of pop culture references, delivered by a diverse and strong cast, hopefully this show will rise beyond cult status and get the attention it deserves.

The Increasingly Poor Decisions of Todd Margaret, a new IFC show created by and starring David Cross of Arrested Development and Mr. Show fame, is both dry and amusing. A one-man show in the vein of FX’s summer series Louie, it’s clear that Cross is driving everything, and is at least making himself laugh in the process.

The show stars Cross as Todd Margaret, an awkward, naïve, and at times pathetically sympathetic guy who is sent to London to sell energy drinks after his boss, Brent Wilts (Cross’s Arrested Development and Running Wilde castmate, Will Arnett), mistakes him for a strong go-getter who grew up in Leeds. This is just the very beginning of the lies, and poor decisions, that drive the show. Each episode starts with Todd on trial, a judge listing his various crimes, so we know exactly where all this is going to end up. The fun is in watching Todd continue to dig himself deeper with each passing minute, but starts to become predictable when all he does is lie, and is horrible at it.

Liza Minnelli has a new CD, Confessions. Makes sense, as she’s committed numerous sins over a 60-year career in showbiz: Overindulgence, underwhelming choice in material, bad marriages, etc., everything that tempts public ridicule. She didn’t need new management when she performed “Single Ladies” in Sex and the City 2; she needed an exorcist.

Through thick and thin, career-wise and weight-wise, she’s nothing if not a trouper, though. Liza has been on a first name basis with movie audiences since the age of three, when she appeared in mother Judy Garland’s musical In the Good Old Summertime in 1949. She was all of 19 when she won her first Tony Award for Flora the Red Menace, the youngest person ever to win at that time. The statue wasn’t all she got out of it; Flora was her first, career-defining collaboration with songwriters John Kander and Fred Ebb.

It was London calling for her first film, Albert Finney’s directorial debut and swan song, Charlie Bubbles (1967). That failed to fizz. But Alan J. Pakula’s first film as director, The Sterile Cuckoo (1969), had more life in it. She brings tremendous vivacity to her role as collegiate and eccentric Pookie Adams in the film, entrapping the forgotten Wendell Burton. Telephone scenes are, or were, sure-fire for actresses—you can’t pack the same anguish into a Nokia or iPhone—and Minnelli has a great one here, one that sealed her first Oscar nomination.

Holy crap! Is it February already? It seems like only yesterday your three favorite idiots from The Popdose Podcast were blathering on about…what did we talk about last month, anyway? No matter. It’s a new month, and time for a brand new topic — and this one’s pretty great, if we do say so ourselves.

Loyal listeners of Ye Olde Popdose Podcast know that, when possible, we like to focus our discussions on a specific holiday: Thanksgiving, Christmas, etcetera etcetera. But here’s something particularly awesome about February — we have a holiday that lasts a whole month! Yes, it’s Black History Month, and what better way to celebrate it than with a trio of pasty white dudes? Please, join us for The Popdose Podcast, Episode 6: Awesome Black People! And before you start shaking your head, wondering if you can possibly listen to our usual irreverent banter with a clear conscience, we’re proud to announce our very first guest on the podcast — none other than Popdose’s own Mike Heyliger, an Awesome Black Person in his own right, who challenged us to come up with as many offensive questions for him as possible. Were we successful? Did he hang up on us? Am I writing this from jail? There’s only one way to find out. So click away, or do so on iTunes (link below), and speaking of iTunes, don’t forget to leave us a review. You’ll be our favoritest Valentine.

The Popdose Podcast, Episode 6: Awesome Black People! (1:07:00, 76.7 MB), featuring Jeff Giles, Jason Hare, and Dave Lifton, with Gordon’s friend from Sesame Street, Mike Heyliger.
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Show Notes

0:00 Intro: Jason reminds everyone he’s in Acoustic ’80s, and then we’re off on this month’s topic, which is (in case you forgot already) Awesome Black People.

Welcome back to The Three Strike Rule.  You’d think I could come up with a better title for this week’s column than that, huh?  Today is my daughter Sophie’s 10th birthday.  When you hear that cliche, “I don’t know where the years went,” believe it.  I have watched a baby grow into an inquisitive toddler, then transform into a bright little preschooler and finally she has become an empathetic (I throw that word around a lot when I discuss my little girl), smart and talented 10-year-old. As I am prone to giving her advice (which she has already begun to ignore), I have opted to dedicate this week’s column to highlighting 10 standout television shows from the past 10 years that I hope Sophie will seek out to be entertained and enlightened.

In the past 10 years, due to DVD box sets, TiVo, and the Internet, we have seen a change in attitudes about television.  No longer is it just considered “disposable” entertainment.  Viewers are seeking out quality programming and making it successful.  Moreover, stars generally associated with motion pictures (once considered the high brow art form) no longer look at television as slumming it.  Instead, actors, writers and directors have taken to TV as a way to create and produce ongoing works of fiction that they wouldn’t be able to do in the expensive film industry.

Since any list is subjective, I’m sure some people will gripe about my selections and what was left off.  I hope so!  he purpose of this great website is ti incite conversation and debates.  In case you’re wondering, my criteria was that the shows selected had to premiere in 1999 or thereafter.  I must confess that I have not seen Dexter and I never went back to The Shield after the first few episodes (i.e. pre-TiVo in the Malchus household).  What I tried to do was pick shows that were consistent in their quality from season to season.  So, even though I loved the first couple seasons of The Sopranos, Six Feet Under and 24, the quality in the writing really started to suffer in subsequent years.  Sacrilege, I know, because The Sopranos is considered by many critics to be the greatest TV show ever.  Oh well, it’s my space, and since this is a special list I want my kid to read someday, these are the shows I feel are the best of the last 10 years.

So, without further ado…


Hiya, kids!  Welcome back to another week of mixing fun.  Sometime around 2000/2001, I was talking to a friend of mine who worked with me in radio, and we were daydreaming about radio formats we’d like to hear. I blurted out “Classic rap and new soul,” to which he said, “I like the classic rap part, but new soul? Why?” I told him the crossover was good because it would grab a larger audience who would like the melodic sounds of soul but still love the classic rap songs — some of which had very short shelf lives. Well, we were inexperienced, broke, and lacked contacts, so we never got face time with anyone who could make that format happen. But there are a number of stations now who do what we were thinking about all those years ago. Ah well, another million-dollar idea that made someone else millions of dollars. So, in honor of that, I’ll do half a mix of our dream format. Enjoy!

“Mama Said Knock You Out (Live),” L.L. Cool J (Download)

Damn!  When I saw this performance on MTV Unplugged in 1991, I was just blown away.  I mean, I’m not the biggest rap fan out there (indeed, my knowledge of the genre is pretty, pretty, pretty, slim), but no one can deny the sheer power of this version with a full band.  I gotta say, it was tough to find this. I searched for an mp3 version but couldn’t find one. But after searching for the right software to do so, I was able to capture the audio from the video MTV streams on their site, and then clean it up with some audio software I use.  It’s not the best quality, but it’s not bad.  I just wish MTV would release this as a CD or download, ’cause I would pay to have a professionally mastered version of this performance.