Music Video of the Day: Time For Me To Fly by REO Speedwagon (1979, directed by ????)

On August 1st, 1981, MTV premiered. Over the course of 24 hours, 166 unique music videos were played on MTV.  Yes, there was a time when the M actually did stand for music.

The 92nd video to premiere on MTV was yet another performance clip from REO Speedwagon.  This time, it was the video Time For Me To Fly, one of the Speedwagon’s biggest hits.


The First Videos Shown on MTV:

  1. Video Killed the Radio Star by the Buggles
  2. You Better Run by Pat Benatar
  3. She Won’t Dance With Me by Rod Stewart
  4. You Better You Bet By The Who
  5. Little Suzi’s On The Up by PH.D
  6. We Don’t Talk Anymore by Cliff Richard
  7. Brass in Pocket by Pretenders
  8. Time Heals by Todd Rundgren
  9. Take It On The Run by REO Speedwagon
  10. Rockin’ in Paradise by Styx
  11. When Things Go Wrong by Robin Lane & The Chartbusters
  12. History Never Repeats by Split Enz
  13. Hold On Loosely by .38 Special
  14. Just Between You And Me by April Wine
  15. Sailing by Rod Stewart
  16. Iron Maiden by Iron Maiden
  17. Keep On Loving You by REO Speedwagon
  18. Better Than Blue by Michael Johnson
  19. Message of Love by The Pretenders
  20. Mr. Briefcase by Lee Ritenour
  21. Double Life by The Cars
  22. In The Air Tonight by Phil Collins
  23. Looking for Clues by Robert Palmer
  24. Too Late by Shoes
  25. Stop Draggin’ My Heart Around by Stevie Nicks and Tom Petty and the Heartbreakers
  26. Do Ya Think I’m Sexy by Rod Stewart
  27. Surface Tension by Rupert Hine
  28. One Step Ahead by Split Enz
  29. Baker Street by Gerry Rafferty
  30. I’m Gonna Follow You by Pat Benatar
  31. Savannah Nights by Tom Johnston
  32. Lucille by Rockestra
  33. The Best of Times by Styx
  34. Vengeance by Carly Simon
  35. Wrathchild by Iron Maiden
  36. I Wanna Be a Lifeguard by Blotto
  37. Passion by Rod Stewart
  38. Oliver’s Army by Elvis Costello
  39. Don’t Let Me Go by REO Speedwagon
  40. Remote Control and Illegal by The Silencers
  41. Angel of the Morning by Juice Newton
  42. Little Sister by Rockpile with Robert Plant
  43. Hold On To The Night by Bootcamp
  44. Dreamin’ by Cliff Richard
  45. Is It You? by Lee Ritenour 
  46. Tusk by Fleetwood Mac
  47. He Can’t Love You by Michael Stanley Band
  48. Tough Guys by REO Speedwagon
  49. Rapture by Blondie
  50. Don’t Let Go The Coat by The Who
  51. Ain’t Love A Bitch by Rod Stewart
  52. Talk of the Town by The Pretenders
  53. Can’t Happen Here by Rainbow
  54. Thank You For Being A Friend by Andrew Gold
  55. Bring It All Home by Gerry Rafferty
  56. Sign of the Gypsy Queen by April Wine
  57. The Man With The Child In His Eyes by Kate Bush
  58. All Night Long by Raindow
  59. Boys Keep Swinging by David Bowie
  60. Rat Race by The Specials
  61. Once in a Lifetime by Talking Heads
  62. Victim by Bootcamp
  63. Tonight’s the Night (Gonna be Alright) by Rod Stewart
  64. Cruel to be Kind by Nick Lowe
  65. A Little In Love by Cliff Richard
  66. Wild-Eyed Southern Boys by 38 Special
  67. Wuthering Heights by Kate Bush
  68. Celebrate The Bullet by The Selecter
  69. More Than I Can Say by Leo Sayer
  70. A Message To You, Rudy by The Specials
  71. Heart of Glass by Blondie
  72. Oh God, I Wish I Was Home Tonight by Rod Stewart
  73. Kid by The Pretenders
  74. Come What May by Lani Hall & Herb Alpert
  75. I Got You by Split Enz
  76. Sister Disco by The Who
  77. Fashion by David Bowie
  78. Love Stinks by J. Geils Band
  79. Johnny and Mary by Robert Palmer
  80. Tomorrow by Shoes
  81. Prime Time by The Tubes
  82. Cruel You by Shoes
  83. Calling All Girls by Hilly Michaels
  84. I Was Only Joking by Rod Stewart
  85. Let’s Go by The Cars
  86. Do You Remember Rock’N’Roll Radio by The Ramones
  87. Ridin’ The Storm Out by REO Speedwagon
  88. You’re In My Heart by Rod Stewart
  89. So Long by Fischer Z
  90. I Don’t Want To Know by Robin Lane and the Chartbusters
  91. Go Back Home Again by Andrew Gold

Nicolas Cage Does His Thing In The Trailer For Prisoners Of The Ghostland!

Even though October is nearly over, we still have a lot to look forward to this year.

For instance, just watch this trailer for Prisoners of the Ghostland, starring Nicolas Cage! This film will be available on Shudder in November.

Bruce Campbell and Devon Sawa Provide The Best Customer Service In The Trailer for Black Friday

Yay!  I was just thinking that it would be nice to get a trailer for a new Bruce Campbell film and — surprise! — here it is!

Not only does Black Friday feature Bruce but it also features Devon Sawa, who seems like he deserves to make a bit of comeback.

Here’s the trailer for Black Friday:

Horror on TV: Friday the 13th: The Series 2.16 “Scarlet Cinema” (dir by David Winning)

Tonight, for our horror on the lens, we have the sixteenth episode of the 2nd season of Friday the 13th: The Series!

In this episode, a werewolf-obsessed film student brings his favorite movie monster to life! Needless to say, it’s not a good idea. This episode ends with a clever little twist. Remember it if you ever have a problem with a werewolf in your life.

This episode originally aired on February 25th, 1989.

Lily O’Donnell’s “Sum Musings On Skipping Town, Tackling Ancient Patterns Of Codependency, Trying To Harness Wholeness, & Generally Just Trying To Fucking Cope!” Says — Well, A Lot

Ryan C.'s Four Color Apocalypse

So, like, no mystery here — you know what Minneapolis-based cartoonist/’zinemaker Lily O’Donnell’s latest self-published number is about just by reading its title. Assuming that is its title. Or that it even has a title. I’m more than a bit in the dark about that, as I am about many things vis a vis this artist, which is kinda strange considering I was just talking to her at the third annual “Insert Name Mini Fest” yesterday.

That’s okay, though — in fact, it’s kinda cool. O’Donell’s life may be an open book — or open ‘zine, at any rate — but that doesn’t mean she’s necessarily dying to interact with her readership on any terms other than her own. Mind you, that isn’t me saying there’s anything remotely Ditko-esque about her, but who knows? Maybe there is. If she starts putting out four-page essays espousing a worldview soaked in Randian…

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The TSL’s Grindhouse: Mulberry Street (dir by Jim Mickle)

Rats are the freaking worst, aren’t they?

Seriously, I can see the good in almost all of the creatures of the world but I hate rats and I hate cockroaches and I hate both of them for the exact same reason. They’re just so dirty! I mean, they are two of the filthiest animals on the planet. Look up the source of any plague that nearly wiped out humanity in the pre-modern era and rats are somehow going to be to blame. I’m very proud to say that there has never been a single rat or a mouse in any home in which I’ve ever lived. (When I was in college, however, I did once see a mouse running from classroom to classroom. Consider that. I keep my home cleaner than the average college.)

Mulberry Street is a horror film from 2006 that gives us an entirely new reason to dislike rats. Not only do they spread the Bubonic Plague but they also turn people into human/rat/zombie hybrids! At least, that’s what happens in this film. Set in New York City during one very long and very hot summer day, Mulberry Street imagines a world in which the rats get tired of hiding in the subways and they finally take over Manhattan. People are bitten. People are transformed into humanoid rats. People go crazy and attempt to infect other people. It get wild out there. They say you can see anything in New York and apparently, you can. Unfortunately, the cost of seeing is turning into a rat. That kind of sucks.

Casey (Kim Blair) has just returned from serving her country in Iraq and she would rather not be turned into a rat. Her father, Clutch (Nick Damici), is an ex-boxer and he would also rather not turn into a rat. In a world dominated by rats, what are the ratphobic to do? Clutch, Casey, and a handful of others barricade themselves inside their apartments and they try to survive the night while the rats scratch at the door.

Yes, Mulberry Street is yet another zombie film. I mean, they may be rat hybrids as opposed to being the undead but, in the end, they might as well be a zombies. However, Mulberry Street works better than the average zombie film because it was shot guerilla-style on the streets of New York City. There’s a raw authenticity to Mulberry Street, with its jittery camerawork and it’s cast of talented but unknown actors. The threat feels real. The struggle to survive feels real. The fears feels real. At no point are you confident that Casey, Clutch , and their friends are going to survive the night. Mulberry Street feels as real as any film featuring human/rat hybrids can. Even before the rats attack, Mulberry Street presents us with a New York that feels sick and dying. In the end, the rats are just the next logical step. The city has devolved to such an extent that an attack of zombie rats feels predestined.

Mulberry Street was well-directed by Jim Mickle. Mickle would go on to direct Cold in July, one of the best modern noirs to be released over the past few years. Be sure to check out both films.

Nothing Ever Made Sense : Cooper Whittlesey’s “Scat Hog” Volume One

Ryan C.'s Four Color Apocalypse

I’m having a damn tough time deciding whether or not the actual contents of Chicago-based cartoonist Cooper Whittlesey’s self-published Scat Hog Volume One are as incendiary as the title would suggest. On the one hand, yeah, this comic most certainly dwells on the more repugnant biological realities of human existence, but only insofar as they’re magnified and reflected in the less-than-grander tapestry of the cultural zeitgeist writ large — in other words, all is scat and all is hog and if you’re in the market for the “fee-good” reading, this ain’t it.

What it is, however, is scathingly — dare I say scatologically — funny more of then than not, and even when it isn’t the deep thread of absurdism that runs through and indeed underpins everything on offer is still more than present, yet paradoxically less than oppressive. Whittlesey has a definite point of view, one grounded in…

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The Disappearance of Flight 412 (1974, directed by Jud Taylor)

Because of recent electrical surges aboard its aircrafts, the commander of the Whitney Air Force Base 458th Radar Test Group sends a four-man crew up in Flight 412 to try to figure out what’s happening.  Colonel Pete Moore (Glenn Ford) and Major Mike Dunning (Bradford DIllman) assume that it will just be a routine flight.  Instead, they find themselves at the center of a government cover-up when Captain Bishop (David Soul) and the other members of the crew spot what appears to be a UFO.  When two jets are sent out to intercept the object, the jets vanish.

Suddenly, Flight 412 is ordered to land at a seemingly deserted military base in the desert.  When they do, the airplane is impounded and the crew is forced to undergo an 18-hour debriefing led by government agents.  The agents demand that the crew members sign a statement saying that they didn’t see anything strange in the air before the jets vanished.  Until all four of the men sign the release, the crew of Flight 412 are officially considered to be missing and will not be released until they agree to deny what they saw.

Meanwhile, Col. Moore tries to learn what happened to his men but the government, led by Col. Trottman (Guy Stockwell), is not eager to tell him.

This movie was made-for-television, at a time when people claiming to have been abducted by aliens was still a relatively new phenomenon.  It was also made during the Watergate hearing and in the wake of the release of the Pentagon Papers, so the film’s sinister government conspiracy probably felt relevant to viewers in a way that it wouldn’t have just a few years earlier.  I appreciated that the movie took a semi-documentary approach to the story but that it tried to be serious and even-handed.  The film shows how witnesses can be fooled or coerced into saying that they saw the opposite of what they actually did see.  Unfortunately, The Disappearance of Fight 412 is ultimately done in by its own cheapness.  The overreliance on familiar stock footage doesn’t help the film’s credibility and there’s too many familiar faces in the cast for the audience to forget that they’re just watching a TV movie.  The Disappearance of Flight 412 doesn’t really succeed but it is still interesting as an early attempt to make a serious film about the possibility of alien abduction and the government covering up the existence of UFOs..  Three years after this film first aired, Steven Spielberg would introduce these ideas to an even bigger audience with Close Encounters of The Third Kind.