Monday, October 07, 2013
A theater critic got up and walked out of a Broadway play after the first act. The play’s producer, who was standing in the lobby, stopped him on his way out. “Why are you leaving so soon? There are still two acts left,” said the producer.
“I know,” said the critic as he walked out the door. “But I’m pretty sure the person who wrote that horrible first act also wrote the other two.”
What was pictured on bottles of Coppertone suntan oil before Little Miss Coppertone was introduced in 1953?
An Indian chief, along with the slogan: “Don’t be a Paleface.”
Ever notice how many of today’s prime-time dramas include at least one pop song, often appearing over a montage? One of the first shows to do this was Miami Vice, which used well-known songs by Phil Collins and Glenn Frey. But most shows don’t have the budget for big-name music, so they hire a music supervisor to seek out and secure the rights for songs. One of the biggest in the industry is Alexandra Patsavas, who has found songs for The O.C., Grey’s Anatomy, and Chuck. In turn, bands whose songs are featured in shows get paid a moderate fee ($20,000 to $50,000 or more) and get great exposure—Snow Patrol and The Fray both earned mainstream exposure and Grammy nominations after their songs were featured on Grey’s Anatomy.
Ted Cassidy played Lurch on The Addams Family, as well as Thing (or at least his hand did).