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11. Harry And The Rock Star



Harry and the Rockstar was the 11th episode of Night Court, also the 11th overall series episode. Written by Reinhold Weege, the episode was directed by Jay Sandrich. The episode, which aired on NBC-TV, first aired on March 21, 1984.




11. Harry And The Rock Star



Harry (Harry Anderson) becomes a celebrity-by-association when he begins dating rock star Jennifer Black (Kristine DeBell). Before long, the courtroom is under siege by reporters, photographers and some truly frightening music fans! This episode originally marked Night Court's move from its original Wednesday-night slot to its long-standing Thursday-night berth; also, Alice Drummond appears as temporary court clerk Mavis Tuttle, filling in for the departed Lana Wagner (Karen Austin)


Before Elvis, Aretha Franklin, and Chuck Berry, there was Sister Rosetta Tharpe. Known for her picking and gritty singing, Tharpe single-handedly shaped the future of rock and roll while proving that women could play the guitar just as well as, if not better than, men.


Brown sang jazz ballads with ease and her R&B prowess won her a Bessie Smith Award for Best Blues Singer, according to Goldmine Magazine. But it was her ability to sing rock and roll on tunes like "Sweet Baby of Mine" that pushed the genre forward. She was inducted into the Rock and Roll Hall of Fame in 1993.


Kaye started as a jazz guitarist and even played on an album for Sam Cooke. But, according to her website, the story goes that in 1963 when a bassist failed to show up for a Capitol Records studio session, Kaye picked up the bass to fill in and, unbeknownst to her, changed her life and career forever.


Though she occasionally performed with other folk giants of the '60s like Bob Dylan and Joan Baez, during the formative years of her career Mitchell mostly performed solo, just her and her guitar or piano, resulting in deeply intimate and affecting performances. Later in the '70s, Mitchell meshed her folk roots with jazz and rock, enlisting the likes of Jaco Pastorius and the LA Express to help bring her visionary songs to the electric age.


Janis Joplin proved that girls could be rock stars too. Joplin hit it big during the countercultural movement in San Francisco during the late 1960s, and while she mesmerized crowds with her unique voice and energetic showmanship, her off-stage persona was equally as important to her legacy.


Countless female musicians had risen to fame playing the guitar or piano, but the bass guitar? Before Suzi Quatro, it was almost unheard of. Often decked out in head-to-toe black leather outfits and wielding a voice that could toe the line of musical and banshee screaming, Quatro instantly found a niche for herself in the emerging hard rock arena of the '70s.


Harry emerged from the New York punk scene in the mid-'70s with the band Blondie and embraced the burgeoning new wave sound. Drawing from both influences, Blondie created a fresh new unison of pop and rock and paved the way for the pop-punk genre.


Additionally, the former Playboy bunny used her fashion and beauty to promote feminism in the male-dominant world of rock and roll. Harry inspired countless artists and her songs are still being covered today, like Miley Cyrus' 2020 cover of "Heart of Glass."


Whether it be her bass playing for the Pixies or as the frontwoman of The Breeders, Kim Deal has repeatedly been a harbinger of fresh sounds and ideas in rock music. Her bass playing is simple but punchy and, unlike other bassists who take the back seat, Deal made sure to stand out in each song with catchy bass lines. In fact, her bass lines start some of the Pixies' biggest hits, like "Debaser" off "Doolittle."


He originally intended to be a documentary film-maker and took a job with The Big Fights, a company run by Bill Cayton that owned a large library of classic boxing films. Chapin directed Legendary Champions in 1968, which was nominated for a documentary Academy Award.[6] In 1971, he began focusing on music. With John Wallace, Tim Scott, and Ron Palmer, Chapin started playing in various nightclubs in New York City.


In the mid-1970s, Chapin devoted much time and effort to social activism, including raising money to combat hunger in the United States. His daughter Jen said: "He saw hunger and poverty as an insult to America."[15] He co-founded the organization World Hunger Year with radio personality Bill Ayres, before returning to music with On the Road to Kingdom Come. He also released a book of poetry, Looking ... Seeing, in 1975. More than half of Chapin's concerts were benefit performances (for example, a concert[16] to help save the Landmark Theatre in Syracuse, New York, as well as hunger causes such as food banks), and proceeds from his concert merchandise were used to support World Hunger Year. Among those he helped is filmmaker Michael Moore, who, in 1977, got help funding his Mid-Michigan based independent newspaper startup, The Flint Voice, with Chapin benefit concerts.[17] Chapin's social causes at times caused friction among his band members. Chapin donated an estimated third of his paid concerts to charitable causes, often performing alone with his guitar to reduce costs.


From around 1975 until the owners changed the format of the station in the late 1990s, WNEW-FM, 102.7, a NYC radio station with the motto "Where Rock Lives" held an annual "Hungerthon" every Thanksgiving, to benefit Harry Chapin's World Hunger League. During the 24-hour period of the event, little to no music was played, with the exception of the iconic "Alice's Restaurant" by Arlo Guthrie played at noon and 6 pm. For the remainder of the day, during every DJ's four-hour show, guests such as Harry himself, other music stars, and experts on hunger brought to the listeners information about the severity of hunger in America, in New York City, and in the tri-state area, sometimes in graphic detail.


This Is Spinal Tap (also known as This Is Spın̈al Tap: A Rockumentary by Martin Di Bergi[a]) is a 1984 American mockumentary film co-written and directed by Rob Reiner (in his feature directorial debut). The film stars Christopher Guest, Michael McKean and Harry Shearer as members of the fictional heavy metal band Spinal Tap, who are characterized as "one of England's loudest bands".[3][4] Reiner plays Martin "Marty" Di Bergi, a documentary filmmaker who follows them on their American tour. The film satirizes the behavior and musical pretensions of rock bands and the hagiographic tendencies of rock documentaries such as The Song Remains the Same (1976) and The Last Waltz (1978), and follows the similar All You Need Is Cash (1978) by the Rutles.[5] Most of its dialogue was improvised and dozens of hours were filmed.


Filmmaker Martin "Marty" Di Bergi is creating a documentary that follows the English rock group Spinal Tap on their 1982 United States concert tour to promote their new album Smell the Glove. The band comprises childhood friends David St. Hubbins and Nigel Tufnel on vocals and guitar, bassist Derek Smalls, keyboardist Viv Savage, and drummer Mick Shrimpton. They were known as the Originals until they found out another band had that name, so they changed their name to the New Originals. They had a hit as the Thamesmen with their single "Gimme Some Money", before changing their name to Spinal Tap and achieving a minor hit with the flower power anthem "Listen to the Flower People", and finally transitioning to heavy metal. Several of their previous drummers died in strange circumstances: spontaneous human combustion (Peter "James" Bond), a "bizarre gardening accident" (John "Stumpy" Pepys), and choking on (someone else's) vomit (Eric "Stumpy Joe" Childs). Segments of Marty's film show David and Nigel to be competent but dimwitted and immature musicians. At one point, Nigel shows Marty a custom-made amplifier that has volume knobs that go up to eleven, believing this would make their output louder.


Michael McKean and Christopher Guest met while in college in New York City in the late 1960s, and they played music together. They worked with Harry Shearer and Rob Reiner on a TV pilot in 1978 for a sketch comedy show called The TV Show, which featured a parody rock band called Spinal Tap. During production of that sketch (while being burned with oil from on-stage effect) McKean and Guest began to improvise, inventing characters that became David St. Hubbins and Nigel Tufnel.[6][7]


Roger Ebert of the Chicago Sun-Times gave the film four stars out of four and wrote "This Is Spinal Tap is one of the funniest, most intelligent, most original films of the year. The satire has a deft, wicked touch. Spinal Tap is not that much worse than, not that much different from, some successful rock bands."[19] Ebert later placed the film on his ten best list of 1984 and would later include it in his Great Movies list in 2001 where he called it "one of the funniest movies ever made".[20][21] Gene Siskel of the Chicago Tribune also awarded 4 out of 4 stars, writing, "It is so well done, in fact, that unless you are clued in beforehand, it might take you a while to realize that the rock group under dissection in This Is Spinal Tap does not really exist."[22] Janet Maslin of The New York Times praised it as "a witty, mischievous satire, and it's obviously a labor of love."[23] In 2002, This Is Spinal Tap was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and was selected for preservation in the United States National Film Registry.[24]


Critics praised the film not only for its satire of the rollercoaster lifestyles of rock stars but also for its take on the non-fiction film genre. David Ansen from Newsweek called the film "a satire of the documentary form itself, complete with perfectly faded clips from old TV shows of the band in its mod and flower-child incarnations".[25]


Lars Ulrich told a press conference crowd that the 1992 Guns N' Roses/Metallica Stadium Tour seemed "so Spinal Tap." This tour was in support of Metallica's own "black album". Shortly after the tour started, Metallica's James Hetfield suffered third-degree burns on his arms after he stood too close to a pyrotechnic device. Earlier in that tour, backstage at The Freddie Mercury Tribute Concert, Metallica met with Spinal Tap and discussed how their "black album" was an homage to Spinal Tap's Smell the Glove. This was captured on the Metallica DVD A Year and a Half in the Life of Metallica. 041b061a72


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