Latest / Children of the 80s / The Sound of Fear: Creepy Themes of the 80s

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The Sound of Fear: Creepy Themes of the 80s · Children of the 80s

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  Speaker 1: Children of the 80s is brought to you by Q106. 5
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  Speaker 1: Internet Radio. You can find it online at q1065. com or
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  Speaker 1: download the app.
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  Speaker 2: Welcome back to Children of the 80s. I am one
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  Speaker 2: of your hosts, Jim, and I am joined by the
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  Speaker 2: lady who once owned a house on Elm Street, who
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  Speaker 2: once camped at Crystal Lake, and who once lived in Haddonfield, Illinois.
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  Speaker 2: It's my co-host, Lindsay.
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  Speaker 1: Wow, I've been busy.
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  Speaker 2: You've lived in a lot of freaky places.
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  Speaker 1: I've lived like three lifetimes in my 47 years.
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  Speaker 2: It's Halloween time.
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  Speaker 1: It's Halloween-y up in here.
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  Speaker 2: It's October. The weather's getting colder.
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  Speaker 3: Yeah.
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  Speaker 2: The ghouls are coming out. The goblins. The little kids
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  Speaker 2: will be dressing up and ringing our doorbell incessantly.
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  Speaker 1: I mean, I'm a ghoul all the time, so we
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  Speaker 1: don't need to wait for them to come out, as
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  Speaker 1: you said.
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  Speaker 2: If they can survive our neighborhood with no streetlights.
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  Speaker 1: Yeah, well, we don't want them getting hit by a
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  Speaker 1: car or anything. They don't have to worry about the cars.
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  Speaker 1: You know what they have to worry about? The mailman
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  Speaker 1: drives like 60 miles an hour down through here.
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  Speaker 2: So listen, the mailman, the FedEx guy, and the school
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  Speaker 2: bus driver, they all act like we're in the Autobahn.
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  Speaker 4: Yes.
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  Speaker 2: Like we live right off the Autobahn.
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  Speaker 1: No, they do. They do.
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  Speaker 2: It's insane.
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  Speaker 1: And I'm just like, we're one bad decision away from
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  Speaker 1: losing a pet or a child or something.
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  Speaker 2: You know what we sound like right now? The old people.
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  Speaker 1: The old people.
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  Speaker 2: I'm not happy.
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  Speaker 1: I don't like this chair, and I don't like this desk,
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  Speaker 1: and I don't like being here.
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  Speaker 2: We sound like the old get off my lawn old man.
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  Speaker 1: I was going to say you cut off the get
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  Speaker 1: off my lawn.
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  Speaker 2: Yeah, well.
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  Speaker 1: That's the best part.
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  Speaker 2: It's got to go all the way through.
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  Speaker 1: I mean, I know.
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  Speaker 2: What are you expecting? But, yeah, that's what we sound
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  Speaker 2: like right now. I don't have an old man rant,
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  Speaker 2: but we're just going on about how fast people drive
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  Speaker 2: through here. It makes us sound like old people.
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  Speaker 1: Oh, numerous times we've had conversations on the podcast. And
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  Speaker 1: later I'm like, we sound like the oldest fuddy-duddies. Like,
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  Speaker 1: who wants to listen to this crap?
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  Speaker 2: I don't know. I don't know, but they do, and
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  Speaker 2: so we're thankful for them.
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  Speaker 1: Amen. So what kind of week are you having over there, Butler?
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  Speaker 2: It's been a steady week. It's been a slow week.
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  Speaker 2: There's nothing too exciting that's happened. I've cooked dinner the
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  Speaker 2: last several nights. Can you believe that?
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  Speaker 1: I know, and it's been yummy and healthy.
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  Speaker 2: I don't know what happened.
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  Speaker 1: Who are you?
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  Speaker 2: I don't know.
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  Speaker 3: Who, who?
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  Speaker 1: Well, because you know what had been happening... I had
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  Speaker 1: been in charge of dinner for a while, and it
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  Speaker 1: had just gotten to the point that it was like
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  Speaker 1: frozen pizza after frozen pizza after frozen pizza. With a
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  Speaker 1: Chick-fil-A thrown in there every once in a while.
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  Speaker 2: Yeah, or order DoorDash or something.
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  Speaker 1: I don't know how women do it. Like, we got
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  Speaker 1: to work all day. We got to do everything in
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  Speaker 1: the house. We got to raise the kid. We got
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  Speaker 1: to cook. I can't. I can't.
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  Speaker 2: I am old.
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  Speaker 1: I am tired.
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  Speaker 2: Listen, it was... It was getting a little expensive. That's
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  Speaker 2: all I'm saying.
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  Speaker 1: I know.
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  Speaker 2: I know it was. The eating was getting a little expensive,
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  Speaker 2: so I had to rein us in. I would like
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  Speaker 2: to retire someday.
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  Speaker 1: I know. I hear you. And Emmy, she's so thin,
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  Speaker 1: but- At mealtime, she's like, what are we eating?
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  Speaker 2: I know.
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  Speaker 1: When are we eating?
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  Speaker 2: If you looked at her, you'd think she never ate.
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  Speaker 1: You would think so. That kid doesn't miss a meal.
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  Speaker 2: She looks like me when I was in that age.
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  Speaker 1: That's what I tell her.
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  Speaker 2: But I never ate. That's the difference between us.
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  Speaker 1: Oh, you didn't?
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  Speaker 2: Not really.
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  Speaker 1: Oh, wow. She calls herself a foodie.
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  Speaker 2: Yes, she is 100% a foodie. Which is cute. At
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  Speaker 2: 13 years old, that's funny.
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  Speaker 1: Okay, I got something to talk about. Do you remember, oh,
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  Speaker 1: it may have been our first season. We did an
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  Speaker 1: episode around this time of year on the Mandela Effect.
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  Speaker 2: Yes.
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  Speaker 1: You remember that?
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  Speaker 2: I do.
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  Speaker 1: Okay. I got to follow up on that. So have
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  Speaker 1: you ever heard of something called CERN? C-E-R-N, all capital
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  Speaker 1: letters because it stands for something.
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  Speaker 2: Haven't we talked about this before? Have we talked about
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  Speaker 2: this on the podcast or just in real life?
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  Speaker 1: Just in real life.
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  Speaker 2: Okay. So then I'm going to say, yes, I have
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  Speaker 2: heard of something called CERN, but tell me more.
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  Speaker 1: Okay, so CERN is something that's in Geneva. Now, where
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  Speaker 1: is Geneva?
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  Speaker 2: Switzerland.
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  Speaker 1: Switzerland? Okay.
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  Speaker 4: Yes.
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  Speaker 1: So basically, scientists are using this massive thing called CERN,
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  Speaker 1: and they're trying to figure out how the universe came
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  Speaker 1: to be with it.
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  Speaker 2: Okay.
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  Speaker 1: Okay. So this is, and listen, y'all, if you're smart,
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  Speaker 1: don't judge me. I probably totally butchering it, but you
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  Speaker 1: get the picture here, right? Right. So they have turned
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  Speaker 1: CERN off over the summer for regular maintenance, but it's
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  Speaker 1: going to be off for four years. So people are
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  Speaker 1: noticing that And I want to know if you've noticed
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  Speaker 1: time has started slowing down again.
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  Speaker 2: Yes, I've totally noticed that.
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  Speaker 1: Okay. Absolutely. Because do you remember how over the last
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  Speaker 1: few years it felt like each year was getting faster
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  Speaker 1: and faster and faster? Yes. So they're saying CERN was
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  Speaker 1: one of the reasons why time felt like it was
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  Speaker 1: moving so quickly.
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  Speaker 2: But how? Like the day's still 24 hours. How does
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  Speaker 2: it make us not? I'm so confused.
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  Speaker 1: I am not that smart.
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  Speaker 2: Like, did it speed up our brains? I don't know.
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  Speaker 2: I can tell you my brain works about 30% of
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  Speaker 2: the time now.
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  Speaker 1: So it's CERN is an enormous particle accelerator. I mean,
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  Speaker 1: it looks like something from Star Wars. I know. Scientists
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  Speaker 1: send incredibly tiny particles called protons flying around around a
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  Speaker 1: circular tunnel at nearly the speed of light. Then they
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  Speaker 1: smash some of those particles together to see what happens.
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  Speaker 2: Nerd alert!
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  Speaker 1: Okay, so they've turned it off for regular maintenance for
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  Speaker 1: the next four years. It won't come back on until 2030.
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  Speaker 1: People are saying that the reason why we feel like
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  Speaker 1: time has slowed down again is because CERN is turned off. But.
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  Speaker 1: They're also saying that CERN being switched on and switched off,
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  Speaker 1: because this is the third time it's been turned off
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  Speaker 1: for maintenance, is what causes us to have the Mandela effect.
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  Speaker 2: Okay.
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  Speaker 4: All right.
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  Speaker 2: So many questions.
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  Speaker 1: One.
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  Speaker 2: I'm not going to be able to answer them. I'm
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  Speaker 2: not smart enough to understand what CERN does.
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  Speaker 1: Two.
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  Speaker 2: What takes four years maintenance? Disney rides don't take four
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  Speaker 2: years maintenance.
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  Speaker 1: I mean, I don't know, but basically.
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  Speaker 2: What is it, the World Cup?
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  Speaker 1: They're trying to create, I think, again, I don't know.
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  Speaker 1: They're trying to create the Big Bang.
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  Speaker 2: Have they created an alternate universe? Well, that's what, yes, possibly.
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  Speaker 2: So when was the last time it was off?
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  Speaker 1: It was last off. From 2018 to 2022 to April
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  Speaker 1: of 2022, before that, its first major shutdown was 2013
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  Speaker 1: through 2015, where they did upgrades.
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  Speaker 2: I feel like 2013 through 2015 went by really slow.
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  Speaker 2: That we had our daughter.
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  Speaker 1: Yeah.
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  Speaker 2: And until about the time she was two years old,
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  Speaker 2: everybody was like, listen, it's going to go by faster
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  Speaker 2: than you think. Like, enjoy the moment. And I felt
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  Speaker 2: like those years, I did take time to stop and
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  Speaker 2: smell the roses and enjoy the moments.
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  Speaker 1: Okay, here. I'm going to just read this because I'm
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  Speaker 1: not smart enough to paraphrase it. Here is how people
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  Speaker 1: equate the Mandela effect to CERN. Some believers suggest that
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  Speaker 1: when CERN began conducting powerful particle collisions, the experiments might
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  Speaker 1: have disturbed spacetime. or somehow opened a connection between parallel universes.
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  Speaker 1: That's how we have gotten the Mandela Effect.
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  Speaker 2: So Check out Robert Stack about CERN on Next Unsolved Mysteries.
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  Speaker 1: Does that not look like Star Wars?
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  Speaker 2: No, I mean, it looks even more far out than
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  Speaker 2: Star Wars.
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  Speaker 1: Looks like somebody's eyeball.
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  Speaker 2: Kind of.
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  Speaker 1: Okay, anyways.
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  Speaker 2: When I looked at it, I did start singing Iris
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  Speaker 2: by the Goo Goo Dolls in my head.
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  Speaker 1: I just wanted to throw that out there. Do you
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  Speaker 1: think I've just gone over everybody's head? Because it's really
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  Speaker 1: too complicated for me. me to even explain.
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  Speaker 2: I am quite positive that we have some very intelligent
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  Speaker 2: listeners that can probably explain it to us.
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  Speaker 1: Probably better than I just did.
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  Speaker 2: But I'm not smart enough to understand. I can tell
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  Speaker 2: you that.
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  Speaker 1: There's so many things concerning the Mandela effect that I
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  Speaker 1: remember being one way that other people remember being another
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  Speaker 1: way and I don't know. It's crazy, isn't it? Yeah.
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  Speaker 2: I was thinking, it's funny that you brought this up,
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  Speaker 2: because I was dealing with a customer with the last
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  Speaker 2: name Bernstein or Bernstein today. And then that made me
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  Speaker 2: think of the Berenstain Bears. And I'm like, I'm not crazy. Like,
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  Speaker 2: I remember. It's not like I am misremembering.
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  Speaker 1: Right. Right?
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  Speaker 2: Because... At the time, and I know I've said this
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  Speaker 2: like a dozen times on this podcast, but at the
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  Speaker 2: time of being a kid, I remember looking at it
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  Speaker 2: and going, do you think they pronounce it Berenstain or Berenstain?
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  Speaker 2: I wouldn't say that if it was A-I-N.
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  Speaker 1: You would have known.
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  Speaker 2: Right, Berenstain.
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  Speaker 1: Stain who right baron stain i never said baron stain
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  Speaker 1: which no i mean you know me i probably mispronounced
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  Speaker 1: it but anyways i don't know it's crazy i'm always
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  Speaker 1: thinking about the fruit of the loom guys yes remember
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  Speaker 1: totally and the uh cornucopia.
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  Speaker 2: Now i so so here's a thing that.
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  Speaker 1: That could be oh there's the mailman there he.
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  Speaker 2: Is watch him do you see him yeah he's flying
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  Speaker 2: through like a Mario. Oh my gosh. He's flying.
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  Speaker 3: I know.
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  Speaker 2: Like, I guess expect them to be speeding up, not
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  Speaker 2: going that fast. Like that was Mario Andretti.
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  Speaker 1: They got it. And I'm so worried. Gary's going to
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  Speaker 1: be like wandering around out there one day.
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  Speaker 2: I will go postal on those postal workers.
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  Speaker 1: You'd have to get past me first.
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  Speaker 2: But seriously, so there could be, You know, our memory
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  Speaker 2: plays tricks on us, right? And sometimes it makes connections
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  Speaker 2: that aren't there. I believe they've proved that scientifically that
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  Speaker 2: there will be certain memories and then neurons will connect
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  Speaker 2: and you'll remember something wrong.
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  Speaker 1: Yeah.
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  Speaker 2: Like the fruit of the loom. For some reason, I
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  Speaker 2: picture Johnny Bench as one of the fruit of the
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  Speaker 2: loom guys. Now, he wasn't.
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  Speaker 1: But in your mind, he was?
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  Speaker 2: But in my mind wants to say that he was, right?
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  Speaker 2: And I think it's because Back then, Johnny Bench was
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  Speaker 2: very popular and he was advertising a lot. And then
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  Speaker 2: the Fruit of the Looms was obviously always on TV.
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  Speaker 2: And so to me, my brain wants to put those
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  Speaker 2: two together. But I know that's not correct.
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  Speaker 1: Did he do a Fruit of the Loom commercial?
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  Speaker 2: I don't think so. I mean, I guess anything's possible,
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  Speaker 2: but I don't think so. I think that's just neurons
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  Speaker 2: wanting to connect that weren't there. The Berenstain Bearstein man,
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  Speaker 2: that is not a misremembrance. That was real. So all
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  Speaker 2: you Mandela effect people, you're wrong.
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  Speaker 1: Crazy.
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  Speaker 2: Or maybe you're right. I don't know.
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  Speaker 1: I mean, I know.
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  Speaker 2: Maybe it has something to do with CERN. We've jumped it.
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  Speaker 2: Is it C-E-R-N?
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  Speaker 1: Yeah.
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  Speaker 2: Why is it CERN and not Kern?
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  Speaker 1: Oh, maybe it is. I mean, again, this is Lindsay
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  Speaker 1: reading it.
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  Speaker 2: What does CERN stand for?
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  Speaker 1: Oh, I knew you were going to ask me that.
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  Speaker 1: So it's French. French. Okay.
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  Speaker 2: Okay.
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  Speaker 1: What it stands for is French.
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  Speaker 2: That's probably why it's CERN then.
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  Speaker 1: I'm going to tell you in English, European Council for
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  Speaker 1: Nuclear Research.
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  Speaker 2: European Council for Nuclear Research.
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  Speaker 1: And it's home to the Large Hadron Collider. Collider?
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  Speaker 2: Okay, hold on. European Council.
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  Speaker 1: For Nuclear Research.
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  Speaker 2: For Nuclear Research. I mean, how is it CERN?
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  Speaker 1: Oh, okay. Okay. Because it's French. Like, I read you
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  Speaker 1: the English version.
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  Speaker 2: Oh, so they.
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  Speaker 1: It's Conceal European... Okay, okay.
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  Speaker 2: Got it. Okay, yeah. I forgot we write stuff backwards
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  Speaker 2: compared to the other Latin-type languages. All right. That makes sense.
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  Speaker 2: Are you ready to get to today's episode?
• 14:06
  Speaker 1: You know I am. Okay. This is a podcast that
• 14:15
  Speaker 1: looks back on the decade of the 1980s. We talk
• 14:20
  Speaker 1: about things that were important to us as children and
• 14:23
  Speaker 1: what we look back on with fond memories as adults. Ultimately,
• 14:29
  Speaker 1: this is a nostalgia podcast. Before we get started, let's
• 14:35
  Speaker 1: take a quick break and hear from our sponsor.
• 14:38
  Speaker 2: Today's episode of Children of the 80s is brought to
• 14:40
  Speaker 2: you by Stay Puft Marshmallows. They're soft, they're fluffy, they're huge,
• 14:48
  Speaker 2: and they just might be dangerous to your health.
• 14:51
  Speaker 1: Mmm, yum. Okay, Jim, tell me what's our episode about?
• 14:58
  Speaker 2: Well, we are in Halloween mode. It's October, as I
• 15:01
  Speaker 2: mentioned earlier. So we are going to talk about some
• 15:05
  Speaker 2: of the scary themes of Halloween. For instance... We've done
• 15:12
  Speaker 2: a Halloween playlist. That's not what this is, although this
• 15:16
  Speaker 2: could be a Halloween playlist. But these are for like
• 15:19
  Speaker 2: movie and TV themes from the 80s that has creepy
• 15:22
  Speaker 2: Halloween music that has lived with us forever. Or not
• 15:25
  Speaker 2: creepy Halloween music, creepy sounding music. Creepy. That would go
• 15:29
  Speaker 2: well with Halloween.
• 15:31
  Speaker 1: Oh my gosh, I love this. You know I love
• 15:33
  Speaker 1: this time of year.
• 15:34
  Speaker 2: I know you do. And so do I. And so
• 15:36
  Speaker 2: does Emmy. And I think so does, you know, most people.
• 15:39
  Speaker 2: I thought putting together something like this would be a
• 15:42
  Speaker 2: good instrumental list. Okay. Although we do have a few
• 15:46
  Speaker 2: lyrics here and there.
• 15:47
  Speaker 1: Oh.
• 15:48
  Speaker 2: So would you like to know what our first song is?
• 15:52
  Speaker 1: Lay it on me, Butler. Now, that sounds familiar. It does.
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  Speaker 2: We talked about this last week, right? With Unsolved Mysteries.
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  Speaker 2: But I know that you did some research on it
• 16:13
  Speaker 2: last week, and we did not get to talk about it.
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  Speaker 2: So why don't you just go ahead and give us
• 16:18
  Speaker 2: the info?
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  Speaker 1: Okay, so the composers for this piece were Michael Boyd
• 16:24
  Speaker 1: and Gary Rimmel Malkin. The series began with specials in 1987. Okay,
• 16:29
  Speaker 1: so it wasn't a series originally, but... And it became
• 16:33
  Speaker 1: a regular weekly show in 1988. Its opening theme combined
• 16:40
  Speaker 1: electronic music with a sense of urgency, maybe, and danger,
• 16:47
  Speaker 1: perfectly complementing Robert Stack's ominous delivery.
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  Speaker 2: Right, so we talked about him being perfect for it
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  Speaker 2: last week. But we didn't talk about how ominous his
• 16:57
  Speaker 2: delivery was. He said it was perfect. But it was
• 16:59
  Speaker 2: perfect because it was ominous.
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  Speaker 1: I don't know how he kept a straight face.
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  Speaker 2: I know. I know. Because he's a professional man.
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  Speaker 1: How did he play that?
• 17:09
  Speaker 2: As a professional.
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  Speaker 1: And then she was never seen again. There's no way.
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  Speaker 1: You know I would have been rolling around on the
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  Speaker 1: ground cackling at some point. So Malkin and Boyd worked
• 17:23
  Speaker 1: with Synthesis. Is a synthesis someone who plays the synthesizer?
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  Speaker 2: I would think so, yes.
• 17:32
  Speaker 1: I want to be a synthesis.
• 17:34
  Speaker 2: Well, go practice then.
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  Speaker 1: Synthesis Lindsay.
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  Speaker 2: I couldn't say synthesis over and over again if you
• 17:40
  Speaker 2: paid me to do that.
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  Speaker 1: I didn't even realize that that was an option. If
• 17:44
  Speaker 1: somebody would have told me that I could do that,
• 17:47
  Speaker 1: I would have.
• 17:47
  Speaker 2: What about keytar? Oh, yeah. Could you be a keytarist?
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  Speaker 1: Oh, I could be a keytarist for sure. Okay. Okay.
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  Speaker 1: Malkin and Boyd worked with synthesisist Charles Judge, whose pitch-bending
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  Speaker 1: effects created those eerie, almost siren-like sounds. Malkin also deliberately
• 18:07
  Speaker 1: used unsettling musical intervals, including the tritone, to create tension.
• 18:13
  Speaker 1: We'd have to have Emmy in here to explain what
• 18:15
  Speaker 1: the tritone is.
• 18:16
  Speaker 2: What a tritone is.
• 18:17
  Speaker 1: But indefinitely, I mean, it was.
• 18:19
  Speaker 2: Is that like the glockenspiel?
• 18:20
  Speaker 4: Yeah.
• 18:21
  Speaker 1: It gave you an unsettling feeling, for sure.
• 18:25
  Speaker 4: Yeah, yeah.
• 18:26
  Speaker 1: So Malkin said that after weeks of composing for the
• 18:29
  Speaker 1: show and repeatedly watching its disturbing reenactments, he went camping
• 18:36
  Speaker 1: and suffered nightmares. Even the composer was haunted by his
• 18:40
  Speaker 1: own music.
• 18:41
  Speaker 2: That's funny.
• 18:41
  Speaker 1: You know, that's something else we didn't talk about last week.
• 18:45
  Speaker 1: The reenactments were so bad.
• 18:48
  Speaker 2: Yes, they were horrible yet terrifying at the same time.
• 18:50
  Speaker 1: They were so bad. Where did they find these people?
• 18:54
  Speaker 1: terrible actors from.
• 18:56
  Speaker 2: You probably pulled them straight off Cinemax.
• 18:57
  Speaker 1: Oh my gosh. You know, they were just like calling
• 19:00
  Speaker 1: up all local theater companies and be like, send us
• 19:03
  Speaker 1: what you got. We can pay $ 5. Send us what
• 19:07
  Speaker 1: you got.
• 19:08
  Speaker 2: So what do you think the pop culture impact was
• 19:10
  Speaker 2: of this theme?
• 19:11
  Speaker 1: Okay. So the theme became so closely associated with childhood
• 19:15
  Speaker 1: fear that the 2020 Netflix revival retained an updated version
• 19:21
  Speaker 1: of the original song. Co-creator Terry Dunn Mauer said the
• 19:25
  Speaker 1: theme was one of the elements people commented on the most.
• 19:29
  Speaker 2: Well, of course. So here's my question to you. Was
• 19:35
  Speaker 2: the music scarier than the mysteries themselves?
• 19:38
  Speaker 1: Yes.
• 19:41
  Speaker 2: So here's my next question. Then we can be done
• 19:43
  Speaker 2: with unsolved mysteries. Why was Robert Stack always in a dark,
• 19:47
  Speaker 2: like foggy location? that was creepier than like Haddonfield, Illinois
• 19:53
  Speaker 2: or Camp Crystal Lake?
• 19:54
  Speaker 1: Yeah, I don't know.
• 19:55
  Speaker 2: I want to know.
• 19:56
  Speaker 1: He would be standing in the dark on the deserted
• 19:59
  Speaker 1: street with some creepy like bear trees. But I mean,
• 20:04
  Speaker 1: I don't know. It made no sense.
• 20:06
  Speaker 3: I know.
• 20:08
  Speaker 2: I don't get it.
• 20:08
  Speaker 1: And it's trench coat tied, buttoned and tied.
• 20:11
  Speaker 2: Buttoned and tied. Unlike mine. My name's open.
• 20:13
  Speaker 1: Yeah.
• 20:16
  Speaker 2: All right. So you had your favorite. Now we're going
• 20:19
  Speaker 2: to my favorite. All right, everybody knows that as the
• 20:44
  Speaker 2: theme from Halloween. And people might say, but Jim, Halloween
• 20:48
  Speaker 2: was released in 1978. It was. Halloween II was released
• 20:52
  Speaker 2: in 1981. I thought you.
• 20:55
  Speaker 1: Were going to be like, it was. But this is
• 20:57
  Speaker 1: my podcast.
• 20:59
  Speaker 2: No. So, the composer, obviously we've talked about this before.
• 21:05
  Speaker 2: The composer was John Carpenter. And The theme, like I said,
• 21:10
  Speaker 2: because the movie came out in 78, the theme actually
• 21:13
  Speaker 2: became a defining sound of the 80s because of sequels.
• 21:17
  Speaker 2: Home video became a thing. It was on television a lot.
• 21:21
  Speaker 2: So that's why it became a theme of the 80s.
• 21:25
  Speaker 2: Carpenter actually created the medley in 5-4 time, which is
• 21:32
  Speaker 2: obviously an unusual rhythm, right? Because we hear of 2-4
• 21:34
  Speaker 2: time or 3-4 time, sometimes 4-4 time. This is actually
• 21:37
  Speaker 2: 5-4 time, which is sped up, right?
• 21:40
  Speaker 1: Sometimes 4-4 time.
• 21:41
  Speaker 2: Okay. Most of the time, 4-4 time.
• 21:44
  Speaker 1: Sorry.
• 21:45
  Speaker 2: Music lover. But he played the piano in 5-4 time,
• 21:51
  Speaker 2: which gives it like an off balance.
• 21:54
  Speaker 1: Yes. Right? An uneasy feeling.
• 21:56
  Speaker 2: An uneasy feeling, right? And so that's why it became
• 21:59
  Speaker 2: so iconic. So why did he create it in 5-4 time,
• 22:03
  Speaker 2: you ask? Because his father... played the bongos, got him
• 22:08
  Speaker 2: bongos when he was little, and he taught little John
• 22:12
  Speaker 2: Carpenter the 5-4 rhythm on the bongos when he was
• 22:15
  Speaker 2: like 13 years old. And so that rhythm actually helped
• 22:18
  Speaker 2: him with this Halloween theme.
• 22:22
  Speaker 1: Do you think the Halloween theme song played any part
• 22:29
  Speaker 1: in the Unsolved Mysteries theme song?
• 22:31
  Speaker 2: It may have.
• 22:31
  Speaker 1: Because there's that definite similarity there.
• 22:34
  Speaker 2: Oh, for sure. It probably was an inspiration, for sure,
• 22:37
  Speaker 2: I would think. So what's funny is they made this
• 22:42
  Speaker 2: movie for about $ 300, 000, $ 350, 000. And if you want to
• 22:46
  Speaker 2: hear more on this, go listen to our Patreon this month.
• 22:50
  Speaker 1: Yeah, it'll be coming out any day now.
• 22:51
  Speaker 2: It'll be coming out soon. But we do a, I
• 22:54
  Speaker 2: don't want to say a deep dive, because that's kind
• 22:56
  Speaker 2: of Jason and Dee's thing. But we do a comparison
• 22:58
  Speaker 2: of Halloween versus Scream on YouTube. our October Patreon. So
• 23:03
  Speaker 2: go check that out. But they spent more than 20%
• 23:09
  Speaker 2: of their budget on a camera.
• 23:13
  Speaker 1: Wow.
• 23:14
  Speaker 2: So Carpenter makes the theme, but he shows the movie
• 23:18
  Speaker 2: to the executives before the music was added. And the
• 23:22
  Speaker 2: executives were like, what is this? This isn't scary at all.
• 23:25
  Speaker 2: But you add that music to, And all of a sudden,
• 23:29
  Speaker 2: this becomes one of the great horror films of all time.
• 23:31
  Speaker 1: Crazy.
• 23:32
  Speaker 2: Isn't it crazy that music can do that? So, as
• 23:38
  Speaker 2: far as pop culture impact goes, I think this did
• 23:41
  Speaker 2: have an influence on other themes, like Unsolved Mysteries, like
• 23:48
  Speaker 2: Friday the 13th, like Nightmare on Elm Street. This was
• 23:52
  Speaker 2: just a thing that had an enormous impact on That
• 23:58
  Speaker 2: movie and future movies and scores as well. If you,
• 24:01
  Speaker 2: I mean, you don't think the movie's scary anyway, but
• 24:03
  Speaker 2: you take away the music and it's probably the most
• 24:05
  Speaker 2: boring movie you've ever seen in your life.
• 24:07
  Speaker 1: Then he's just awkward. Right.
• 24:09
  Speaker 2: But with the music, at least it makes it a
• 24:11
  Speaker 2: little bit.
• 24:12
  Speaker 1: He's a lurker.
• 24:12
  Speaker 2: He's definitely a lurker.
• 24:14
  Speaker 1: So, yeah. Has to have the music.
• 24:18
  Speaker 2: All right.
• 24:19
  Speaker 1: Because the music kind of tells you when to be afraid.
• 24:22
  Speaker 2: Yes. Yes.
• 24:23
  Speaker 4: 100%.
• 24:24
  Speaker 2: Otherwise, it's not scary.
• 24:25
  Speaker 4: Right.
• 24:27
  Speaker 2: There's a lot of tension built up in the dark
• 24:29
  Speaker 2: when Laurie Strode's in there, too, and it's not that music.
• 24:31
  Speaker 2: It's different music, but it builds up the intensity. All right,
• 24:37
  Speaker 2: here's our next one.
• 24:39
  Speaker 3: ¶ ¶.
• 25:08
  Speaker 1: Okay, that's the stupidest theme song I've ever heard. I
• 25:13
  Speaker 1: actually thought the beginning sounded like something you'd play at
• 25:16
  Speaker 1: a Christmas play in a theater until it got to that.
• 25:24
  Speaker 1: How was that?
• 25:25
  Speaker 2: So it's funny that you say because. The composer is
• 25:34
  Speaker 2: actually saying, he's recording himself and saying, he and ma.
• 25:41
  Speaker 2: So he says, that's weird. Derived from kill and mommy
• 25:48
  Speaker 2: and process the recording with an echo. So obviously this
• 25:51
  Speaker 2: is Friday the 13th, right? So that's basically like Jason
• 25:57
  Speaker 2: in her crazy head saying kill. Kill, kill, kill. Mommy, mommy, mommy.
• 26:02
  Speaker 2: But it's... But as kids, and even as adults, I guess,
• 26:07
  Speaker 2: we hear... Yeah.
• 26:11
  Speaker 4: Right?
• 26:11
  Speaker 2: Yes. So go ahead. Why don't you tell us the
• 26:16
  Speaker 2: background about it?
• 26:17
  Speaker 1: The composer to this horrible piece is Harry Manfredini? Yeah.
• 26:24
  Speaker 1: Did I get it?
• 26:25
  Speaker 2: It's not Manfredi like Dwight Manfredi. Yeah.
• 26:32
  Speaker 1: Manfredini scored the original movie, but his most famous contribution
• 26:37
  Speaker 1: wasn't a traditional melody. It was that whispering, echoing noise
• 26:42
  Speaker 1: that we were just talking about that was associated with
• 26:45
  Speaker 1: the killer. So he needed a way to tell the
• 26:49
  Speaker 1: audience when the camera represented the killer's point of view.
• 26:55
  Speaker 1: The killer was largely unseen. So the music had to
• 26:58
  Speaker 1: communicate that someone was watching the He found his inspiration
• 27:03
  Speaker 1: in Mrs. Voorhees hearing Jason's voice urging her to kill.
• 27:07
  Speaker 2: There you go. And like we said, it's like... It's actually....
• 27:14
  Speaker 1: The sound became one of the most recognizable audio signatures
• 27:18
  Speaker 1: in horror, surviving across the franchise and becoming inseparable from
• 27:23
  Speaker 1: Jason Voorhees, even though Jason wasn't the main killer in
• 27:28
  Speaker 1: the original film.
• 27:29
  Speaker 2: And you know what? That fact is what got Casey
• 27:33
  Speaker 2: Becker gutted in Scream because they asked her who was
• 27:37
  Speaker 2: the killer on Friday the 13th, and she said Jason,
• 27:40
  Speaker 2: as 99.9% of the world would say, especially when under
• 27:44
  Speaker 2: the stress that she was under.
• 27:47
  Speaker 1: It was his mama.
• 27:48
  Speaker 2: It was his mom. All right. Next story. I mean,
• 27:55
  Speaker 2: you hate it. I love it. I think it's brilliant.
• 27:58
  Speaker 1: That, that theme song. I wouldn't say it's brilliant, but okay.
• 28:02
  Speaker 2: All right. So I'm going to handle the next two
• 28:06
  Speaker 2: and then, and then I'll turn it over to you
• 28:07
  Speaker 2: because they're from the same movie.
• 28:09
  Speaker 1: Okay.
• 28:38
  Speaker 2: All right, do you recognize that?
• 28:39
  Speaker 1: I sure do. And that, I will give you, that's creepy.
• 28:42
  Speaker 2: That's the theme for my Nightmare on Elm Street. The
• 28:45
  Speaker 2: composer was Charles Bernstein.
• 28:48
  Speaker 1: Bernstein?
• 28:48
  Speaker 2: Or Bernstein. Was it Bernstain? Maybe it was Bernstain. Maybe
• 28:52
  Speaker 2: it was Berenstain. I don't know. So Wes Craven did
• 28:57
  Speaker 2: Friday the 13th, as you know, and he needed music
• 29:00
  Speaker 2: that blurred the boundary between dreams and reality. And so
• 29:04
  Speaker 2: Bernstein combined electronic instruments, with ominous melodies and unusual sounds.
• 29:11
  Speaker 2: So budget limitations played a major role in the making
• 29:14
  Speaker 2: of this film, and Bernstein relied heavily on synthesizers and
• 29:18
  Speaker 2: performed much of the music himself, making the score a
• 29:22
  Speaker 2: distinctive example of low-budget 80s electronic horror.
• 29:26
  Speaker 1: I see that.
• 29:28
  Speaker 2: Bernstein admitted that when he first saw a rough cut,
• 29:31
  Speaker 2: he thought Freddy Krueger was so bizarre that the film
• 29:34
  Speaker 2: might never become successful. He had no idea he was
• 29:39
  Speaker 2: scoring the beginning. of one of horror's biggest franchises so
• 29:44
  Speaker 2: what do you think the pop culture impact of this
• 29:46
  Speaker 2: song or this score.
• 29:48
  Speaker 1: Is I think it paved the way for some of
• 29:54
  Speaker 1: the scary movies that came a couple of years later.
• 29:57
  Speaker 1: But as far as where does it fall compared to
• 30:02
  Speaker 1: the other ones, I think it still tops the list.
• 30:04
  Speaker 2: So I think it helps establish Freddy as like a
• 30:08
  Speaker 2: different kind of slasher, right? A different kind of villain.
• 30:12
  Speaker 2: He existed in a dream world, right? Which was kind
• 30:14
  Speaker 2: of surreal.
• 30:15
  Speaker 1: Yeah.
• 30:16
  Speaker 2: The music helped make that world unpredictable, whereas Michael Myers
• 30:19
  Speaker 2: and Jason, they existed in a real world and not
• 30:22
  Speaker 2: a dream world. And so it's just different, right? The
• 30:30
  Speaker 2: dream world was more unpredictable than the real world, right?
• 30:35
  Speaker 2: The real world, we knew we were going to get
• 30:37
  Speaker 2: the jump. It just depended on all of a sudden
• 30:39
  Speaker 2: Jason shows up on screen or with Halloween, it's a
• 30:42
  Speaker 2: little bit different because they kind of show you all
• 30:44
  Speaker 2: the places that Michael isn't right and then boom then
• 30:48
  Speaker 2: all of a sudden he's there or they show him
• 30:50
  Speaker 2: way in the background in shadows and you can is
• 30:53
  Speaker 2: that him do i think i'm seeing him and then
• 30:56
  Speaker 2: you know it builds the tension all right so that
• 31:00
  Speaker 2: is one i've got one that might be even creepier
• 31:03
  Speaker 2: than oh really here we go So speaking of the
• 31:16
  Speaker 2: dream world, like, that's when they're in the dream, and
• 31:21
  Speaker 2: it's really kind of frightening there. All right. But I've
• 31:25
  Speaker 2: got one more other than that. Okay. I think this
• 31:29
  Speaker 2: one might be freakier than those.
• 31:31
  Speaker 3: I'm too afraid to come before you. Please, forbear not.
• 31:44
  Speaker 1: That's those creepy children jumping rope. Well, now I'm never
• 32:01
  Speaker 1: going to sleep again. Yes. Something about putting a kid
• 32:07
  Speaker 1: in there.
• 32:07
  Speaker 2: Yes.
• 32:08
  Speaker 1: Oh no.
• 32:09
  Speaker 2: Absolutely. So, um, This obviously isn't the same as the
• 32:15
  Speaker 2: movie theme, but it's the sinister nursery rhyme. Like you said,
• 32:20
  Speaker 2: chanted by a kid jumping rope.
• 32:22
  Speaker 1: Right. So it's like the children. Was it the little
• 32:25
  Speaker 1: girls that the boy sees in the shining when he's
• 32:28
  Speaker 1: riding his big wheel around the hotel?
• 32:30
  Speaker 2: Yes.
• 32:31
  Speaker 1: The twins are there. I feel, I feel like they
• 32:34
  Speaker 1: would sing this.
• 32:35
  Speaker 2: Oh, 100%. If their dad hadn't hacked them up.
• 32:38
  Speaker 1: Yeah.
• 32:38
  Speaker 2: Well, yeah. Um, because he had to correct them. Hmm.
• 32:41
  Speaker 2: So Wes Craven wrote the rhyme into the screenplay and
• 32:45
  Speaker 2: then Bernstein later provided the music underneath the chant. So
• 32:49
  Speaker 2: you want to know why it works?
• 32:50
  Speaker 1: Yeah.
• 32:52
  Speaker 2: Kids are innocent, right? And so it takes something innocent like,
• 32:56
  Speaker 2: you know, one, two, right? The rhyme and transforms it
• 33:00
  Speaker 2: into a warning about a supernatural killer, right?
• 33:02
  Speaker 1: I like that.
• 33:03
  Speaker 2: And then the jump rope imagery makes it even more
• 33:06
  Speaker 2: unsettling because it suggests that maybe Freddie has become part
• 33:10
  Speaker 2: of Their everyday world.
• 33:12
  Speaker 3: Right.
• 33:12
  Speaker 4: Right.
• 33:14
  Speaker 2: The rhyme became one of Freddie's most recognizable trademarks and
• 33:19
  Speaker 2: recurred throughout the franchise and has been referenced by us
• 33:24
  Speaker 2: horror fans for decades. So which was more frightening, hearing
• 33:29
  Speaker 2: the rhyme or actually seeing Freddie?
• 33:31
  Speaker 1: Hearing the rhyme. Oh, my goodness. That's easy.
• 33:36
  Speaker 2: I would agree because the rhyme sticks with you. The
• 33:39
  Speaker 2: rhyme sticks with you. All right. So. Okay.
• 33:41
  Speaker 1: I think the next one's mine.
• 33:43
  Speaker 2: The next one is yours.
• 34:04
  Speaker 4: Man lives in the sunlit world of what he believes
• 34:10
  Speaker 4: to be reality. But there is unseen by most an underworld,
• 34:23
  Speaker 4: a place that is just as real, but not as
• 34:28
  Speaker 4: brightly lit. A dark side.
• 34:42
  Speaker 2: Okay, so it has literally been like almost 40 years
• 34:45
  Speaker 2: since I've heard that, and that took me right back.
• 34:51
  Speaker 1: This is the theme song from the TV show Tales
• 34:55
  Speaker 1: from the Dark Side, which ran 83 to 88.
• 35:01
  Speaker 2: Oh, man, I loved this show as a kid.
• 35:03
  Speaker 1: Did it come on cable? Or was it on regular TV?
• 35:06
  Speaker 2: I'm pretty sure it was on regular TV.
• 35:08
  Speaker 1: Because I don't remember Tales from the Dark Side.
• 35:10
  Speaker 2: Maybe it came on cable.
• 35:13
  Speaker 1: I hate to disappoint you.
• 35:17
  Speaker 2: The pilot was originally financed and distributed by CBS, but
• 35:22
  Speaker 2: they passed on picking up the full show. It was syndicated.
• 35:27
  Speaker 2: So I'm guessing it would have been on any station
• 35:33
  Speaker 2: really that ran in syndication.
• 35:34
  Speaker 1: So tales from the dark side, a syndicated show. You know,
• 35:39
  Speaker 1: I normally love me a good syndicated show, but I
• 35:42
  Speaker 1: just don't remember this one.
• 35:43
  Speaker 2: Maybe it came on late at night.
• 35:45
  Speaker 1: Probably. Okay. So the composers to this song are Donald
• 35:50
  Speaker 1: Rubenstein and Erica Lindsay.
• 35:53
  Speaker 2: Is it Rubenstein or Rubenstein?
• 35:55
  Speaker 1: I'm going with Stein.
• 35:56
  Speaker 2: Is it staying? Is it Rubenstein?
• 35:58
  Speaker 1: It might be staying. Uh, okay. So created by George A. Romero,
• 36:03
  Speaker 1: the series debuted with a pilot on October 29th, 1983.
• 36:06
  Speaker 1: So right at Halloween time. And began its regular syndicated
• 36:12
  Speaker 1: run in 1984. So let me.
• 36:14
  Speaker 2: Ask you this. Do you recognize that name, George A. Romero?
• 36:18
  Speaker 1: No. Who is that?
• 36:19
  Speaker 2: He is the one that did Night of the Living Dead.
• 36:24
  Speaker 1: Oh, yes, of course.
• 36:26
  Speaker 4: Oh, wow.
• 36:27
  Speaker 1: Okay. Okay. So the theme plays over images of ordinary landscapes,
• 36:34
  Speaker 1: including trees, fields, and R-U-R-A-L scenery. You want to say it?
• 36:43
  Speaker 4: Rural?
• 36:43
  Speaker 1: Yes.
• 36:43
  Speaker 4: Yes.
• 36:44
  Speaker 1: As the music becomes more sinister, the visual suggests that
• 36:48
  Speaker 1: something frightening is hiding beneath the normal world. The narration
• 36:53
  Speaker 1: is by Paul Sparrow, and it adds another layer of
• 36:57
  Speaker 1: just kind of overall dread.
• 36:58
  Speaker 2: Okay, so before you continue, I believe that this Tales
• 37:05
  Speaker 2: from the Dark Side and that beginning of, you know,
• 37:10
  Speaker 2: There's a more sinister world somewhere on the dark side
• 37:14
  Speaker 2: because most people live in the light. I'm going to
• 37:16
  Speaker 2: say that that inspired Stranger Things.
• 37:21
  Speaker 4: Oh, wow.
• 37:22
  Speaker 2: And the Upside Down.
• 37:24
  Speaker 1: Really?
• 37:24
  Speaker 2: Don't you think?
• 37:25
  Speaker 1: I mean, it's very possible. Sounds like it. The interesting
• 37:29
  Speaker 1: thing is, I think these are two brothers on Tales
• 37:33
  Speaker 1: of the Dark Side. Donald Rubenstein's brother, Richard P. Rubenstein.
• 37:39
  Speaker 1: Was one of the show's executive producers. Oh. Stranger Things.
• 37:43
  Speaker 1: It was two brothers.
• 37:43
  Speaker 2: So it's nepotism.
• 37:45
  Speaker 1: Its opening became notorious for being scarier than some of
• 37:49
  Speaker 1: the episodes themselves.
• 37:51
  Speaker 2: Yes.
• 37:51
  Speaker 1: Donald Rubenstein's own website notes that the opening has appeared
• 37:55
  Speaker 1: on published rankings of TV's creepiest introductions. So this kind
• 38:01
  Speaker 1: of reminds me of the Twilight.
• 38:03
  Speaker 2: Zone a little bit. Yes, it was very much like
• 38:06
  Speaker 2: an updated Twilight Zone, even though we had an updated
• 38:09
  Speaker 2: Twilight Zone in the 80s.
• 38:10
  Speaker 1: Yeah.
• 38:11
  Speaker 2: But yes, this was very much like an updated Twilight Zone,
• 38:14
  Speaker 2: only possibly maybe even a little darker. I don't know.
• 38:19
  Speaker 1: Yeah, I can see that.
• 38:20
  Speaker 2: But I loved it. Like, I loved this show.
• 38:25
  Speaker 1: So you watched it.
• 38:26
  Speaker 2: I watched it. I would love to go back and
• 38:28
  Speaker 2: watch it again if you're up for it.
• 38:30
  Speaker 1: Okay, so the funny thing is, so you could argue, well,
• 38:34
  Speaker 1: maybe my parents just didn't let me watch.
• 38:38
  Speaker 2: Yeah, something like this, yes.
• 38:39
  Speaker 1: I watched Friday the 13th and Nightmare on Elm Street
• 38:48
  Speaker 1: at old nanny's house.
• 38:49
  Speaker 2: The television shows?
• 38:50
  Speaker 1: The movies.
• 38:51
  Speaker 2: Oh, the movies. Oh, wow. I did not know that.
• 38:55
  Speaker 2: That does not sound like your nanny that I knew.
• 38:57
  Speaker 1: So the only thing I can think was We didn't
• 39:00
  Speaker 1: have cable, so would they have cut some things out?
• 39:04
  Speaker 2: Oh, for sure, yes.
• 39:05
  Speaker 1: So maybe that's one reason why she allowed me to
• 39:07
  Speaker 1: watch it.
• 39:07
  Speaker 2: Maybe, yeah, for sure.
• 39:09
  Speaker 1: But I have lots of memories of that, so it's funny.
• 39:12
  Speaker 2: Wow, that's crazy. Seeing the hockey mask and everything.
• 39:14
  Speaker 1: All right. Well. Go figure.
• 39:18
  Speaker 2: Go figure. All right, here is our next theme.
• 39:21
  Speaker 3: Go figure.
• 39:51
  Speaker 2: Okay, so there's something about an organ and a haunted
• 39:54
  Speaker 2: house with that music, you know, that's almost like those
• 39:58
  Speaker 2: old school creature features.
• 39:59
  Speaker 1: That weird little though.
• 40:02
  Speaker 2: Yes.
• 40:02
  Speaker 1: I don't know. That was bothering me.
• 40:06
  Speaker 2: So you want to know why it was bothering you?
• 40:07
  Speaker 1: Yeah, tell me.
• 40:08
  Speaker 2: So this is from the movie The Fog, 1980. Okay.
• 40:11
  Speaker 2: The composer, John Carpenter.
• 40:13
  Speaker 1: Oh my gosh, of course. We should have known that.
• 40:16
  Speaker 2: So this, uh, he performed the score and this is
• 40:20
  Speaker 2: a supernatural ghost story about a coastal town terrorized by
• 40:23
  Speaker 2: vengeful spirits. So instead of relying on the more aggressive
• 40:30
  Speaker 2: musical style of Halloween, this time Carpenter uses atmospheric synthesizers,
• 40:35
  Speaker 2: restrained melodies, bells, and heartbeat like rhythms to build dread.
• 40:40
  Speaker 2: Is that kind of what you felt?
• 40:41
  Speaker 1: Yes.
• 40:42
  Speaker 2: Um, So Carpenter originally thought The Fog was a disaster
• 40:49
  Speaker 2: after watching an early cut. And he and his collaborators
• 40:53
  Speaker 2: extensively reworked the film, including its music. And Carpenter returned
• 40:59
  Speaker 2: to the studio to compose and record new material. And
• 41:02
  Speaker 2: he later described the resulting score as one of his best.
• 41:06
  Speaker 1: Oh, wow.
• 41:08
  Speaker 2: So the film became an important example of Carpenter's atmospheric
• 41:11
  Speaker 2: horror style, demonstrating how music could make something as ordinary
• 41:16
  Speaker 2: as fog feel threatening.
• 41:21
  Speaker 1: Have you seen this movie?
• 41:22
  Speaker 2: I have not.
• 41:23
  Speaker 1: I was going to ask you, did the fog feel threatening?
• 41:26
  Speaker 2: I mean, you know, if I had seen it in 1980,
• 41:29
  Speaker 2: I probably would have been terrified. I would probably, I
• 41:32
  Speaker 2: would imagine that I would laugh my way through it,
• 41:35
  Speaker 2: but I wouldn't mind giving it a watch.
• 41:37
  Speaker 1: Right.
• 41:38
  Speaker 2: So maybe we'll do that this Halloween.
• 41:42
  Speaker 1: Okay. I think is the next one mine?
• 41:44
  Speaker 2: If you want it.
• 41:46
  Speaker 1: Okay. Okay. This is so deceiving. This is so deceiving.
• 42:32
  Speaker 1: This sounds like a man galloping in his horse across
• 42:37
  Speaker 1: a field to get to the love of his life
• 42:39
  Speaker 1: that's standing under a beautiful tree. Like, what in the world?
• 42:43
  Speaker 2: Why don't you tell the folks what that is?
• 42:46
  Speaker 1: Okay, that is the song from Poltergeist.
• 42:50
  Speaker 2: Yep, that's the score. Released in 1982. My mama said
• 42:51
  Speaker 2: that Poltergeist.
• 42:58
  Speaker 1: is what scared my daddy into religion.
• 43:00
  Speaker 2: Really?
• 43:01
  Speaker 1: That's what she said.
• 43:02
  Speaker 2: That's hilarious.
• 43:04
  Speaker 1: He was an independent man up until that point.
• 43:07
  Speaker 2: Oh my goodness.
• 43:09
  Speaker 1: Okay, the composer was Jerry Goldsmith.
• 43:12
  Speaker 2: It's gold, Jerry, gold!
• 43:14
  Speaker 1: Unlike Carpenter's minimalistic electronic scores, Goldsmith created an elaborate orchestral
• 43:21
  Speaker 1: soundtrack for this supernatural horror film. It just, it does
• 43:26
  Speaker 1: not fit to me at all. Goldsmith worked closely with
• 43:31
  Speaker 1: producer Steven Spielberg. They wanted music that reflected both the
• 43:35
  Speaker 1: innocence of young Carol Ann and the terrifying supernatural forces
• 43:40
  Speaker 1: surrounding her. Yes.
• 43:42
  Speaker 2: There's all kinds of music for Poltergeist. But this is
• 43:47
  Speaker 2: like Carol Ann's theme because she's the little girl.
• 43:49
  Speaker 1: Yeah.
• 43:50
  Speaker 2: And it was written, would you say kind of like
• 43:52
  Speaker 2: a lullaby?
• 43:53
  Speaker 4: Yeah, kind of.
• 43:55
  Speaker 2: So how did he do that?
• 43:57
  Speaker 1: So he used different musical approaches for the spirits. Some
• 44:01
  Speaker 1: passages were threatening and dissonant, while others had an almost
• 44:09
  Speaker 1: religious quality, suggesting that not everything supernatural was necessarily evil.
• 44:16
  Speaker 2: Yes.
• 44:17
  Speaker 3: Ooh.
• 44:18
  Speaker 1: Goldsmith received an Academy Award nomination for Best Original Score.
• 44:23
  Speaker 1: He lost, though, to John Williams for E.T., another 1982
• 44:29
  Speaker 1: film associated with Spielberg.
• 44:31
  Speaker 2: Yeah, I mean, it's tough to win against John Williams.
• 44:34
  Speaker 2: But I think because, you know, they use this sweet,
• 44:41
  Speaker 2: innocent music for Carol Ann in this movie, it actually
• 44:46
  Speaker 2: seems at times more disturbing than traditional horror music because
• 44:52
  Speaker 2: of what we associate. With it, which is the horrifying Poltergeist.
• 44:56
  Speaker 1: I can see that.
• 44:58
  Speaker 2: Okay, so if Poltergeist was not the scariest movie that
• 45:03
  Speaker 2: Gen X kids saw, that wasn't a slasher film, then
• 45:08
  Speaker 2: this next movie probably was.
• 45:22
  Speaker 3: So that is the theme from Children of the Corn, 1984.
• 45:49
  Speaker 2: The composer was Jonathan Elias, and this was based on
• 45:54
  Speaker 2: Stephen King's short story, and it tells the story of
• 45:58
  Speaker 2: a Nebraska town where children have murdered the adults under
• 46:02
  Speaker 2: the influence of a sinister religious cult.
• 46:06
  Speaker 1: I don't even like the sounds of that.
• 46:08
  Speaker 2: Elias incorporates eerie choral voices and unsettling instrumental passages, giving
• 46:15
  Speaker 2: the score an almost ritualistic quality. The music is, to me,
• 46:21
  Speaker 2: it's effective because it combines religious-sounding elements with the threat
• 46:27
  Speaker 2: of violence. Yep, yep. This was one of Elias' earliest
• 46:30
  Speaker 2: major feature film scoring assignments. The film developed a lasting
• 46:37
  Speaker 2: horror following and launched a long-running franchise. So I can
• 46:40
  Speaker 2: tell you this. 1984, Children of the Corn. Children of
• 46:44
  Speaker 2: the Corn 2, maybe later in the 80s or early
• 46:46
  Speaker 2: in the 90s, it was like a stand-alone franchise. And
• 46:48
  Speaker 2: then all of a sudden they started creating more and
• 46:50
  Speaker 2: more and more and more. I could care less about
• 46:52
  Speaker 2: anything after the first one. Really? The first one was
• 46:54
  Speaker 2: absolutely horrifying to me as a 10-year-old. It's probably stupid now.
• 47:00
  Speaker 2: The soundtrack remained pretty much obscure, but there is a
• 47:06
  Speaker 2: limited CD edition that was released for the film's 25th
• 47:10
  Speaker 2: anniversary in 2009. And some say that it sold out
• 47:15
  Speaker 2: very quickly.
• 47:15
  Speaker 1: Oh, really? Yeah. And there's just something, just something unsettling
• 47:21
  Speaker 1: about children singing in horror movies.
• 47:24
  Speaker 3: Yes.
• 47:25
  Speaker 2: Why is that so effective?
• 47:27
  Speaker 1: Because children are supposed to be sweet and innocent. And
• 47:30
  Speaker 1: there's like that combo there that's not a good feeling.
• 47:34
  Speaker 2: Yes, we got that. You got one, two, Freddy's coming.
• 47:36
  Speaker 2: I still think the one, two, Freddy coming for you
• 47:39
  Speaker 2: is freakier. But here you go. The next episode is
• 47:42
  Speaker 2: from your favorite movie.
• 48:14
  Speaker 1: Okay, I've heard enough.
• 48:15
  Speaker 2: I see you making a face over there.
• 48:16
  Speaker 1: I've heard enough. I don't need any more. That's Christine
• 48:19
  Speaker 1: from 1983. Didn't that sound a little bit like Halloween? Yeah,
• 48:24
  Speaker 1: it did because it's a John Carpenter again. Okay, so
• 48:30
  Speaker 1: music was composed by John Carpenter and Alan Howarth.
• 48:34
  Speaker 2: Like Howard.
• 48:35
  Speaker 1: Howarth.
• 48:36
  Speaker 2: No, no, Howarth.
• 48:37
  Speaker 1: Howarth.
• 48:39
  Speaker 2: Haworth. I had a friend that went to high school
• 48:41
  Speaker 2: that went to high school with my brother, Mike, and
• 48:43
  Speaker 2: he's got the same last name. Haworth. Not Haworth. He's
• 48:47
  Speaker 2: not worth a hoe.
• 48:51
  Speaker 1: Another Stephen King adaption, this time involving a possessed 1958
• 48:58
  Speaker 1: Plymouth Fury. Now, we have talked about this.
• 49:01
  Speaker 2: Yes. Remember last year when we did our Stephen King
• 49:05
  Speaker 2: movies for Halloween? Or was it the year before? I
• 49:07
  Speaker 2: think it was last year.
• 49:08
  Speaker 1: This is why Jim said this is my favorite, because
• 49:12
  Speaker 1: riddle me this. Okay, so this car, Christine was. the
• 49:20
  Speaker 1: car right okay and and christine was what possessed or
• 49:24
  Speaker 1: whatever and christine was going around murdering everybody why didn't
• 49:30
  Speaker 1: they just all go upstairs are you telling me that
• 49:35
  Speaker 1: christine could drive i did air quotes here drive up
• 49:41
  Speaker 1: the stairs to the attic to kill you this this
• 49:47
  Speaker 1: is the stupidest idea for a movie this like doesn't
• 49:52
  Speaker 1: make any sense.
• 49:55
  Speaker 2: Oh okay are you done with your rant i'm done
• 49:59
  Speaker 2: would you like to tell the folks about the background.
• 50:01
  Speaker 1: Okay, Carpenter collaborated with electronic musician Alan Holworth on the score,
• 50:07
  Speaker 1: using synthesizers to create a dark mechanical atmosphere.
• 50:12
  Speaker 2: Didn't that sound like... So with that music, so... Doesn't
• 50:17
  Speaker 2: that sound like the car's coming after you? Like you're
• 50:20
  Speaker 2: being stalked by a car. Yeah, but here's the thing.
• 50:22
  Speaker 1: I'm upstairs looking down, and I'm doing... Okay.
• 50:25
  Speaker 4: Okay.
• 50:30
  Speaker 1: The film also features classic 1950s rock and roll songs
• 50:35
  Speaker 1: associated with Christine's car radio. That creates a fascinating contrast
• 50:40
  Speaker 1: between the cheerful oldies and the sinister original score.
• 50:46
  Speaker 4: Yes.
• 50:47
  Speaker 1: So, Christine is another example of Carpenter's distinctive electronic sound,
• 50:52
  Speaker 1: but the combination of vintage rock music and synthesizer horror
• 50:57
  Speaker 1: gives it a different personality. From Halloween and the Fog.
• 51:02
  Speaker 2: Yes, and this is our third John Carpenter score out
• 51:08
  Speaker 2: of 10. He's done 30% of our movies here. So, A,
• 51:15
  Speaker 2: seems to me like he's the GOAT.
• 51:16
  Speaker 1: He is the GOAT.
• 51:17
  Speaker 2: But B, how do you think, like, he managed, these
• 51:23
  Speaker 2: are three different songs. Very different. Now, the Christine sounds
• 51:27
  Speaker 2: a little bit like Halloween. but the fog is eerie
• 51:30
  Speaker 2: along with a whole organ sound and everything. So it's
• 51:34
  Speaker 2: three different musical identities for three different horror movies.
• 51:37
  Speaker 1: And he no doubt is the goat insanely talented. And
• 51:41
  Speaker 1: it's not his fault. This is a stupid movie.
• 51:45
  Speaker 2: He's the one who made it. If it's a stupid movie,
• 51:47
  Speaker 2: it's on him.
• 51:48
  Speaker 1: But Stephen King wrote it. I know.
• 51:50
  Speaker 2: And it's still one of the best Stephen King books
• 51:51
  Speaker 2: I've ever read.
• 51:52
  Speaker 1: I mean, I don't get that.
• 51:55
  Speaker 2: All right.
• 51:55
  Speaker 1: Well, can I, can I, have you ever read Amelia Bedelia?
• 52:01
  Speaker 2: No, but yes, maybe.
• 52:03
  Speaker 1: I mean, that's better than this crap.
• 52:05
  Speaker 2: All right. I'm moving on to our 11th. This podcast
• 52:14
  Speaker 2: is never going to get over. Did you recognize that theme?
• 52:47
  Speaker 1: No, not at all.
• 52:48
  Speaker 2: So that is from Friday the 13th, the series, the
• 52:51
  Speaker 2: television series, which aired from 87 to 89. So is
• 52:56
  Speaker 2: Jason in this? Jason does not appear in this television show.
• 53:01
  Speaker 2: It had no direct story on Jason or on Camp
• 53:04
  Speaker 2: Crystal Lake. But it's Friday the 13th. I know. It
• 53:07
  Speaker 2: was really strange. So what it did was it followed
• 53:11
  Speaker 2: people trying to recover cursed antiques that had been sold
• 53:16
  Speaker 2: from some kind of mysterious antique shop.
• 53:19
  Speaker 1: Okay, so I watched a reality show one time that
• 53:22
  Speaker 1: was similar to this.
• 53:23
  Speaker 2: Really?
• 53:24
  Speaker 1: Where a family went out and bought haunted antiques and
• 53:29
  Speaker 1: brought to their house.
• 53:31
  Speaker 2: Well, you know, what's funny is them trying to recover
• 53:34
  Speaker 2: cursed antiques that have been sold from a mysterious shop
• 53:37
  Speaker 2: reminds me of another Stephen King book called Needful Things,
• 53:42
  Speaker 2: where a shop owner opens up with weird stuff that
• 53:46
  Speaker 2: people want to come in and buy. And they're called
• 53:47
  Speaker 2: Needful Things. But instead of selling them for cash, he
• 53:52
  Speaker 2: sells them for them to owe him a favor. And
• 53:55
  Speaker 2: then he causes all kinds of chaos in the town.
• 53:57
  Speaker 2: He's like, go. you know, steal this person's bike or
• 54:00
  Speaker 2: go hit this person over the head or whatever. So anyway,
• 54:04
  Speaker 2: totally off subject. The composer is Fred Mullen. And his
• 54:09
  Speaker 2: opening theme uses a, I would say it's somewhat sinister
• 54:13
  Speaker 2: electronic sound to establish a show supernatural atmosphere. So it was,
• 54:17
  Speaker 2: it was a supernatural type show. The series was developed
• 54:20
  Speaker 2: by Frank Mancuso Jr. And Larry B. Williams. Mancuso had
• 54:25
  Speaker 2: been involved in producing the Friday, the 13th, film franchise
• 54:29
  Speaker 2: which provides a connection between the show and the movies
• 54:34
  Speaker 2: so that's why he probably stepped away from jason on
• 54:36
  Speaker 2: that so it ran for three seasons and 72 episodes
• 54:40
  Speaker 2: and became a memorable example of late 80s syndicated horror
• 54:44
  Speaker 2: television much like tales from the dark side um so
• 54:50
  Speaker 2: If you had heard about this, you would have tuned
• 54:52
  Speaker 2: in expecting Jason Voorhees.
• 54:54
  Speaker 1: Absolutely, I would have.
• 54:55
  Speaker 2: I would have, too. And instead, it was a show
• 54:58
  Speaker 2: about cursed objects. So I was a little bit disappointed.
• 55:01
  Speaker 1: I would have been so confused.
• 55:03
  Speaker 2: I was disappointed. We've got two more to go. This
• 55:06
  Speaker 2: next one also syndicated television.
• 55:16
  Speaker 3: Ha ha ha ha!
• 55:54
  Speaker 1: That is Freddie's Nightmares, which ran from 88 to 1980.
• 55:59
  Speaker 1: The theme composer was Nicholas Pike.
• 56:06
  Speaker 2: Not Nicholas Cage.
• 56:08
  Speaker 1: No, not Nicholas Cage. Unlike Friday the 13th, the series,
• 56:12
  Speaker 1: this program actually featured its famous movie villain. We heard
• 56:16
  Speaker 1: him laughing there.
• 56:17
  Speaker 2: We did.
• 56:17
  Speaker 1: Robert Englund reprised his role as Freddy Krueger, serving as
• 56:21
  Speaker 1: host of a horror anthology series. Yes.
• 56:25
  Speaker 2: So he was like the guy from Tales from the Crypt.
• 56:30
  Speaker 2: You know, the Crypt Keeper would introduce the show, kind
• 56:34
  Speaker 2: of like a Twilight Zone type thing. That's what Freddy did.
• 56:37
  Speaker 2: He introduced a show, although he would be in some
• 56:40
  Speaker 2: of them as well.
• 56:41
  Speaker 1: Nicholas Pike composed the opening theme while several composers contributed
• 56:47
  Speaker 1: music to individual episodes. So Pike revealed that he created
• 56:54
  Speaker 1: the distinctive metallic sound of Freddie's bladed glove by sampling
• 56:58
  Speaker 1: a bowed symbol and raising its pitch. That's interesting.
• 57:05
  Speaker 2: It is interesting. So get this. I remember watching this because,
• 57:08
  Speaker 2: you know, I love the horror movies. I remember this.
• 57:10
  Speaker 2: So you remember this? So in the, so it only
• 57:13
  Speaker 2: lasted two seasons, 44 episodes, but the first episode's title
• 57:18
  Speaker 2: is called no more. Mr. Nice guy, which is funny
• 57:21
  Speaker 2: because that's a Alice Cooper song. Um, But that episode
• 57:27
  Speaker 2: explored Freddy's origins.
• 57:29
  Speaker 1: Oh, that's cool.
• 57:30
  Speaker 2: So it hooked fans immediately, right? I mean, you kind
• 57:35
  Speaker 2: of knew maybe it was going to be an anthology
• 57:37
  Speaker 2: or maybe it was just going to be an early
• 57:39
  Speaker 2: Freddy story going throughout seasons. You didn't know. But the
• 57:42
  Speaker 2: fact that they used that for the first one is
• 57:45
  Speaker 2: going to bring people back.
• 57:46
  Speaker 3: Wow.
• 57:47
  Speaker 2: Instead of doing like a Twilight Zone type thing. So
• 57:53
  Speaker 2: let me ask you this. So you watch this, right?
• 57:55
  Speaker 2: Did having Freddie appear on television every week make him
• 57:58
  Speaker 2: less frightening?
• 57:59
  Speaker 1: Yes.
• 58:00
  Speaker 2: Did it make him more popular?
• 58:02
  Speaker 1: Well, I mean, very possible.
• 58:05
  Speaker 2: I kind of think so.
• 58:05
  Speaker 1: But it definitely took some of the edge.
• 58:07
  Speaker 2: Off of him. Yeah, for sure. All right. Well, that
• 58:12
  Speaker 2: brings us down to our last one.
• 58:13
  Speaker 1: Is this our last one?
• 58:15
  Speaker 2: This is our last one.
• 58:24
  Speaker 1: My little sister, come, come to your brother, hey.
• 58:25
  Speaker 3: My Chinese sister, love is with your brother, hey, hey.
• 58:50
  Speaker 4: Blow my skull away.
• 59:00
  Speaker 2: Cry little sister from the lost boys 1987 movie so
• 59:05
  Speaker 2: the writers are gerard mcmahon and michael maneri um and
• 59:09
  Speaker 2: gerard mcmahon performed the song with the music and everything
• 59:15
  Speaker 2: and later known professionally as g tom mack g tom
• 59:19
  Speaker 2: mack so joel schumacher who directed the movie wanted original
• 59:23
  Speaker 2: theme song for his vampire movie and so gerard mcmahon
• 59:27
  Speaker 2: was approached to write it and He read the screenplay,
• 59:32
  Speaker 2: had not seen any footage of the film when he
• 59:35
  Speaker 2: wrote the song.
• 59:36
  Speaker 1: Really?
• 59:37
  Speaker 2: Yes. So he combined his melody and lyrics with a
• 59:40
  Speaker 2: hypnotic rhythm developed by jazz musician Michael Maneri. And when
• 59:46
  Speaker 2: Schumacher heard the demo, he was amazed that McMahon had
• 59:49
  Speaker 2: captured the film's atmosphere without seeing any footage at all.
• 59:53
  Speaker 2: McMahon explained that the song wasn't specifically about vampires. He
• 59:57
  Speaker 2: was inspired by feelings of Alienation, loneliness, and the desire
• 1:00:02
  Speaker 2: to belong. And of course, like any good 80s movie
• 1:00:07
  Speaker 2: or creepy song, it had a children's choir, which, as
• 1:00:11
  Speaker 2: we previously mentioned, combines innocence with danger.
• 1:00:15
  Speaker 1: So listen to this, though. This is really cool. McManus
• 1:00:20
  Speaker 1: said that the record company considered his recording too unconventional
• 1:00:25
  Speaker 1: and and looked into having established singers like Phil Collins
• 1:00:30
  Speaker 1: and Steve Perry perform it instead. Schumacher insisted on keeping
• 1:00:37
  Speaker 1: McMahon's voice.
• 1:00:39
  Speaker 2: Wow, so it's not the same if Phil Collins or
• 1:00:41
  Speaker 2: Steve Perry sing in this, right?
• 1:00:43
  Speaker 1: Not at all.
• 1:00:45
  Speaker 2: So the soundtrack actually reached number 15 on the Billboard
• 1:00:48
  Speaker 2: 200 for albums, and Cry Little Sister became an index.
• 1:00:53
  Speaker 2: during gothic rock favorite closely associated with the lost boys
• 1:00:58
  Speaker 2: which still is one of my favorite 80s horror films
• 1:01:01
  Speaker 2: without it being really like horror like to me it's
• 1:01:04
  Speaker 2: something that emmy could watch yep um so let me
• 1:01:09
  Speaker 2: ask you this do you think that the song actually
• 1:01:12
  Speaker 2: frightens people because i don't No. I think it's more, like,
• 1:01:15
  Speaker 2: perfect for the atmosphere and maybe a little bit kind
• 1:01:18
  Speaker 2: of haunting a little bit.
• 1:01:19
  Speaker 1: Haunting's probably a good word for it, but it's not scary.
• 1:01:23
  Speaker 2: It's just such a cool... It's a cool song.
• 1:01:25
  Speaker 1: It's a really good song.
• 1:01:28
  Speaker 2: So... What do you think? What do you think of our.
• 1:01:32
  Speaker 1: I mean, this is an interesting rundown of songs.
• 1:01:37
  Speaker 2: It was. It was.
• 1:01:38
  Speaker 1: We may have... Okay, so... Up until we did this
• 1:01:42
  Speaker 1: last one, I felt like we peaked kind of early.
• 1:01:45
  Speaker 2: We may have. We may have. But we've got all
• 1:01:48
  Speaker 2: kinds of interconnections here, right? You've got John Carpenter.
• 1:01:51
  Speaker 1: Yep.
• 1:01:52
  Speaker 4: Right?
• 1:01:52
  Speaker 2: You've got Stephen King movies. You've got the slasher movies
• 1:01:57
  Speaker 2: with Halloween and Friday the 13th and Nightmare. You've got television,
• 1:02:01
  Speaker 2: Unsolved Mysteries, Tales from the Dark Side. You've still got
• 1:02:06
  Speaker 2: the slasher television series with Friday the 13th and Nightmare.
• 1:02:12
  Speaker 2: some of the music was scary, some of it was eerie,
• 1:02:14
  Speaker 2: and some of it's just kind of haunting. Most of
• 1:02:16
  Speaker 2: it just makes you feel a little off.
• 1:02:20
  Speaker 1: Yeah, a little uneasy.
• 1:02:21
  Speaker 2: Which is what these things are supposed to do, right?
• 1:02:24
  Speaker 1: Yep.
• 1:02:25
  Speaker 2: So, if you woke up in the middle of the night,
• 1:02:28
  Speaker 2: which one of these pieces of music would you not
• 1:02:32
  Speaker 2: like to be hearing when you woke up?
• 1:02:37
  Speaker 1: Um... I think the poltergeist song. Oh, what do you think?
• 1:02:47
  Speaker 2: You know what? That was not my choice, but that's brilliant.
• 1:02:52
  Speaker 2: I was going to go with Halloween, but that would
• 1:02:55
  Speaker 2: probably be more unsettling.
• 1:02:58
  Speaker 1: Right.
• 1:02:59
  Speaker 2: Oh, my goodness. That's genius.
• 1:03:02
  Speaker 3: All right.
• 1:03:02
  Speaker 2: Well, folks, we want to know what you thought.
• 1:03:07
  Speaker 1: This would make an excellent listener poll over there on Patreon.
• 1:03:11
  Speaker 2: Yeah. Which one of these pieces of music would you
• 1:03:15
  Speaker 2: least want to hear if you woke up in the
• 1:03:16
  Speaker 2: middle of the night? Yeah. 2 a.m.
• 1:03:19
  Speaker 1: I would be curious.
• 1:03:21
  Speaker 3: Yeah.
• 1:03:21
  Speaker 2: I'm curious which ones they would pick too.
• 1:03:22
  Speaker 1: It's going to be 3 a.m. because that's the witching hour.
• 1:03:25
  Speaker 2: Oh, 3 a.m. is the witching hour. I understand. So
• 1:03:29
  Speaker 2: which one of these pieces of music would you least
• 1:03:31
  Speaker 2: want to hear playing at 3 a.m.? Is it Carol A.M.?
• 1:03:34
  Speaker 2: Look into the light, Carol Ann. Go into the light.
• 1:03:39
  Speaker 2: Or is it Michael Myers or anything else by John
• 1:03:42
  Speaker 2: Carpenter who apparently did nothing but scary scores throughout the 80s? Yeah.
• 1:03:52
  Speaker 3: All right.
• 1:03:52
  Speaker 2: So why don't you tell the folks where they can
• 1:03:55
  Speaker 2: find us? Tell the folks what.
• 1:03:56
  Speaker 1: They want to hear. Okay. We are out there on
• 1:03:59
  Speaker 1: all the socials. We are on Facebook, Instagram, and Instagram.
• 1:04:03
  Speaker 1: You could also send us an email if you'd like
• 1:04:07
  Speaker 1: to communicate that way.
• 1:04:09
  Speaker 2: Childrenofthe1980s at gmail.com. We love getting our emails.
• 1:04:15
  Speaker 1: We would appreciate, if you haven't already, go ahead, hit
• 1:04:18
  Speaker 1: that little subscribe button so you'll be sure to never
• 1:04:22
  Speaker 1: miss an episode. And....
• 1:04:26
  Speaker 2: Tell somebody!
• 1:04:27
  Speaker 1: Tell somebody just spread the word folks we're getting out
• 1:04:32
  Speaker 1: there we want uh other folks that.
• 1:04:33
  Speaker 2: Enjoy nostalgia enjoy the 80s enjoy scary stuff to uh
• 1:04:39
  Speaker 2: hop on in and give us a listen and.
• 1:04:41
  Speaker 1: We're also on patreon we'd love for you to join
• 1:04:44
  Speaker 1: us there as well you.
• 1:04:46
  Speaker 2: Can join for free but for as little as five
• 1:04:49
  Speaker 2: dollars a month which again You cannot get Starbucks for
• 1:04:52
  Speaker 2: $ 5 anymore.
• 1:04:52
  Speaker 1: Nope, you cannot.
• 1:04:54
  Speaker 2: For as little as $ 5 a month, you can get
• 1:04:57
  Speaker 2: bonus episodes, you get to participate in bonus polls, all
• 1:05:01
  Speaker 2: that fun stuff right now. And coming next week, we
• 1:05:05
  Speaker 2: will be doing our continuation of trying to figure out
• 1:05:10
  Speaker 2: which year had the best gear in music. And we'll
• 1:05:14
  Speaker 2: be doing our number 23 songs, which are paid Patreon
• 1:05:17
  Speaker 2: members only. get to vote on those songs. So if
• 1:05:24
  Speaker 2: you want to participate, sign up, folks. A little $ 5
• 1:05:27
  Speaker 2: a month. So I guess that about wraps us up.
• 1:05:30
  Speaker 1: Okay, I think it does.
• 1:05:32
  Speaker 2: Until next time, I'm Jim.
• 1:05:34
  Speaker 1: And I'm Lindsay. And we are Children of the 80s.
• 1:05:37
  Speaker 1: See you next Wednesday. 80s down, drag, drag.