Tuesday, January 31, 2006

26 Years Ago In Knots Landing...


We continue our little trip down memory lane and TV fun, with episode 6 of my beloved soap Knots Landing, where a certain little pixie full of hair and stacked to high heaven, makes her one and only appearance in Knots Landing - yes, Lucy Ewing is here and she's a heaping helping of 2' fun!


Episode 6 – HOME IS FOR HEALING
Original Airdate: January 31, 1980
w: Rena Down d: Roger Young


Well, strike up the conga and call me Ricky because like that Babaloo loving bandleader, I too love Lucy! Sure, we have different opinions of what a Lucy should be, he prefers a loud mouthed, feisty redhead who is begging to be institutionalized while I, on the other hand prefer a kewpie doll blonde brat who is all hair and boobs.. so let’s take a look at MY Lucy and why we should all love this little gem known as “Home Is For Healing”.

As we meander through those iron gates and wander into the Ewing bedroom, we discover a little Gary in blue undies, I gasp, but that’s only the first shot. He is reading a book, I gasp again and its still only the first shot. He turns off the light when he sees his Valene heading under cover and figures its time for a little Ewing loving.

Valene gets out of bed looking at her man in a rather strange way. Gary realizes he may not be getting any so he turns the light back on and picks up his book. Valene comes back into the doorway from the bathroom wearing a sexy little teddy. This time Gary gasps. He says to the rather uncomfortable Valene, “Why’d you do that?” Valene lets her guard down, “I know. That Mati Hari from next door told me to buy it. I told her it wasn’t me.”

I get the impression Gary doesn’t care who it is. But dear bumpkin Val opts to run back into the bathroom and put on her granny nightie. She hops back into bed and the two start making out. It just goes to show you, it doesn’t matter what you wear when heading to bed with Gary, its’ all going to end up on the floor in a heap anyway.

Our Ewings start getting hot and heavy and who knew they had in them. At least together. The phone rings and Gary refuses to answer but eventually the ringing annoys him as much as it does to me. On the horn (unseen) is Gary’s little brother Bobby, from that other big time CBS drama. I only know it’s Bobby cause Gary tells me so.

Valene is suddenly in a tither and more than happy she isn’t wearing that little negligee. Bobby (unheard) tells our Ewings that the little pixie back at Southfork has found out that her Mama and Daddy have remarried and needless to say, its just one more drama in that household. Val hops on the horn and tells Bobby she is going to Dallas and asks him to talk to her lovely Lucy for her.

Val is up and packing before Gary can calm his shorts. “What good is it going to do,” he asks for the first of many times in this episode. Val tells him she needs to go and she needs to go alone because only she can explain this sordid lesson to their grown up harlot daughter. It all makes me wonder if this was just an add in for our show or if on Dallas (perhaps in the episode before this one) Lucy did indeed find out about her parents.

In fact, during Lucy’s whole journey in Knots Landing, no one ever says how exactly she did find out. As it turns out, after doing research Lucy (like Bobby’s phone call) finds out about Val and Gary completely off screen from either Knots or it’s parent show. But I of course, digress…

Val heads off to Dallas where she is at Texas T&A or wherever Little Lucy is attending college. I’m sure no matter what her alma mater will end up being; it was called T&A when she attended. Lucy is talking to a young couple who seem to be her friends, I don’t know since I don’t watch Dallas but I do know they’re not Wendy Jo Sperber or Helen Hunt which means Diana Fairgate has better friends than Lucy Ewing.

The boy asks our Lucy if she has any plans for vacation where our Lucy insists she should stay home and study because she’s flunking biology. The boy says the same thing that we are all thinking, “I didn’t think someone like you could flunk biology.” He even offers his assistance in front of his girlfriend. Lucy sends the extras on their way when she sees her Mama.

Valene goes to Lucy and our little pixie insists she has nothing to say to her mother. “Please you have to let me explain,” says our Val. She wants to take this opportunity to let her daughter know that both her and her daddy love her and that’s why they kept in such a big secret. “We wanted to make sure that we’d stay together before we brought into the spin off. Didn’t your agent explain this to you?”

Lucy is still unconvinced but Valene persuades her into going back to Knots Landing with her. Lucky for our Lucy this was spring break time. I am taking my spring break to figure out exactly how tall Charlene Tilton is. She is wearing big stiletto heels yet when she stands next to Valene (who can’t be very tall either) she is only up to Joan Van Ark’s chest. I decide that our Miss Tilton is some mechanically enhanced kewpie doll produced by Lorimar and made up of only hair, a face and boobs.

Gary is in a tither at Knots Landing Motors when the Bun Lady (that would be Karen) comes sauntering in. He pretty much ignores the woman and then finally explains to her the situation at hand. The wheels are already churning in Karen’s head and she can’t wait to organize some kind of welcome party.

After a few work phone calls, Gary finally gets the news that Lucy is coming to Knots Landing. His little blonde head goes into whirls when he realizes that he and Lucy are not very close. Gary tells his male friend Sid that he wasn’t much of a father to Lucy and is a tad worried about her coming. Sid tells Gary it will all work out, “Do you remember the pilot episode when my daughter came to visit. I was nervous too but it all worked out.” I think to myself at this point, “It did work out. Right after she stole your wife’s car, got your other daughter drunk, tried to seduce Kenny (and may have done it before we met her), got caught soliciting, called your wife a whore and smashed the entry way mirror. But sure, after all that, it worked out just fine, Sid.” I have to wonder if either of these mysterious daughters will ever visit their fathers again?

Karen obviously drove home as fast as she could because in our next scene, there she is picking flowers for Lucy in her front yard. Ginger comes sauntering over (yes, Ginger three episodes in a row!), she tells Karen how much she loves her flowers and Karen spills the beans that Lucy is coming to town. The Ging (as we all like to call her) tells our Kar Bear that she took her advice. “What advice,” says Karen, as we both say, “I give so much.”

Well, apparently The Ging Advice #4,598 was to tell Kenny that they are not going to any more parties. Since the writers are giving lines to The Ging, I can only assume at this point that there will be a party before episode’s end.

Our Dirty D comes running over about the same time with a couple of vases. Apparently these are not the vases that Karen wanted but Diana doesn’t want to empty the magic markers that are being kept in the vase Karen wanted.

We are saved from these three and their endless flower banter when the Pinto pulls up with blonde, blonder and blonderer. Ginger tells us all that they look like sisters and they are proof it pays to have your kids young. I bet Joan Van Ark slipped the writer a $20 to get that little gem in there.

Karen introduces herself, Ginger and Diana. She even forces Diana into hanging out with Lucy. Diana jumps right in, “Well, tonight a bunch of us are going down to the beach to protest about nuclear waste. We’ll be wearing black.” Lucy doesn’t understand a word this thing is talking about so she just smiles and says, “Why?”

“Why?,” says Dirty D, “because black is slimming.”

Karen interrupts her zealous little offspring and tells her she was thinking something more along the lines of Marine World. Once again the whole concept fogs over our Lady Lipgloss. “What’s Marine World?”, Val takes the reins this time, “Oh its wonderful. It has all these animals and you can eat popcorn.” Karen tells her she is taking the boys and the Averys. Lucy simply says, “Why?” Before entering the house.

Karen tells her daughter that she is going to Marine World whether she is tired from protesting or not. She also asks her chipmunk what she thought of Lucy. “Oh, she’s cute. If you like kewpie dolls.” Gee, looks like Marine World is going to be a hoot with these two. Personally, I would’ve loved to see Lucy out there all in black tearing down nuclear waste mongrels, for some reason I think they’d pay a little more attention to the kewpie doll than the chipmunk. If I were Karen I would just say, “Jealous much?” But then again that wouldn’t be very motherly.

Lucy runs into the house and thinks it’s the best thing since sliced bread. I realize she must really want to be here because I would think Southfork would be a tad more enchanting. But then again, having watched Dallas, this little five bedroom probably seems a little calmer.

Val takes her to the room her Grandmother had just stayed in and insists she loves this too. She is just so excited and cute, I can’t stand it. Gee, I hope this all works out. Val gives Lucy her rag doll and points to yet another doll in the corner, which just happened to be Lucy’s. Val has kept him for her all these years. Can you stand it?

Val starts unpacking Lucy’s bags and comments on all the pretty things she has. “Oh yeah Pamela works at that boutique so I always go in and charge up Granddaddy’s credit cards. It’s great. I got this lip shine there too.”

Lucy tells her mama to take one of the little teddy shirts she has her eyes on. “Go ahead Mama, it will look so good on you.” Valene insists she isn’t sweet 16 anymore. “I know when you were 16, you were pregnant with me.”

Gee, how much did all this cost Joan Van Ark? Val tells Lucy that the house finally
feels like home. She has always liked the house but it never felt like home until now, with Lucy in the house. Gary overhears and somehow the whole Lucy/Val thing makes him feel unwanted. If only there was a slutty blonde across the street.

Luckily the next day, our Gary runs into Karen Fix-it-all Fairgate. He is walking down the street which is a big no can do in California. She is driving by in her gas-guzzler and stops to offer a few words of advice. Gary doesn’t really want to talk to her right now but little does he know this is nothing compared to a Pollyanna Punch. She starts off by telling Gary that no one walks in LA, giving inspiration to Dale Bozzio of Missing Persons I’m sure. He tells her that things aren’t so great with Lucy and Karen hands him some of her dime store wisdom before taking off down the street.

Lucy decides to ring up Miss Ellie and she is, like Bobby, a no show but that doesn’t stop Lucy from talking into the telephone. Val is outside on the porch looking into the night when Gary walks out. “Miss Ellie doesn’t seem too upset that Lucy is here,” says Val.

“Well she never wanted this storyline anyway. She told us to tell Lucy.” Val agrees and realizes that it all does seem pretty silly now that Charlene Tilton agreed to this appearance.

Lucy gets off the phone and sits down by her Mama as Kenny and Ginger show up. Kenny tells the gang, “When you said their little girl, I didn’t know you meant Miss Dallas.” Since this is a compliment about her good looks, our little Lucy bounces right back into her Dallas persona and notices that Kenny has a bit going on himself. He asks how she likes California, “Well, I like what I’ve seen so far.” As her eyes look to the Ward jewels, and I ain’t talking about The Ging’s wedding ring.

Lucy admits she wants to see movie stars and Beverly Hills, and though Kenny can’t offer any of that he can offer Cosmic Steeple. “Have you heard of them,” says Kenny. “Of course,” says Lucy, “who hasn’t?” Well apparently, Ginger, Val, Gary and Me!

He tells them all that he is having a party the very next night with those Commie Sneakers or whatever, so they’re all invited. Lucy’s knitters are all in a perk pounce when she remembers she has to go to Marine World. She doesn’t seem as disappointed as I thought she’d be but she quietly declines Kenny’s offer.

We get a little Ward action when they arrive back home. Ginger snaps (ha! Get it!) and tells Kenny that he promised there would be no parties. He doesn’t remember the promise and heads right over to play some disco. The Ging tells him there isn’t going to be a party but he’s listening to the soundtrack from Airport ‘75 so loud, he doesn’t hear her.

Across the cul-de-sac, Lucy retires and Gary wonders if maybe she should go to the Camel Sonics party instead. Val thinks they should spend the night together and we all realize that Gary is trying to treat Lucy like an adult and Val is trying to treat her like a little girl. Oh my, how crazy this family can be.

The next day, Lucy is giving away clothes to Valene like she’s a traveling Goodwill Store. It seems they went shopping and Lucy got all kinds of goodies. Gary tells her that the shirt she bought Val costs as much as he makes in a week, sometimes two. I wonder suddenly how much that slave driver Sid pays our Garmeister? He wants to know if she used her credit cards.

“Well, of course,” says our Lucy. Gary tells her that if they are going to live as a family, she can’t use Granddaddy’s money and must live on the piddly stash that cheapskate Fairgate pays him. “Granddaddy wants me to have nice things,” says Lucy, “and you can’t give me advice now. Advice you should’ve given to me when I was little.”

The whole scene is quite energetic and Lucy storms the stairs as fast as those short little legs will get her. Val and Gary pause before speaking again, mainly due to the fact that Charlene Tilton still wasn’t all the way up the stairs. Val tells Gary that he was way too hard on her baby and I think to myself, it didn’t seem all that bad but with everything these three people have been through, I figure tripping on the curb is a reason to check yourself into Bellevue.

Gary decides to talk to Lucy. She lets him into her room but she doesn’t want to talk to him. She tells him that he can’t make up for lost time no matter how he tries. Poor Gary doesn’t know what to do.

Kenny doesn’t know what to do either because The Ging refuses to get dressed for his party. She tells him that she is not going to stick around while he parties it up with Copper Sneezes. She storms out of the house and realizes she has nowhere to go but when Kenny pumps up the volume on those disco strings, she realizes there has to be a park bench nearby.

The very next scene our Lucy is running down the stairs in a black disco dress. “Is that what you’re wearing to Marine Land?,” asks Valene. “I think not,” say I.

Lucy tells her folks that she is heading over to Kenny’s for the party instead. She invites Val, note: Val not Gary and tells her that Kenny invited everyone. Val decides she’d rather stay home and sulk than attend a party with a bunch of whippersnappers who are probably at least 5 years younger than her. (Joan Van Ark paid me to say that)

Lucy is having a high time dancing with the members of Comet Sprinkles. You know they are a band because they speak with British accents. Ginger is nowhere to be found and out of nowhere I get a terrible fright. This big nosed Dorothy Hamilled coiffed thing is looking at Kenny all cross-eyed trying to get at his little Ward.

She asks where Ginger is and when she realizes the wife is gone, she goes in for the kill. It seems these two are somewhat of an item and although Kenny’s always willing to hit on this thing, its only when Ginger is on the other side of the room that it really turns him on.

About this time we are saved (sort of) when Richard comes sauntering into the party house. He is of course without Laura who he tells Kenny was tired. My guess is Richard never told Laura he was going to the party and she thinks he’s putting out the garbage. Although he probably makes her do that.

Richard notices the blonde pixie flying all over the house and wonders who that is. Kenny informs the hairmeister that this is the Ewing’s “little girl.” Just about this time the party crashers known as the Fairgates come running in wondering, like I am, what they are doing there.

Richard goes to introduce himself to the little Ewing but she is already out the door as those boys from Conans Snippers invited her to a more “smoking” party. Seems
the grass is always greener over at Fast Freddy’s if you can dig man.

That thing with the nose and the bowl cut decides to take this opportunity and annoy the crap out of me by singing something that used to be a song. This thing by the way does have a name, why it’s that girl Sylvie (you know like Cher). She finishes slaughtering her song and saunters over to Kenny for a little more tit a tat where she admits that she doesn’t mind if Kenny only gets off when he’s sneaking where Ging can catch him. She likes that kind of thing too. Kenny leaves when the Ging finally appears and Richard asks if he can be an understudy in Sylvie’s Class of Ugly Love. She tells him she will keep him in mind.

The Ging tries to run into the bedroom but there is a couple doing god knows what they did in 1980. The Ging bugs her eyes out and they know they are in trouble. Kenny tells her he called all over but she doesn’t care. Around this time Gary decides he should talk to Lucy and smooth things over. It is then that our Garmeister discovers that Kenny lost the pixie.

Richard lets Gary know that she took off with that band, oh what’s his name’s band,
fabulous band, I forget the name.. Gary is upset and leaves. Kenny wants to know why he should know where Lucy is, after all she’s a big girl. “I’m not a babysitter,” says the wisenheimer, to which our Ginger snaps one more time, “No, but you need one.” Before slamming the bedroom door.

The next morning, a big yellow limousine comes driving into the cul-de-sac with a slightly worn out Little Lucy. Her mama and daddy are waiting up for the girl and she says what we all said when we walked in after a night of partying with a rock band, “Oh you’re up early.”

Val says they were worried and if they’re going to live together, but Lucy interrupts her Mama, “We’re not going to live together. I think that’s obvious. I still have three years on my Dallas contract.” Val and Gary are both stunned, as am I; “three more years they signed you for, huh?”

Val tries to talk to her daughter and Lucy suggests that her mama should come to Dallas with her. “It will be great, come on, Mama,” says our vixenish kewpie. Val doesn’t know what to do, her and Gary can’t just up and move, but once again Lucy interrupts, “Not daddy, just you.”

This upsets our Valene very much for she can’t just leave the Garmeister. They just got this house, they just met these friends, they just got a spin off. Btu because this is her baby, Valene is now in the next room packing up her luggage for
an unending stay in Dallas.

Gary reminds her that they are never going to give her as many lines in Dallas as they do in Knots Landing but she doesn’t care, she has to do this to make things right. “If Lucy gets on the plane alone, it’s over, and we’ll never see her again.”

Gary simply says, “Don’t leave me.” That poor Gary, I feel so sorry for him sometimes.. you know I
just love that guy.

Lucy is sitting on the Pinto putting on her lip shine and sunglasses when Red Avery comes jogging by. She stops and introduces herself and is distraught that Lucy is leaving so soon. “You know your mother and I have become quite close since she moved here. Although she still won’t remember that my mother died when I was 12, anyway, they talk about you all the time. I just love their story too, don’t you?”

Lucy starts to feel a tad worried and says, “What story?”

“You know how they were apart for 17 years and you brought them back together. They’re so fragile with each other, like they’re china dolls. They really love each other so much.” Our poor Lucy is suddenly sullen about taking her mama away from her daddy.

Val comes out and Laura notices that her neighbor has bags as well. “I’m taking Lucy back to Dallas,” says Valene. “How long will you be gone?” asks Red Avery, suddenly nervous that she will be the ONLY one in the cul-de-sac during the day.

Val starts to bawl and hugs Laura, “I’m so sorry.” Gary walks her to the car door and hands her the keys.

“I have never loved anyone the way I love you,” says Valene,

“Then don’t leave me,” says our big lug. And you know by this time, the big tit baby in me has come out and I’m bawling like a baby.

Val takes off as Gary and Laura share a moment. “How are you doing?” asks
Laura.

“Not good,” declares the Garmeister.
“and you?” Laura just nods her agreement.

Gary decides to walk over to Sid’s who has his head inside an engine once again;
does that car ever get fixed? Gary tells him that Lucy is going back to Dallas for good. He says he tried to be a father but couldn’t do it. Sid asks if he admitted his mistakes and told Lucy what a loser he was.

“No, of course not,” says Gary. Sid throws down his tools and tells him that’s why they aren’t having a happy Annie Fairgate ending. Gary realizes he must follow that Pinto.

Val decides there is enough time in the episode to stop at the beach. “Ever since I moved here I love coming to the beach, it’s a great place to run, and to think, and to not think, which is really what I prefer. You should’ve scene the first episode, I had a ball running in the water; it was a great scene and I have a feeling it will be one of the most treasured scenes for years to come,” says Val.

“Well then let’s go Mama,” says our desperate special guest star. The two walk along the sand and Lucy asks her mama if she’s thinking or not thinking. They decide this time they’re both thinking and they’re both thinking the same thing, “that I shouldn’t leave your daddy and come with you.”

Val explains to her girl that she was trying to recapture the Mama/Baby Girl thing that is long gone. She will always be her Mama but she found Gary after so long and really needs to be with him. Lucy reminds her that she is the one who brought them together and just at that moment, Gary comes running up behind him.

He tells his Lucy that he doesn’t want her to go back to Dallas. He explains that he left her behind, he left Valene behind, he was a drunk and a gambler and a runner. But he isn’t running from things now, he’s running to them and from behind them apparently.

He tells her they went too fast, they didn’t get to know each other again. He wants her to stay for the week. Lucy interrupts his tirade this time and says, “Daddy I get it, I understand. We didn’t get to know each other.”

She agrees to stay in Knots Landing for the week and I wipe those sissy tears that just keep coming whenever the Ewings lose something, get something or resolve something.

Val announces, “Oh you know what I want to do now? Something I’ve dreamt about ever since we moved here.” Lucy and Gary look at each other and don’t know what to expect. I think, “Don’t do it girl, do not say ..”

“Come on, run on the beach together. All of us.”

I say, “Oh no you didn’t.. “ as I know once those waves crash, the tears will fall.

Gary decides what the heck and throws off his shoes while Lucy still is a bit worried about the cold. She won’t drop her Candie’s but they finally drag her in when they lie and say it is only cold at first.

Gary and Lucy grab hands and Val grabs Lucy’s hand and they start running through the water. The camera pans out and it looks like a little girl and her parents running towards her and it makes me happy, then we move closer as Gary, Lucy and Val are running, rejoicing they have found each other, rejuvenating their relationships and running my eye sockets into red…

Oh yes, it was the visit of the Luc, the Boobaloo of young Dallas and almost Knots Landing. It was fun, it was touching, it was exciting, too bad this is our Lucy’s one and only visit to the cul-de-sac;

And speaking of visits to the cul-de-sac, hold onto your handle bars kiddies, cuz there’s a rambunctious little group of rednecks coming to terrorize our quaint and quiet little suburb; something tells me that we are upon the one episode of Knots Landing that we were probably better off never seeing…

Until I put on my sleeveless tee and bandana,

bradley

CAMPUS LADIES



I was flipping through channels the other night when I came across Oxygen - Oprah's more worldly version of Lifetime TV for Women and Gay Men, when I stumbled on a little gem called Campus Ladies. A tale of two 40 year old housewives and their life as freshmen at University Of the Midwest. The episode I saw was entitled "All Nighter" and the girls had made a horrible enemy with their Women In American History professor and were forced to stay up all night (thanks to some nifty little pep pills from Iran) to work on an oral presentation.

It is frickin' hilarious - its like a toned down Midwest hybrid of Cybill and Ab Fab with a little Strangers With Candy thrown into it. I think all will love it. I know I fell in love immediately with the cast, the show, all of it. It's fricking hilarious and I highly recommend all to watch. In fact tomorrow night starting at 10 PM (Pacific time) Oxygen is airing all the episodes that have aired thus far - since its January 8th debut. I recommend you watch this, and for those who know me and my best pal Lisa Glassford - I can't help but notice a little bit of us in these ladies - not sure what that means, but I know I like it!

Here's a little synopsis from the official website at where you can even see deleted scenes - too Midwest for airing!

Campus Ladies follows Joan & Barri, two middle-aged housewives who decide it’s better to be a freshman at 40 than unhappy housewives forever. Ditching the suburban life of minivans and malls for keg stands and co-ed dorms, Joan and Barri enroll in school in search for the wild college years they missed the first time around. Throughout the ten half-hour episode series, the co-eds take on the fictional University of the Midwest (UMW) with wild naiveté and optimism, gliding through the raunchiest of situations with cheerful abandon.

Campus Ladies is based on characters created by comediennes Carrie Aizley (Joan) and Christen Sussin (Barri) while performing with the famous comedy troupe, The Groundlings.

The series is executive produced by Cheryl Hines (Curb Your Enthusiasm), Carrie Aizley, Christen Sussin, Paul Young, Peter Principato and co-executive producer E. Brian Dobbins of Principato-Young Entertainment (Reno 911).

Wednesday, January 18, 2006

Turtle Soup Anyone?




Ever since I was a little tyke, I've been disturbed by a sense of deja vu regarding a giant sea turtle on a path of destruction. I knew there was a film I had seen when I was little about a boy and a girl who find a hatching turtle, they mark their initials on its back and set the little guy free. Years later, the guy returns to his small island home and finds the girl still there - though shrouded in mystery. Also around for fun, is a humungous giant and I mean frickin' huge sea turtle which begins to wreak havoc.

After years of talking to people, and looking for it - I began to think I had made up the whole thing. I knew there was a part in the film where the turtle sticks his head up out of the water and knocks a helicopter out of the sky, and I knew there was the little boy and girl with their baby turtle. I also thought the main star who played some kind of biologist was Raymond Burr or Orson Welles. So that's where my research began.

Everyone told me the movie I was thinking of was some strange Japanese film with Raymond Burr - who loved to have his American image thrown into those Japanese horror flicks. But the movie everyone was describing was not the one in my head.

Finally, I did what any free thinking internet savvy guy or gal would do - I googled "giant sea turtle movie" in which I found a few other blogs where people had had the same experience as I. They thought they made up the movie, they were told it was a Raymond Burr Japanese/American hybrid. But alas their research paid off and after years and years of being haunted, I too finally found The Bermuda Depths starring Leigh McCloskey (Of Dallas fame or pseudo fame), Connie Selleca (of Hotel fame or pseudo fame), Carl Weathers (of Action Jackson fame or pseudo fame) and BURL frickin' IVES!

The Bermuda Depths is a 1978 TV Movie in which everything I thought I had imagined actually happens. Produced by the people who brought you such classics as Rudolph & Santa Claus Is Coming To Town - the special effects are cheesy, but the movie is actually just as haunting and fun as I remembered... though editing is off, the acting is poor and there seems to be parts missing from the version I bought off Ebay... none the less and in spite of the poor quality of my version (I was screwed I guess) it is a find I will always treasure and now I know I didn't just make this damn thing up!

Friday, January 06, 2006

The Valley Girl Mysteries


THE VALLEY GIRL MYSTERIES
It will come as absolutely no surprise to anyone who knows me, that I am completely in love with the movies, TV and particularly the music of the 1980s – the ME decade that gave us so much to frown at but so much to dance to. In particular, it’s the early 80s that I truly love. The new wave music of 1980-82, the Romantic movement of 1983-1985 and after that I started sporting a mullet and it all went downhill.

But when I reflect back on the early 80s I love so dearly, it occurs to me, what if.. what if I had been 16 in 1982 and living in the LA area, like I had so desired (though at the time I was only say about 4 or 5 .. really) but the question remains who would I have been? Would I have been the Val dude with my collar up, my hair feathered and my deck shoes untied? Or would I be the nocturnal Hollywood kid hopping buses to get to the latest shows at the Roxy? What a perplexing dilemma.

Last night, I took out my treasured Valley Girl DVD; a movie that made me want to live in Los Angeles when I was but a wee tyke. I loved the music, the Josie Cotton numbers, the Plimsouls, the Romeo & Juliet story of the Valley Girl and her Hollywood punky boyfriend. The movie had it all, and still does including a too hot Nick Cage and the ever cute as a button Deborah Foreman who unfortunately never had the career she deserved.

When the movie was released there was a little pressed soundtrack album that came out. Because of rights, they could only use 6 songs from the soundtrack. But with the wonderful world of re-releasing Rhino Records unleashed not one but two soundtrack companions. For some reason, they opted to also throw on songs that were never in the movie but figured the Val gals would’ve listened to, and in one even stranger move both the soundtracks left off “Electric Avenue”, a song featured in the party scene when Julie and Randy first meet. It’s another perplexing question that bugs me all these years later.

Incidentally, when I rode the Greyhound into Los Angeles (as my VW had been hit by a dump truck and I was carless), as soon as I thought we were near the valley, I put in my little cassette of the soundtrack into my headphones and jammed to the beats of Bonnie Hayes and the Wild Combo’s “Girls Like Me” a la the very beginning of the movie. It was fun, it was loud, it was exciting, it was so gay!

But the mystery of the Valley Girl music continues. While watching my DVD last night more or less in attempt to figure out where all these 80s songs played out in the film, I realized there was yet another mystery to one of my favorite movies – it’s again in the party scene where Randy breaks in and waits in vain for Julie to come into the bathroom.

When I was a kid, the movie played on TV all the time and of course they edited out Elizabeth Daily’s boob shot but I realized they also redid the music. What I remember is the song “Who Can It Be Now?” playing on a rather extensive endless loop while Randy peers over the shower stall as party goers come in to get high, have sex and the what nots that teenagers do at house parties.

But as I watched my DVD, I realized this version isn’t playing “Who Can It Be Now?” but “Systematic Way” by Josie Cotton from her much overlooked album Convertible Music. Now being a much bigger Josie Cotton fan than running out to buy the latest Men At Work album, this is a very pleasant surprise, but yet leads me to wonder – what the heck is going on? Or what the heck went on?

Knowing a little about how a film is made, I know that Deborah Foreman, Nicholas Cage nor any extra “party goer” even had music playing while shooting the scene, they will be of no help to me. (As I talk to them all the time you know…)


But the greatest and most perplexing mystery still remains …. Sure, my constant questioning of who I would be is big, as is the replacement of Josie Cotton by Men At Work, but the most outrageous thing we need to know about beloved Valley Girl is what the heck happened to Deborah Foreman’s contributions to the DVD.

If anyone has the DVD they know it is shock full of extras including new interviews with singers and stars of the movie. Even Nicholas Cage stopped in at the Viper Room (where the interviews were filmed… trivia note: the bar Randy takes Julie to in Hollywood was the same bar the GoGos filmed their video “Our Lips Are Sealed” at, and though the old name is beyond my reach at the moment it is now Johnny Depp’s Viper Room – just one block up from my house!)

Where was I? Oh yes, so even Nick Cage took time out of his ever busy action adventure life to stop in and reminisce about Valley Girl. But Deborah Foreman was a no show. THE Valley Girl of the title was not there to tell us all about her big break, her fun loving character, her uber cuteness… nothing.

Now prior to the release of the video Deborah Foreman had an official website and she was in the career of making, designing and selling painted furniture. She was very open and vocal with her fans and would answer personal emails. Then suddenly her website was gone, then the DVD came out and there was no Deborah Foreman!

I was aghast! I was in the thralls of a mystery. Now recently, Deborah’s website is back up and her current career is doing web designing. But alas, she has yet to address the big mystery of where she was, what she was doing and why she wasn’t in the DVD interview.

Perhaps she’s peeved that it isn’t her face on the cover of the movie VHS or video, or soundtrack – who the hell is that chick anyway? And don’t tell me it’s Randy’s old girlfriend (who it just might be that actress) but why isn’t it Deborah? I must know…

I have half a mind to call Ms. Foreman up and schedule an estimate to do my web page design just to solve one of these Valley Girl mysteries once and for all… Perhaps then she could tell me if I would’ve been a Val Dude or a Hollywood kid.

Thursday, January 05, 2006

Give Him Schism



It's been a few months since the newest Orange Television album was actually released, but since I'm playing it in my car stereo as we speak, I thought it was high time I let all four of my readers know about it.. so with that I give you my review of the latest Orange Television album The Schism. And don't forget you can download the album at the Flexible Records website - http://www.flexiblerecords.com

GIVE HIM SCHISM
Orange Television – The Schism flex20

Do you hear the muffled sounds of heartbreak? I certainly do and I can’t get enough. For here in all of its rawness and fundamental privacy Patrick English lets his heartbreak hang out on the new Orange Television album The Schism. Taking a page out of Stephen Merritt’s endless (yet enjoyable) 69 Love Songs, and following the musical paths of everyone from Duran Duran to Blondie to Oingo Boingo to Bowie and back again – Orange Television continues to show us what true artistry is. Though a band can acknowledge their idols, finding one’s own voice is the testament to true artistry and if you can create something that not only gets your idea out of you and onto the airs, but also grabs the people listening to it, then you’ve created what so many artists try to do and exactly what Orange Television has done.

The Schism is an 11-song journey through the very personal break up of a relationship. As each song plays out we are led through the several stages in the process as energetic and subdued emotions are played out through clunking electronic swigs, feisty guitar loops and very personal lyrics. We get the privilege of traveling with Patrick as he fumbles, mumbles, and screams through the betrayal and the loss of love.

I wonder if people realize dating an artist can have some very unexpected results. As in if you hurt the artist, you may forever be immortalized as a big old bastard in the night – through song, poetry or even a big ugly splattered painting. For Patrick, not only is the ex-boyfriend featured in song, he is on the cover of the album and he is the driving force which makes this such a great break up album. I think Patrick may have had his final revenge by recording The Schism – incidentally for those not in the know a “schism” is a break up or separation…

The album opens with “Ghost”, an electro stash of Bowieesque longing with Patrick crooning over a distant whirling guitar loop, “Arriving home to blackout windows/summer frost/crust across the lawn…” Not only are we traveling with Patrick through his love life, he sets the entire stage for us. The setting, the time of year, all of it is here in the lyrics set to a groovy calming beat. “Ghost” fades into an actual dialogue spoken by the entity whose presence runs through the entire album. The voice connects us into “Palouse” our next stop on this journey.

“Palouse” plays out a relationship in all of it early sincerity, “was a time/our love grew fast as wheat” and the optimistic “in your brown eyes/ I saw reflected/ my blue eyes/ you saw reflected/ your brown eyes/ I saw reflected / forever blue skies.”

We begin with a thumping beat and some pounds before the lyrics start pushing us into a sense of familiarity. In fact, Orange Television has a way of taking almost any track created and makes you think you’ve heard it before. It’s a rare gift and one that gives even the most remote ideas a sense of familiarity for the listener.

“Cats” has to be one of my all time favorite songs. It’s the true highlight of an album full of highlights. Knowing that there is a sense of humor in the glumness of break up the lyrics are a riot – “just me and the cats/it’s so hard to say/if they even notice you’re gone/ maybe they knew all along/everything would go wrong.”

The music is to die for – combining a new rhythm for the millennium with a speedy 80s soundtrack tune, the whole song makes me giddy and want to flashdance around my apartment.

“Cats” include my very favorite lyrics Patrick has ever written – “hard to think of the future/it’s hard to think of the past/ it’s hard to look for another boy/ cause I know it too wouldn’t last/hard to think of you with him/as hard as you were hard for me…”

The whole song makes me happy, makes me sad, and makes me glad I don’t have silent cats living in my house. I have a feeling those cats did know all along this relationship was bound to fail – maybe Patrick should get a dog.

The Schism wouldn’t be an Orange Television without the intense instrumental and for this album we get “Sexrock.” Beginning with jungle style drums, a slight metallic churn and moans, we quickly break into a sassy slash of intensity and someone cooing, “Lick my balls/lick my ass”, the song breaks into fierce drum rolls and guitar slashes while I’m left feeling a little dirty. Is this a frenzied sexual end to a hot and heated relationship or is it a memory? Whatever it is, the song breaks down as the moans of the encounter begin to intensify, before the big orgasm, and then the slow settling down. Like I said, I feel dirty, yet somehow satisfied.

“Alka Seltzer” is another song you swear you’ve heard before, but know that just isn’t possible. Patrick channels Duran Duran and comes up with yet another winner. A hilarious, yet tragic tale of what’s going on right under your own nose.

“Alka Seltzer” once again proves Patrick’s ever-increasing ability to wrap his music around a great lyric. Beginning with a simple click and trickle of drums, the song moves into full swing with a subtle guitar loop brimming below the lyrics, “Goddamn it’s a full moon/in the room right beside mine/ making tapes with someone else/ I need to start smoking more.” Excellent.

We are transferred into the real world of what is happening to our narrator. “The Alka Seltzer takes the heartburn away/ but not the heartbreak…” before slowing to an almost silence, and then breaking back into the second verse.

“Heavy” with its low vocals and small arrangement, almost reminiscent of knives being sharpened, is probably the most intense song on The Shism. And since it conjures up lost love, creepiness and a sense of impending doom, I love it!

Starting with a brooding guitar loop, “Heavy” finds us in a Placebo/Magnetic Fields hybrid that is probably the most personal note on the album. “When you were heavy/I tried to lift you up/When you were light/I let you float away….” “When you were here to stay/I was happiest inside/When you were gone forever/a part of me died.”

“Chairs” opens with a disembodied voice giving instructions about potatoes while a loop sounding like a nature movie plays. A jungle drum kicks in before the vocals take over, “devil all night erases you/ drunk a fishbowl of yet”..

Some flashes of drums and a guitar loop kicks in for the chorus, “here is where the chairs were broken/ here is where the videos were made.” Another intense and fun song, this is one I play over and over again.

Somehow conjuring up the ghosts of music long gone and perhaps a little Oingo Boingo, “Chairs” leaves you with the impression you just came upon a lost nugget from a New Wave graveyard – it’s like that rare gem you find hidden in the middle of an 80s compilation – do I even need to say how much I love it?

A buzz and a strike of thunder begin our next venture into this sickly fun world of relationship drama – the aptly titled “Heartache.” Before you get completely lost in the airy intro, the song kicks in with a hybrid of 70s disco and 80s new wav complete with blips and trips that would make Ami “Knock On Wood” Stewart proud.

“Heartache” is a fun filled romp through Patrick’s pain, “heartache is the fashion/ heartache is what you got / heartache is my alcohol / heartache is my specialty.” Again, Orange Television delivers a song you just know you’ve heard before, perhaps lost in one of those 1980s era David Bowie albums, but as is always the case, OTV takes it one up and makes it an all new listening experience.

We take a little lyrical break and find ourselves with an earful of “Hydrocodone” - incidentally, one of my all time fav drugs. Linked together by a repeated female voice who “was on the pills”, the music starts with a trancy guitar loop and breaks into a subdued electronic wind reminding me of a post reunion Blondie tune. We cut through the pills to come into the reality of a Valley girl obsessed with her herbal shampoo – Chris Stein would be proud.

The recovery from a broken love continues with “Ecstasy” – a beguiling electronic opus with Patrick’s vocals coming in like Daft Punk – “vermilion sky up in the sky/hot emotional July/ so alone in my pink skin/ going out and staying in…”

The chorus comes in with more intensity feverishly leaving those smooth beats behind in its wake – “my red blood turns black / an anxiety attack / rush rush rush through my head / the ecstasy is dead,” indeed.

The second verse moves back to the Daft Punk feel with some very clever, if dark lines – “turning blue and can’t catch breath / going to drink myself to death.”

“Ecstasy” leaves you with a drum loop and voice repeating, “the ecstasy is dead, the ecstasy is dead” and a frightful little laugh letting us know we have finally hit the edge – the ecstasy is dead but is love as well?

A synthesized string arrangement mixing in with a tuba sound brings us into “Mobilehomes” with Patrick doing a dead on Stephen Merritt – whether he means to or not. Telling the tale of his lost love’s latest digs we are left in wonderment – has this journey changed our narrator forever? Will the cats ever be the same? Will true love ever find its way back into Orange Television?

If love doesn’t find our storyteller, a few more ditties of dark woe will always be welcome in my collection.