Ménage Á Pop

June 23rd 1989 was emblazoned across every billboard, magazine and marquee of its time. It was the date when auteur Tim Burton would finally unleash his gothic opera to the world. There would be expressionist visuals, art deco sets and a vehicle that got a standing ovation even though we already owned the poster. All of this was heralded by an inescapable symbol, gold in its background and grim in it's bat-shape. So then how did super-fan Brian Stampnitsky find himself strangely disappointed by the summertime blockbuster release of BATMAN.

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Sitcoms gave us the characters that we wanted to be like. As cool as Mike on Growing Pains. As free as Blossom on Blosson. As whatever Wesley was on Mr. Belvedere. But turn that dial just one number to the right and you might encounter an ensemble that, while hilariously entertaining, were more morose than you aimed to be. This was the introduction to adulthood that tv writer Brian Stampnitsky (STILL STAR-CROSSED) gained from reruns of his pre-teen’s favorite existential dilemma, TAXI.

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We all plastered our dorms rooms with posters of Pearl Jam and print-ads for PJ Harvey. But with these snapshots to portray us, we also chose to neglect a rather pertinent artist. Someone we came of age humming along with but turned against that Freshman year Thankfully TV writer Brian Stampnitsy (STILL- STAR-CROSSED) is here to right that sleight with a little proper-in-length praise for Billy Joel and his a-cappella single, "The Longest Time."

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Before there was STAR WARS there was … well … THE HIDDEN FORTRESS. But, before THAT, there was FLASH GORDON a comic strip about ray guns, spaceships and all sorts of alien worlds. And while modern audiences know Flash as the operatic refrain of a semi-subtle Queen track, there’s actually an entire album that bears his name. So, if you’re pure of heart, here’s the holy grail that served as the formative soundtrack to Brent Simons’s younger self.

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Prior to Bronson Pinchott’s filmography, MEGO was one of the biggest toy companies in the world. Best known for their cross-continuity of super hero dolls, they also ventured into the realm of Sci-Fi spectacle with THE MICRONAUTS. Comprised of numerous figures, vehicles and accessories, the francise soon expanded into a comic book set in the microscopic middle of the mighty Marvel Universe. So peer into the fine print and see how these denizens of inner-space impacted Brent Simon’s outer world.

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As kids, we accessed horror from our TV set. Therefore, what could be more frightening than the network broadcast of POLTERGEIST, a film about actual horrors from a TV set? Well, if you were screenwriter Brent Simons (MEGAMIND) your night terrors weren't stemming from that paranormal plot-line. No, you were already up thanks to the scare tactics of its pre-release, promotional blitz. So, seeing how you're here, here's what scared Brent BEFORE seeing 1982's "GERMAN FOR NOISY GHOST."

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In the 80s we all had an R2D2 light switch, a Boba Fett tooth brush or an Admiral Ackbar tackle box. We were fanatical about Star Wars and would surround ourselves with pretty much anything Lucasfilm slapped that logo onto. Of course, there were always some elusive ones... affordable at release but still, somehow, missed out on. Well today, Mike Cowgill talks about just such an item with his childhood copy of The Wookie Storybook (hopefully translated to something just a little less guttural).

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As kids we slung vinyl boxes to transport our tapes from home to the beach and back again. Truthfully they were just cardboard with a handle but somehow that translated into the cinematic intrigue of an attaché case. For a young Mike Cowgill they were also the necessary McGuffin to unlock a full world of pop influence. So flip that cassette and fast forward a bit so we can discuss Lionel Richie's “Tonight Will Be Alright.”

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As kids, the best way to judge a comic was by its cover. These one-sheet spectacles with absolutely no sense of context were our introductions to Spider-man, She-Hulk and (maybe) Top Dog. But, as we aged into die-hard collectors, we began to expect a little more cohesion from issue to issue. So today Tim talks with podcaster Mike Cowgill (BATTLE OF THE NETWORK SHOWS) on whether this uncovered continuity actually broke that initial awe for comics. Its a pretty fan specific conversation as Mike shares the lasting impact of watching Cyclops exit the cover of UNCANNY X-MEN ISSUE #138.

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We all know with great power comes great responsibility. But the actual burden of those word should weigh someone down like ... well ... fallen debris from a battle with Dock Ok. Yet, while none of us are as amazing spectacular or even web of as this friendly neighborhood Spider-Man , we still somehow find a way to relate. So let’s raid the comic book boxes of Jarf Harden and hear what he has to say about this particular issue.

For full show notes visit www.nahpods.com

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